SAATTAI MOVIE REVIEW


A film based on schools and children is not new, but its been quite some time since we saw a good one, notably after 'Pasanga'. M.Anbazhagan, a former associate of Prabhu Solomon has come up with one and this time, the attention is on a dilapidated, old rural school. Produced by his mentor, M.Anbazhagan has chosen a towering presence, in the form of Samuthirakani, in order to play the revolutionary and visionary teacher, who is hell bent in making a change to the fate and life of the schoolchildren.

The biggest strength of the film is the role of Dayalan, played by Samuthirakani. His powerful,  yet subtle performance comes in for big praises, because he raises above the mediocre and less substantial other characters involved in the film. He fits in to the role, beautifully and his dialogue delivery is superb. Eager to see more of him in acting roles ! Thambi Ramaiah as the antagonist was sadly an irritation, with his over-acting and high pitched dialogue delivery, and also with a ridiculous wig ! 'Junior' Balaiah makes a comeback through this film, and has portrayed a neat role. 'Black' Paandi does what he can do best, with his funny and loud comedy sequences. Yuvan, Mahima, Swasika and the rest of the cast fills up the big casting list, essential for such a script.

For a small budget film, this movie has some decent technical outputs. P.R Ganesh, has done well with his costume work, especially in highlighting Samuthirakani differently, to make his character standout from the rest of the cast. M.K Leen's stunt was good enough for the script. Vairabalan has done quite well with the art direction department. His props and setting of a very poorly managed school. Be it the old and creaky props or the more decent and presentable cultural show and felicitation ceremonies, his art work was very natural and fulfills the requirement. R.Nirmal was okay with his editing, but he could have done better with in the climax and pre-climax build-up, which was a little jerky. M.Jeevan's cinematography work, brought out the true mood and color of the rural-school setting, and also good close-ups to capture the emotions and expressions of the characters. D.Imman, who has a good combination with Prabhu Solomon, does a decent job for Prabhu's associate as well. "Adi Raangi" is a good emotional number, with most of the song shot in montages and based on Yuvan's character yearning for the heroine's attention. There were many close-ups, good angles with good sceneries as the backdrop, which captures the mood of the song well. "Nanba Vaa, Nanba" is a montage song featuring the character played by Samuthirakani, in his reformation process, in educating the school kids. The song has plenty of locations and sequences, which highlights the life and times of rural school students. "Andhurundai" is situational song, shot on the backdrop of a cultural event, taking place in the rural school portrayed in the film, with many students performing amateur dances. "Sahayane" is the pick of the lot, a soothing, melodious song sung by Shreya Ghoshal. It was picturized in a montage sequences, from the point of view of the heroine's infatuation with the hero. "Jada Jada" is the situational climax song, with montages featuring the school students preparing to face the examinations.

M.Anbazhagan, should be appreciated for bringing up such a theme, which highlights the downfalls of today's society, in relation to the education sector, in precisely, rural-schools. His dialogues are big plus because without substantial and powerful dialogues, no actor can bring out a good performance and M.Anbazhagan has placed Samuthirakani on a very good platform, to perform. Some of the scenes, where well brought out but was definitely a little overdone. The message M.Anbazhagan intended to convey through this film, is noble but it goes very preachy at times and gives a more sentimental and melodramatic moment rather than a thought-provoking touch. The director could have worked out better with his characterizations because, in order to glorify the role of Samuthirakani, the rest of the cast were subjected to lesser importance or of substance and depth to their character. It would have been more compelling if the others were given proper roles to play.

'Saattai' is a decent film with a decent message for the viewers, when it comes to the education quotient of current school-going kids, especially in the rural side. Not bad for a time-pass.


Ratings: 2.5/5 STARS

BY:TAMIL

SUNDARAPANDIAN MOVIE REVIEW


M.Sasikumar is back after the lacklustre performance of his previous film 'Porali' at the box-office. This time he is back into his own territory, that is the Madurai-based script with friendship at its base intertwined with a simple love story. He has given his assistant S.R Prabhakaran a chance to direct a film for his own, Company Productions. Also, Sasikumar dons the mantle of hero in this film as well but this time, with some little difference from his previous angry, sickle-carrying, violent roles. So will this 'Sundarapandian' seduce the audience, successfully ?

Sasikumar, with his usual thick beard, is a good performer here but what is different from his previous films is that, here he gets to romance a girl and also carry less emotional dialogues and expressions. He gets to perform more comedy portions and his adeptness in doing such sequences is a big plus for the film because it helps us to get off the image of his previous films, from our minds, while watching this film. He appears nearly throughout the film and his subtle dialogue delivery gives a touch of class for his acting chops. Debutante  Lakshmi Menon, looks very cute and homely and with her big eyes, manages to show emotions appropriately and her subtle performances makes her to be the next good performing heroine in Tamizh cinema. Kudos to her ! Soori is a revelation in this film, with a more subtle and relaxed dialogue delivery and body language which works very well for the scenes and his character is a complement for Sasikumar's protagonist role. He underplays his comedy sequences and is impressive throughout the film. The core strength of the film is the good characterizations and each artistes performing their roles, had done justice to their work and nearly everyone comes out a big winner, performance-wise. National Award-winner Appukutty, Vijay Sethupathi, Inigo Prabakaran, Naren, Thennavan, Sujatha, Sounthara Raja, Thulasi and even minor artistes have the depth and screen presence to make their mark. The director has won half the battle with his excellent casting !

