Puli Movie Review

*** This is a repost from my review on Bollyspice.com with minor changes***

As a renowned nation for mythology, kingdoms in faraway lands and fables in general, the big screen is seldom kind to the filmmakers who venture down this magical path and stand as pillars in history to rewrite that sentiment. But taking away the money bags, the bottom line shows that we love these stories. They fascinate us to no end. If they are told right… Puli is not competition to rewrite history but another venture to exploit the interest Chimbu Deven tapped into at the start of his career in 2006. How one wishes he didn’t.

You see, Puli is neither mythical nor does it have magical lure. There’s magic. In Natarajan “Natty” Subramanian’s camerawork that make you appreciate his skill of capturing a figment land of Chimbu Deven’s imagination. There is magic in T. Muthuraj’s production design. Makuta VFX listed on the crew was a selling point for me since they have been having praises flooding with each release. You appreciate their efforts and in the same breath wonder why. Why Chimbu Deven could not keep his end of the bargain up. The director who has made a career of refreshingly new stories and screenplays in the South has lost out as Chimbu Deven, the writer made a royal mess of the screenplay. The technical team and the cast could be giving the performance of their lifetime but it wouldn’t make up for the gaping holes and tacky writing. Even if you take the subject audience to be the kiddies, there is a good portion of the pre-interval that is just inappropriate for them as well. Result? Bheja Fry. And that is something that continues throughout the film. Devi Sri Prasad may need to re-jig his music mojo as the album/BGM is passable and that’s a lot less than what you can expect from the usually dependable music director. Yendi Yendi lingers long enough to score a spot on a repeat playlist. Jingaliya and Mannavane will work for a while but are like most drum heavy tracks.

In relation to the actors,“Ilaya Thalabathy” Vijay as he is fondly known should be applauded for the choice of role but all you feel is pity. He tries to make each scene count and fails miserably. The Queen even before Puli, the Sri the Devi the Ji (Thanks to Salman Khan for coining the phrase) has always been exotic but she brings on a new kind of hypnosis and radiates elegance. Kiccha Sudeep transforms every time you see him on screen. His smouldering sinister side just doesn’t get enough meat to nibble, let alone chew. The lovely ladies Shruti Haasan and Hansika Motwani have one portion of the film and 2 songs each with Vijay. They were definitely not expected to act with gusto but beautiful they both are. Nandita Swetha has 2 scenes and 1 line so I don’t know if that counts as a cameo. Thambi Ramaiah, Sathyan, Vidyullekha Raman, Prabhu Ganesan, “Aadukalam” Naren, Vadivukkarasi and lots more are in the cast. Yet there is little for them to do.

If you are looking for the story, you already know it. It’s LOTR, Prince of Egypt, The Hobbit, Gulliver’s Travels and etc. mixed in with a few badly made martial arts films. The repetitive isn’t going to bother you as much as being bored to death. And then being told there is another 2 hours to go.

Chimbu Deven’s Puli has less roar than a day old cub with pneumonia and no cuteness to substitute.

Rating: 1/5 
P.S. There was no mention of logic or Box office capability for this film on purpose.

Mayakkam Enna - My Take on The Film

The best way for me to describe my understanding of Mayakkam Enna doesn't come from explaining the story or the acting. It comes from the reaction of one character in the film. She plays the protagonist, Karthik's (Dhanush) sister Ramya. You will see at varying points the inclusion of his friends and their reaction to the events but this particular character is what determined this writer's understanding of the story and along with it, a simple message.

The life and struggle of a wild life photographer maybe the main point in the story but this character shows you that there is never one constant state of mind for people in your life. There is always going to be change. It maybe intensely displayed or just subtle. For cinematic purposes, Ramya, alongwith the other characters have a rather extreme change and reaction to everything. From when Sundar (Sundar Ramu) introduces Yamini (Richa) and Karthik reacts badly to when he returns after running away because of an intimate encounter to the same Yamini he developed feelings for. 

But life is not always about the love stories in our life and it most certainly isn't all roses. Besides being robbed of a prestigious award and recognition from the man he called his idol, Mathesh Krishnaswamy (Ravi Prasad), Karthik meets with an accident and loses the control most people would have of their emotions. Yes, I know its depicted like he is crazy but considering the so-called 'transformation' he goes through, its can be accepted if only in a loose format. After all, desperation and devastation can change any human being to a speck of their former self.  Coming back to the point, people are bound to change with situations. And Ramya once again changes from the sister who was so scared and pissed off at her brother for leaving her to one that makes subtle yet sharp comments at her by then sister-in-law Yamini. Even to the point when she in a fit of rage says that he should be institutionalised. If this isnt enough, her jealous streak comes out as well when the same brother receives a world renowned award, a much bigger achievement that of her husband, Sundar.

 

 So what's the message? Life is life. Challenging, beautiful, turbulent and unpredictable. So there is no point in thinking people will always be the same. Those that stick it out for a length of time arent surviving because they are the same person. Its because they work at themselves and through it all. The good, the bad, the ugly. Yamini and Karthik may be fictional characters but they go through turbulences that any married couple would go through. Some more severe than others.