K.Natraj's costumes were very apt and befitting for the characters, especially for Sasikumar, in order to bring out the naughtier side of his and also for the rest of the cast, which gives them the authentic rural look. Dhilip Subbarayan's stunt choreography is good, with the orchard fight scene, being the highlight, where the artistes uses the starches and coconuts as weapons. The stunts looked realistic, which was fitting for the size and physique of Sasikumar. Debuting art director, A.K Muthu gets it right with appropriate props to fill the houses of the township homes, shown in the film. V.Donbosco has done a neat job in the editing department, especially in the climax fight sequence. C.Premkumar of 'Pasanga' fame dons the mantle of cinematographer and he has done a neat job as well. He has captured the rustic and rural look very well, especially in the barren, dry lands in the climax. The bus portions too were well shot, though it involves tight spaces and crowded areas. N.R Raghunanthan's music is hummable with only four songs in the film. "Kondaadum Manasu", the introductory song of the hero, was picturized with many dancers, with a good mix of old and young folks, with plenty of close-ups and wide shots against temple and paddy field backdrop. "Kadhal Vandhu", is a situational song, with many montages involved, mostly inside the bus and along the journey of the bus route, with funny scenes, overall. "Rekkai Mulaithen", was shot on the lead couple, also on a montage method, showing them happily being in love with each other in many locations such as bus, hills, roads and college areas. The final song, "Nenjukkule" is another situational song, this time involving more dramas between the lead pair and the other characters surrounding them. The background score too gels very well with the look and mood of the film, which complements very well for the sequences in the screenplay.



S.R Prabhakaran, gets his inspiration from his mentor's films, because there is a heavy feel of 'Nadodigal', 'Porali' and 'Subramaniapuram' evident in the film (also thanks to Samuthirakani's voice-over for the introduction scenes) . But the strength of the film is the rather fair screenplay and good humor scenes infused throughout the script. The first half serves as good build-up for all the serious dramas in the second half, with light and funny comedy scenes. But the sucker punch is at the climax, where a couple of surprising twists and turns are revealed, though some cinematic liberties were taken. Also, the director should be lauded for sketching strong and colorful characters. His dialogues too are a big help for the script, as the right words brings out the emotion quotient of the scenes, appropriately and spontaneously. The screenplay is rather neat and direction looks promising. Overall, S.R Prabhakaran has done a decent job, indeed !

'Sundarapandian' is engaging and entertaining but Sasikumar should venture out from his comfort zone and do different themes besides, the usual love, revenge and friendship because, stereotyping will be a bane for his cinematic career, be it for any role (actor, director or producer).


Ratings: 3/5 STARS

BY:TAMIL

PAAGAN MOVIE REVIEW


Srikanth, makes a comeback through 'Paagan' under the directorial debut of Mohammed Aslam, a former associate of Ameer. This is indeed a crucial project for him, as it can salvage his career as a hero in Tamizh cinema. Along with a relatively small cast, this film promised us a decent comedy with some sentimentalism attached, to make itself appealing for the mass audiences. Will 'Paagan' save Srikanth, who had a decent outing in 'Nanban' ?

Srikanth, is a good performer but he needs solid script and acting scope, if at all he wants to make it bigger. Sadly, in 'Paagan' he has nothing much to offer, other than being comical throughout the film and being emotional in certain scenes. He is a total miscast in the film because and this proves to be one of the biggest drawbacks of the film. He looks too polished and refined for a character who hails from the village and is an out-and-out rural folk. Also, his costumes did not help to counter-balance the effect, because it is illogical to see him wearing neat and tidy attires, which contradicts with the character he plays. Other than that, there is nothing much to speak about his performance. Janani Iyer makes her second appearance on screen after 'Avan Ivan' and this is a proper heroine role for her, though it was strictly just a Tamizh-cinema conventional heroine. Looking pretty and petite, it is refreshing to hear her dub in her own voice and adds authenticity to her character. Soori and 'Black' Paandi appears as sidekicks for nearly throughout the film, with each of them performing in styles which they are popular for. Some sequences do evoke laughter but majority of them fell flat and was boring. Kovai Sarala was in her essence but it was a little too loud and over-the-top. George, Anu Mohan, director A.Venkatesh makes small appearances in the film, though they have nothing much to contribute to the flow of the film.

The technical team of the film was just functional and none of the department was outstanding in their work. 'Supreme' Sundar's stunts were a little innovative since it involves bicycle chase sequences and the usage of the bicycle as part of the stunt choreography. N.K Rahul's artwork was simple and natural, with the village house props and bungalow house props noticeable  Kevin's editing could have been better since the movie moves at a very slow pace and also the climax portion should have been better. J.Laxman has captured the essence of Pollachi and Tirupur quite well with his camera, utilizing the lush greenery of the former and the industrial backdrop of the latter. Also, many shots were taken with the camera mounted on the bicycle, to get the feel of the ride of the protagonist. James Vasanthan's music was melodious and soft but it was boring ! None of the songs were hummable or interest-evoking. "Thatti Thavi" is a sequential song, featuring the 'bonding' of the protagonist with his bicycle and featuring many bicycle shots, obviously against picturesque Pollachi. "Poonthendral" is a typical heroine introduction song, featuring Janani Iyer prancing around with a couple of dancers and this too was shot against a lush and green Pollachi. "Simba Simba" was shot on a market set featuring the main casts of the film, minus the heroine and featured few cut-shots. "Ennai Mannipaya" a sad song shot on the lead couple, uses the Jimmy Jib quite well along the high terrains and hill-side areas. "Ippadi Oar" a typical dream song, was shot along temple lakes, with soft and breezy color tone and ample usage of the Jimmy Jib. The background score of the film was just functional and hearing all these poor scores, makes us wonder what happened to the man who gave beautiful scores in 'Subramaniapuram'.

Mohammed Aslam, who is in charge of the writing and direction department. As a viewer, one has no idea who Aslam wanted to project as the protagonist of the film, is it Srikanth or himself (since he gave the voice-over for the bicycle). The direction was poor because none of the character were believable and the direction of the script is also confusing because the viewers have no idea whether is this a full-length comedy film with little sentiments or the other way around. None of the events in the film looks serious and there are big gaps in the screenplay with many questions left unanswered. The climax too was a perplexing because, the viewers have no clue, why the sudden turn of events are taking place and it has nothing to contribute to the story as well !

'Paagan' is a poor product from Aslam, as there's no good direction, proper characterization or even story to tell in the movie.


Ratings: 1.5/5 STARS

BY:TAMIL

ETHO SEITHAAI ENNAI MOVIE REVIEW

'Etho Seithai Ennai' came out without any fanfare or publicity at all, which makes us to brush of this film outright, just before noticing the cast of the film ! It has some veteran artistes who are making their odd return to the film industry and also the hero Shakkthi, son of veteran director P.Vasu. Does this film deserves any sort of publicity ? Definitely not at all !

Shakkthi makes his comeback after a small guest role in 'Yuvan Yuvathi'. He has established himself as a proper actor, who can emote and deliver dialogues confidently, with some little bit of charm in his previous films. What's not watchable here, is the ridiculously etched out sequences in which he has to perform the acts of heroes done in the 80's and early 90's. He has just performed what the director wanted, and there's nothing special here, which is worthy enough for a comeback. Liya, who did a role in 'Peraanmai' makes her comeback as well, which is not worthy off. She struggles in her role and there's no chemistry at all between her character and that of Shakkthi's which makes their love portion sequences like a sore thumb ! Anand Babu and Anandh makes their comebacks too, through this film and together with John Vijay, all three of them look like the cinematic, and over-the-top villains whom we are used to seeing, time immemorial. Bhanuchander, Ilavarasan, Sai Prashanth, Devi Priya makes their presence in small roles and Srinath makes us chuckle a bit in his sequences, with his funny dialogues and body language.

On the technical front, this film has nothing to offer us. 'Rock' Prabhu's stunts were okay, though some portions look overtly-done. K.R Shree, has very less budget to afford, I guess, so his art work is very minimal, with some props here and there. Muthulakshmi Varadhan's editing was poor with the continuity of the story getting hit badly. Ezhil Arasan's lighting was poor which makes his cinematography of the film look like the work of an amateur, befitting for a short film. Ganesh B.Kumar's tunes are not hummable at all. "Muzhu Nilavu" was shot within a bus setting with the lead pair, with some narrow angles. "Pogamal Oru Naal" was shot within a campus setting, shot at night mostly, with some few background dancers thrown into the frame. "Kadhil Mattum" was shot in foreign locales, Venice to be precise, which gives the film a different look but the song composition was bad, with poor angles, which does not bring out the beauty of the place being focused upon. 'Falling in Love" is a montage-filled song, showing the flashbacks of the lead pair and their encounters with each other.

J.Elvin Bosser, the director tries to weave a story of rivalries, love and back-stabbing in the story, but the events stands out mutually exclusive of each other and though the director tries to weave all the subplots together, it did not gel well, making us to wonder, why so and so proceedings are taking place in the script. The rivalry portion was poorly executed, leaving us not hooked to it and worse, not able to comprehend, why the rivalry is there in the first place and what makes the characters to bay out for each other's blood. The love sequences too did not look thoroughly convincing nor interesting.

'Etho Seithaai Ennai' - No idea, what the director wanted to convey as a film !

Ratings: 1/5 STARS

BY:TAMIL

PAANDI OLI PERUKKI NILAYAM MOVIE REVIEW

Rasu Madhuravan, known for his village-type, old tearjerkers, is back with another offering in 'Paandi Oli Perukki Nilaiyam' but sadly there's no deviation from his previous track. He has Sabarish and Sunaina as the lead pair this time, with a bevy of known and unknown artistes playing unimportant characters in the film, and appear just for the sake of sentimentality.

Sabarish, son of popular stunt director 'FEFSI' Vijayan makes another splash, or should say tried to make another effort to prove his mark as an actor. He has an interesting get-up, which reminds us of Vikram's image in 'Pithamagan'. He has clarity in his dialogue delivery but there's  no variations in it nor in his body language, which makes his performance look very caricature-like. His expressions are very standard and normal, which does not make him look outstanding from the overcrowded hero circle of Tamizh cinema. Being a son of stunt artiste, he delivers good action skills but his dancing capability seems to be limited. Sunaina looks okay, with decent face and physique and she has some acting capabilities which is not exploited here properly. The only thing which was used properly was her physical features in short, skimpy clothing. Karunas, 'Thambi' Ramaih, Soori and Singam Puli provides some comic relief here and there with their trademark buffoonery antics, and Singam Puli especially continues with his silly and amusing dialogue deliveries. Raj Kapoor, Vaiyapuri, K.Selvabharathi and etc makes up the big cast of the film and all of them delivered what was expected from them by the director.

The film has nothing to shout about technical wise. 'Supreme' Sundar's stunt scenes are okay and bearable but oddly, it looks very similar to the ones composed in 'Pithamagan' ! Veera Samar's art work is minimal, with the microphone and sound service shops, as well as the interiors of village houses looking natural. Suresh Urs keeps the film's pace watchable without much lag but he could not save much, thanks to the poor quality of the script. U.K Senthil Kumar, a veteran cinematographer captures the village portions, properly but other than that, there's nothing much to shout about in his work, apart from one or two good shots in the stunt scenes. Kavi Periathambi's music work is lame and boring. "Azhagu" is the introductory song of the protagonist with boring picturization, based on film festival setting and bad looking 'glamor' girl. "Mudhan Mudhalai" is a song shot in paddy fields and slowly transforms to the scenic localities of the Langkawi Islands in Malaysia, and also featuring Sunaina in revealing outfits. "Kettukodi" is a poorly remixed song of the old Sivaji Ganesan's 'Pattikaada Pattanama' film. This song was shot in the Bukit Bintang and KLCC areas of Kuala Lumpur in Malaysia, with mostly streets being shot with Sunaina, in short and body-hugging clothes. "Azhagana" song is shot in village setting with background dancers and is a slow-paced melody with more scenes from the Malaysian streets being covered with the lead pair dancing in a silly manner. "Dandanakra" is another festival song, but this one shot at night with again a badly looking 'glamor' girl as the lead dancer !

Rasu Madhuravan should either stop making films or should try to change his direction in cinema, if at all he wants to survive ! The story is out-dated and would have worked out in the 70's or 80's. The dialogues by him are mediocre, the romance portion between the lead pair looked very theatrical, the presence of many village folks as artistes making it look like another tearjerker. When even new, upcoming directors are experimenting with novel ideas, Rasu Madhuravan has stuck with a typical revenge story, which is boring and least interesting. Also, his characterizations were poorly etched out, leaving many looking like cartoons.

'Paandi Oli Perukki Nilayam' is a poor, poor product and its baffling to think what made Sunaina to accept such a film !


Ratings: 0.5/5 STARS

BY:TAMIL

MUGAMOODI MOVIE REVIEW

After false alarms such as 'Kandhaswamy' and 'Velayudham', finally we have an authentic super hero film made in Tamizh cinema, keeping in mind of the Indian sensibilities and milieu. An ambitious project from Mysskin, this UTV backed film was supposedly meant for Suriya who had to pull out from this project and finally Jiiva stepped into the project and became Tamizh cinema's first super hero. "With great powers, comes great responsibilities". The responsibility is even greater for the director who is going to direct the super hero who has those great responsibilities. Did Mysskin live up to the expectations because he has a very good proven track record and considered to be one of the intense and detailed film director in Tamizh cinema, among the current young and established directors.

Coming to the performance, Jiiva has really done well for the role. Though he has been trained in martial arts before, he took this role seriously and the pain of undergoing intense training was evident in the performance while executing the complex martial arts moves. His dialogue delivery too was very appropriate and facial expressions were spot on. With more serious films under the baton of experienced and talented directors, he will definitely be one among the best of actors in Tamizh cinema. Another flawless acting from Jiiva ! Its been sometime since we saw Narain in the silver screen, and its commendable for him to step out of the conventional roles and do a negative character or precisely the villain. He has given his best, did what Mysskin told him to do so and has worked really well to buff up his physique and also to undergo months of martial arts training. His looks too was very intimidating but his performance in the second half was very questionable. Probably, Mysskin should answer why he asked Narain to perform as such. Pooja Hegde, a second runner-up winner of Miss Universe India 2010, makes her debut through this film. She looks pretty but lesser make up should make her look better. Acting wise, she was just okay. Nassar plays a an important role as the police officer who is on the hunt and he was in his usual best. Flawless and perfect ! Selvaah, makes his appearance as the master of Jiiva, and he has a beautiful role to perform. Kudos to him as well for taking the pains to train for this role. His emotional expressions were subtle, yet strong. The rest of the cast such as Girish Karnad, Naren, Anupama Kumar, Murugados, Sivaraj, Amalados, Darshan and etc does what was taught to them by Mysskin.

'Mugamoodi' has the best of resources with UTV backing it and certainly Mysskin extracted what can be extracted from them. For the costume of 'Mugamoodi' the super hero, it was designed by one called Gaebriella Wilkins, a costume designer for distinguished production units such as Disneyland Hong Kong and Cirque Du Soleil. She has done a good job with the mask especially, considering the fact, the costume was made out of five materials only. Besides her, Amritha Ram the costume designer has done a decent job with the usual clothing of the characters. The costumes of Jiiva and Pooja Hegde for the songs were simple, yet elegant. And not to forget, the costume for the antagonist, Narain.  Radhika, has done well with the choreography section, incorporating some of Mysskin's quirky dance moves. Tapas Nayak, has done good work with the sound designing, especially for the chasing scenes and the night sequences and not to forget, the action sequences. Balasubramaniam, has done a decent job with the art work, especially the hospital set and the room of the Girish Karnad, with all the gadgetry and also the bar setup as well. Gaugin, could have done better with the editing because the second half was quite slow and many scenes which was required, was deleted by him. Cinematography by Sathya was good, with the regular wide-angle shots and lengthy shots, which are a must for a Mysskin film. The night effect shots were well done too, with apt lighting, capturing the moods very well. The highlight of the movie is definitely the stunt choreography and hats off to Tony Leung Siu-hung, an acclaimed expert in Wing Chun - a close-combat form popularized by the legendary Bruce Lee. Tony has had sparring moments with the legend himself, and ironically Wing Chun was developed by Ip Man, the master of Bruce Lee, of whom a feature film was made of, and Tony was the stunts choreographer for that film ! He has trained the artistes very well and with the additional support of 'Action' Prakash, each stunt sequences were unique, realistic and powerful. One of the best action sequences to come out in Tamizh cinema !

Music by K was really good. There are only three songs in the film and it starts off with the "Bar Anthem", a typical Mysskin film song with foot-tapping beats and dance movements, this song was shot in a simple bar setup and had good lighting by Sathya. The pick of the album, "Vaaya Moodi Summa Iruda" was shot in Switzerland, in lush and beautiful scenic locales. The lead pair looked lovely and had soft and fresh color tone throughout the song and "Maayavi" too was shot there in night sequences with the protagonist being the 'Mugamoodi' and the heroine, yearning for him. Though the songs were well shot, its a head-scratching question of why the need for a foreign-location song. The theme music was riveting by K but he could have avoided the techno beats, which are awkward for a dark themed film such as this but his string section composition was brilliant. A real talent to look out for.

Mysskin starts off the movie very well with a suspenseful scene, and the Marvel-type comic book title card was cute, but all that is just secondary when it comes to the overall film. The first half of the film was good, with necessary introductions of the characters and the establishment of the super hero character. But the second half was slow and and quite amusing for the intensity built up in the first half. A couple of scenes were executed well, but the editing choice of Mysskin was not good and he should have worked with his editor in retaining the true essence of his script. In order to establish a super hero, you need to have a real, good, super villain. Narain was good, but his character suffers due to poor handling by Mysskin and by the end of the film, Narain looks like a comical villain with laughable and very fake mannerisms and dialogue delivery. With such a bad villain, your favoritism for the super hero will suffer big time, and it suffered indeed. The birth of 'Mugamoodi' was too simple and conflict goes kaput. The film was imbalanced as Mysskin tried to please all sections of audiences and his action failed big time. The film gets caught in between being dark/serious and simple/appealing. When one finishes watching it, he or she would feel disappointed because Mysskin has done brilliant works before in 'Anjaathey' and 'Yuddham Sei' and this time, its too simple, light and comical and is not hard-hitting as what he wants it to be. This could have been done purposely to attract the children, but Mysskin should know that its very, very difficult to please all of the people, at the same time and he should have used it for some other script, rather than for this. And the other main mistake by him is to etch a rather caricature-style villain who looks like a mean and menacing one, but spews silly and funny dialogues in the end.

'Mugamoodi' is good and not so good, at the same time. Its good, for being a proper super hero film within the Tamizh sensibilities and for its superior technical works. Its not so good because Mysskin's script lacks the raciness and excitement and we have watched better works from him, in the form of his own earlier films. Low intensity, low excitement, slow presentation, 'Mugamoodi' could and should have been better than this.


Ratings: 3/5 STARS

BY:TAMIL

18 VAYASU MOVIE REVIEW

R.Panneeselvam, the director of the well-received 'Renigunta' comes up with another novel and unique script with '18 Vayasu' with the same crew of 'Renigunta' backing him. Produced by S.S Chakkaravarthy with his son Johnny in the lead, this film evoked curiosity with a unique psychiatric syndrome as a theme. Having such themes is not new, since Tamizh cinema fans are accustomed to watching such theme-based films, like 'Sigappu Rojakkal', 'Guna', 'Aalavandhaan', 'Anniyan', and even the latest '3'. What's peculiar here is the theme of clinical lycanthropy, which involves a delusion that the affected person can transform into, has transformed into, or is a non-human animal !

To start of with the cast, the protagonist and heir of the producer, Johnny has done a good job indeed with his character. He is suited for the role of a mentally-affected person and kudos to him for imbibing the body language of animals very aptly. The last stunt scene where he fights like a bull, must have been very painful and exhausting for him. This chap deserves some appreciation for his hard work. Newcomer Gayathri looks okay and homely but she needs intense acting course if she wants to be successful in her career. She looks uncomfortable in her role and is not entirely convincing. Rohini plays an important role but was wasted with very little screen timing. Kannada actor Sathyendran, plays another mentally-challenged person and evokes laughter at times with his antics but tends to go overboard. Yuvarani, J.S, Sevazhai, Krishna Davinci and others make up the cast.

This film has a compilation of talented and interesting technicians behind the film. Sanjay Karan's artwork is minimalistic with little props except for a couple of bazaar sets used for songs. Anthony is behind the editing board, and he tries to keep the pace of the film from not slowing down, but he was unsuccessful largely, thanks to the slow direction of the script. Rajasekar has done a brilliant work with the stunt portions. As this film needs special detailing, he has done his homework very well and brought out the maximum output from Johnny, in executing the stunt scenes. The bull-like fight in the climax, was the best. Great work ! Shakthi, is the man behind the camera and he too has done some wonderful job with interesting low-angles and close-ups. He has managed to capture the dry and dusty landscape the script demanded and maintained a yellow and dusty color tone for the film throughout, except for the night scenes. Also, with the correct length, Shakthi manages to picturize the fights properly and ensured that the hard work done by the stunt choreographer and the protagonist, does not go waste.

Popular hip-hop and rap music artists and producers, Dinesh Kanagaratnam and Charles Bosco duo are the people behind the music of this film. If you keep in mind of their previous works, this album will be a little surprise for you. Most of the tracks in this album are melody numbers, which they are not popular for. "Entha Ulagil" is a good melody number picturized against the lead pair, where the protagonist meets his heroine for the first time and its love at first sight with bazaar sets around. "Aanum Illa" is a song picturized on transgenders and transsexuals, in a night backdrop along the long street with hawker stalls. An unnecessary song in the story line. "Enakkena Nee" is a joyful number, picturized on the lead pair with small number of dancers thrown into with round-trolley shots used mostly in real locations. The pick of the album "Unnai Onru" was picturized in the now unavailable-for-shoot, Madurai Thirumalai Nayakkar Mahal with minimal props and simple costume designs, shot in a typical dance number with plenty of dancers. "Podi Podi Pennae" is a number, picturized on the protagonist, on the run and has strong lighting and dusty tone throughout.

R.Panneerselvam, excited and enthralled us with his previous 'Renigunta' because of the unique stunt scenes and the exciting chase. But here, though the idea and concept was novel and unique, the direction and scripting lets us down big time, due to the bad handling of the director. Except for the lead protagonist, the rest of the cast members have poorly conceived and etched characters, which makes them look like caricatures. There is no cohesion and proper flow in the screen play. Though the songs were nice, they are wrongly placed and makes the screenplay to lag in pace. As the film progresses, boredom sets in with the viewers having no idea of where the film is progressing. Many questions go unanswered and characters go missing for no obvious reasons.

'18 Vayasu' is a tedious affair, with slow and lazy screenplay and a bad direction. After watching this, the viewers would definitely wonder, "Is this film from the same guy who directed 'Renigunta' ?"


Ratings: 2/5 STARS

BY:TAMIL

ATTAKATHI MOVIE REVIEW

This film initially made news for the unique posters created by the makers. The curiosity increased several folds once critically acclaimed directors such as Vetrimaran, Thiagaraja Kumararaja, Chimbudevan, Venkat Prabhu and Pandiraj endorsed it. Directed by Pa.Ranjith, a former associate of Venkat Prabhu, Studio Green purchased the distributing rights and through good promotional activities, 'Attakathi' received the right attention it wanted. The promo trailers and songs captured the imagination of the youth audience and promised something casual but different.

Half the battle of winning the approval of the audience and critics is won, if you have the perfect casting and Pa.Ranjith scores very well in this department. Most of the cast are newcomers and obviously the film belongs to the protagonist Dinesh, who has done a remarkable job. Having a theater background and experience acting in small roles in films such as 'Aadukalam' and 'Mouna Guru', Dinesh has done really well considering the fact that he is not accustomed to the lifestyle of the character he played, yet performed very naturally. His transition from a higher secondary school boy, to 'Route Thala' was well captured and depicted. His dialogue delivery too was very well done. Kudos to him ! There are many girls in the film and it takes some time to understand who is the actual heroine. Nandhitha who eventually dons the heroine's role looks very homely and cute, especially in her school uniform attire. Besides, her we have Sofia, Shalini and Aishwarya, who did what was required for their role. The rest of the cast has no known artistes, and this makes the film look very fresh and natural.

The film carries very good technical work. First and foremost, R.S Raja, should be appreciated for the stills which were the attention-grabber, pre-release. Dilip Subbarayan has choreographed very natural fight sequences. The body language of those performing the stunts were casual and realistic, with the kicks and punches, captured well with the camera. Most of the stunt scenes takes place in the latter half, once the hero has positioned himself as 'Route Thala'. Ramalingam, the art director has done a simple yet effective work in the art department. The setting is quite tricky because, the plot revolves around the beginning of the 21st century and centered around a semi-rural, semi-urban surroundings. Though actual locations helped a lot in projecting the correct setting, his props such as posters and household items were realistic touch. Leo John Paul would have had a tough time in the editing department, because the whole movie is a light-hearted one and filled with humorous scenes. So the editing, needs to be carefully done in order to avoid tedious and slow pace. His work in the songs was good. Cinematography was natural and earthy, thanks to P.K Varma's natural lighting and with the assistance of RED Pro 5.0, his camerawork was solid, especially in night sequences and the late evenings, where he captures the soft and warm, earthy dew moments.

A major highlight and USP of the film is the music by Santhosh Narayanan. In tune with the mood of the film, the songs too were light-hearted and mastered crystal clearly by Leon Zervos, a multiple Grammy and BAFTA awards winning sound engineer. The pick of the lot from the Blues-genre songs was "Aasai Oar Pulveli". A warm and breezy song, it was shot with montages and wonderful lighting, capturing lovely evening moments of the lead pair in colleges and their surroundings. "Aadi Pona Aavani", a song which got popular due to its singer 'Gaana' Bala is the other best one from the album. Picturized mostly inside the bus, the lead artist performed and emoted very well for the song, making it look very natural and lively. "Adi Yen Gana Mayil" is a pathos song, shot humorously at a real funeral house, which involves funny dancing by the protagonist. "Podi Vecha" is also shot with montages and involves lots of chasing and fights, which highlights the rise of the protagonist as a 'Route Thala'. "Nadukadalule" is another funny and quirky song, shot at night which was picturized having the protagonist singing, and surrounded by his friends and family. The lighting was very apt for the song and captured the mood perfectly. "Vazhi Parthirunthen" is a situational song, which comes with the flow of the song, showing the pain of the protagonist waiting anxiously for his girl. Santhosh has done quite well in the background score too but he must avoid inserting music during dialogue portions as well, cause it is a unnecessarily deviates our attention.

Pa.Ranjith has crafted a simple and natural film, which does not deal with any serious issues. He has captured the life and times of the youths who are from the semi-rural, semi-urban area very well and depicted what were their activities and mentality, which will be an eye-opener for those who are not accustomed to those areas where the people belong to the lower-middle class category. The film has plenty of light-hearted, humorous scenes laced with casual and natural dialogues. The film slows down in pace in the second half and a minor turn-off for those who would want to watch serious cinema is that, the film has no solid story to tell ! We are just taken into a journey of the protagonist, who keeps on falling in love even after failures over failures. The climax has a small shock for the viewers, which takes us back a little. Having a background in drawing comics, Pa.Ranjith was able to visualize his scenes properly and at the same time, keeping them crisp and short. Besides that, he has done the role of the narrator of the plot as well.

In short, 'Attakathi' is recommended for those who would want to watch something ligh-hearted but at the same time, fresh and natural. The sweet and charming moments in the film will compensate for the lack of a serious story and the slow paced second half. Thumbs up for the first-timers !


Ratings: 2.5/5 STARS

BY:TAMIL

NAAN MOVIE REVIEW

Vijay Antony made everyone sit up and notice, literally, when the announcement came that he is going to produce a film. But it was a bigger surprise, when he decided to cast himself as the protagonist. Many asked and wondered, why the necessity for him to plunge into production and acting when he is doing successful as a music director. Well, Vijay Antony is a brave man and a little sensible one, when he decided to collaborate with his ex-college mate Sankar, now known as Jeeva Sankar, a former associate of late cinematographer Jeeva. When friends come together, a good outcome is expected, especially when the friends are talented. So, does 'Naan' delivered the promises it made, of being a good film with interesting twists, during the promotions?

The cast is relatively small and simple. Vijay Antony takes the protagonist role, which suits him to T. But the problem is, he needs to improve drastically if he wants to continue acting. He has done an average job, but there was not much variations in expressions and dialogue delivery and most of the time, his performance was very monotonous. There are scenes which gives him good scope to perform, which Vijay Antony fails to capitalize. His look and physique, do match the character etched out, by the director, but you need solid performance, if you want to make a good film and that too, a thriller. Sidharth Venugopal, makes a comeback in this film, after his outing in 'Aanandha Thaandavam'. He is uber cool and composed with his performance. He too, suits the character very well and his presence makes the film to take a little colorful and cheery look. Rupa Manjari takes the best role among the girls in the film. She looks good, fresh and performs smoothly, especially with her dialogue delivery. Anuya Bhagvath and Vibha Natarajan, has nothing much to do, rather than appear in questionable roles. Vijay Victor, Krishnamurthy and others fills up the other characters in the film.

The film carries simple and neat technical work. Editing by Suriya was very neat, especially with the montage sequences in the songs. Vithiesh, the art director has minimal work, but excels in it. The interiors of the house setting is an example, be it the posh bungalow house or even a small cramped, middle-class house. Rajasekar's stunts were very natural, which involves struggles and pushing/shoving. Kudos to him ! Sound designing by R.Janarthanan and Sakthivel should be appreciated as well, especially for the climax scene. Jeeva Sankar takes care of the cinematography, and one look at some scenes, and you are instantly reminded of Jeeva. With bluish color palette and soft-lighting, the film carries a dark and subtle look throughout and nothing was too colorful or blaring, in nature. His well composed camera movements, needs to be appreciated too. Vijay Antony takes care of the music, and as usual, he has delivered some peppy numbers. The pick of the lot will definitely be "Makayala". The club number was well shot and edited with good dance movements by Shobi. The lighting and color tone, created the perfect ambiance for the song. The other three songs, "Ulaginil Miga", "Thappellam", "Dhinam Dhinam" are all montage sequences. The first being shot in juvenile home, showcasing the upbringing of the protagonist. The second song involves about the impersonation moves made by the protagonist and the final song involves about the predicaments of a few characters. His background score too, is pretty good, and follows the mood and flow of the script.

Jeeva Sankar has come up with an interesting and a good idea of an intelligent thriller script, which has some shades of popular Hollywood films such as, 'The Talented Mr.Ripley' and 'Taking Lives'. The story is interesting and suspense factor was really taken care of. Some intelligence is evident in the screenplay by Jeeva Sankar but the biggest drawback, is the loopholes left out unplugged and few questions which goes unanswered, leaving the audience with the question of, "Is there a sequel to this ?", hanging in the balance. As some intelligence is seen in the screenplay, so does some flaws and glitches in the narration. Also, the director has taken the liberty of finishing of few questions, abruptly without letting the script to end organically. A sequel is possible and within the same setting, but it is upon the directors' discretion to come up with one. Along with Neelan K. Sekar, Jeeva Sankar has come up with simple and crisp dialogues, which suits such thriller films.

'Naan' is a bold attempt by Vijay Antony and deserves a pat for backing a good project. But this could have been a much better affair if Vijay Antony had gone for some acting classes before and if Jeeva Sankar has had polished the script, by closing all the holes in it. 'Naan' - not so great, but not so bad, either.


Ratings: 2.5/5 STARS

BY:TAMIL

EPPADI MANASUKKUL VANTHAI MOVIE REVIEW

'Eppadi Manasukkul Vanthai' is a film long in the process which marks the next directorial venture of the "Naaka Mukka" director P.V Prasath. 'Kadhalil Vizhunthen' attained great media coverage for its chartbuster songs and also for the dark thriller aspect. With a totally fresh cast and crew, P.V Prasath treads the same path with another dark thriller this time, as well.

As mentioned earlier, the acting cast is entirely fresh and new. Vishwa makes his debut as a hero through this film. With good height and decent physique, he should have capitalized on his plus points. His dancing is okay and dialogue delivery is not too bad but his expressions and emoting skills need to be improved vastly, if he intends to pursue a career in this acting field. His character loses the depth and emotional connectivity it needed, due to his lack of emoting talent. Tanvi Vyas, a former Miss India Earth, makes her debut too. A pretty face was required and she pretty much fits the bill. With standard expressions and scope of performance in this film, she has to work with better directors if she wants to improve her acting capability. Irfan, the television personality, Ravi Kale, Mahendran, Satish and others makes up for the rest of the cast.

Technical wise, this film carries some good and decent work. 'Supreme' Sundar's stunt sequences are well choreographed, especially, the one shot in a half-built building, at night. Veteran V.T Vijayan's editing is flawless, compact and concise. Paulraj, the art director has done a decent job with the art department, especially with the interiors of the heroine's posh apartment, keeping in mind with the fashion designing background of the heroine's character. S.D Vijay Milton has done a very well in the cinematography department. His long shot, camera movement, angles and color tone used for scenes were very apt. Especially in the songs and night sequences, he captures the moment and intensity very well with his camera. A.J Daniel, the music director is also a newcomer. A former assistant to Harris Jeyaraj, he has delivered good songs in this film. Funnily, the film director has structured the format and song pattern, resembling the same situation and mood as his previous film ! "Oorakaali" is a typical loud and abrasive dance song, with quirky movements from Sridhar and some interesting camera movements and lighting from Vijay Milton, shot in warehouse, streets and dhobi ghat areas. The pick of the album is certainly the "Oru Paarvaiyile" number. A melody rendered by Harish Raghavendra, it was shot in montage sequences with some dance movements in between, set in Bangalore. "Eppadi Manasukkul Vanthai" song comes in a bit-song format. "Yen Kadhal" is another hummable song, sung by Karthik. Again, Vijay Milton uses fine camera movements and breezy color tone throughout the song, with minimal and subtle artwork by Paulraj, with couple of montage sequences. "Kannakuzhi Azhagi" is another dance routine number, picturized on open-top bus and the college areas, featuring the hero dancing in unique dance movements. "Uyire" is another bit-song, picturized with the heroine against the heroine and finally "Muthangal" song is shot in the apartment set with very romantic mood and lighting created by S.D Vijay Milton and Paulraj's art work enhances the feel-good look of the song.

As mentioned earlier, P.V Prasath has gone for a similar dark theme as with his debut venture. This time it has couple of interesting twists and knots. The problem with the script is that, it has gaping holes in the plot and a unnecessarily long drawn-out climax. Questionable circumstances are aplenty in the film and the performance of the lead artistes are not engaging or powerful enough, but it is watchable to certain extent, due to the interesting twists, here and there. Surprisingly, S.D Vijay Milton handles the dialogues as well and he has done a good job with it, as the dialogues are sharp and crisp. Also, the songs are eerily similar in structure with his previous film, with same situations and mood. His casting is not so strong as well, because with a better cast, especially for the lead pair roles, the performance would have lessened the damage of the weak script.

P.V Prasath, came up with a interesting idea but his loophole-filled scripting work and weak performances of lead artistes brought down the film, which has good technical values.


Ratings: 2/5 STARS

BY:TAMIL