But hey, this writer saw the life lesson in a film some may have thought was too long. Yes it needed a few snips here and there even while you enjoyed the picturesque-ness [Ramji], inebriating music [G.V.Prakash Kumar] and soul-stirring performances by the lead cast, but at the end of the day, Mayakkam Enna isn't anything different from Selvaraghavan's filmogrpahy. He doesn't follow trends and you can never guess what type of film you will expect when the mastermind is at the helm of things. He does things his own way and nothing quite prepares you for Selvaraghavan's films beyond knowing what he did before. Very little frills or splashes in the water but a whole lot of emotionally charged story-telling. That is the case with Mayakkam Enna, and as usual, brilliance is the current that works his magical waves.

Viswaroopam Review

Being a Kamal Hassan film, Viswaroopam had interests invested in it way before the filming started. The knack that Kamal Hassan has at bringing something new to the industry through film was evident again so while I am one of those that loves a good commercial film, Viswaroopam clearly was nothing of the sort. With Rajkamal International coming back to produce this Kamal Hassan written and directed feature, the film is as action packed and suspenseful as the trailer led us to believe.

The movie opens with Dr Nirupama (Pooja Kumar) talking to her psychiatrist about her husband Vishwanath aka Wiz (Kamal Hassan). Married to him out of the convenience he was a green card holder in the US, she overlooked his age and other issues but when it came to the point when she finds the right person that she feels for, she wanted to be sure she wasn't the only one doing the dirty deed. Now, the psychiatrist is confused and so are we. After all, domestics are common and rationalizing an affair is what most unhappy partners do. That is till Kamal Hassan makes his entrance. Then everything sinks in. His age, his behaviour and his manner that makes you think his preference lies elsewhere. Nirupama advises her doctor, and us, she hired a private investigator to do the digging and he becomes our main story follow character. But what seems like a domestic issue between 2 individuals that are bound by marriage, turns into much more when the private investigator loses his target but ends up getting killed on his pursuit a secretive group of men seeming to be working for a disabled man named Omar (Rahul Bose). Why was he killed? Who is Omar? And how this all links back to Wiz? Is something that must be seen to be understood.

The normal format I take in a review consists of discussing a bit about the performance of each character then moving onto the crew. But with Kamal Hassan at the helm, one can't really find words that haven't been said before. As Wiz, he cannot be seen as anything more than what he shows you but the catch is how much more he actually is. Not once has he overdone his role. Pooja Kumar who plays his wife may not have been around for a long time but there is nothing short on her skill. It would not be fair to say she provides the comic relief in the film since it’s the dialogue is what gives you the giggles. Andreah Jeremiah makes a beautiful entrance as a Kathak dancer Ashmita in Kamal’s class but as the story unfolds, a hidden extra kick in attitude comes up her character. Shekhar Kapur follows suit but next the main man Kamal Hassan, its Rahul Bose that stand out the biggest for obvious reasons. The stern, sinister and calculative exterior is only enhanced by prosthetic makeup. Yet you will be farfetched to find another actor that shines as much under all the restrictions. Jaideep Alhawat downplays the second in charge well while still retaining his own identity in the film. Samrat Chakrabarti is apt.

From here, we move on to the technical side of things. Honestly speaking, there is very little that is to be said about the technical side of the film. The reason? Sheer brilliance. Right from the cinematography (Sanu Varghese) to music/background score (Shankar-Ehsaan-Loy). The way the team has come together and become the backbone support to the mastermind behind the camera is something definitely worth watching and I personally, would love to see again. Each aspect is crisp clear and balances the film. Editing by Mahesh Narayanan is only person that could have used his craft a little better. With a story teller like Kamal at the helm, we mustn’t forget that the proceedings need to be taught as well as captivating. The trailer showed that there is more than meets the eye for this film and its characters and that's what Kamal delivers. The sensibility and detailing he has as an actor is common knowledge and Viswaroopam he brings it to the fore as a writer and director once again after his 2004 critical and commercial hit Virumaandi. An example can be seen in the pigeons that are seen in the posters. Another seen-to-be-believed act of brilliance by the legend.

It would be juvenile to say Viswaroopam is not without flaws. However, what unfolds in front of your eyes stays with you longer than the editing that needs a little work. Some may even complain of repetition with a few scenes. In defence though, one would not have figured out the proceedings without them. One thing can be said, this feature is not for mindless movie lovers. You need to use your brain a little. Yet, this is not a setback for some to dismiss it as a little boring in parts. Viswaroopam can be commended for many things as even beyond the controversy that surrounds it with the content, you can be safe in saying that you have watched a film that is both up to date in content but in technical brilliance. While some may say this is an Indian version of Mission Impossible, this writer would prefer to step away from comparisons since the story has not been handled with such maturity and sophistication before in her lifetime.

Even as this reviewer finishes with a big thumbs up for the suspense action flick from the Maverick that is Kamal Hassan, the only thing that leaves a feeling of disappointment after watching Viswaroopam is the delay, and subsequent anticipation, for the release of Part 2.

Rating: 4/5

Vedi Review

Sometimes not expecting anything maybe the biggest plus point. In the case of Vedi, regardless of the track record from the cast/crew, its best not expect anything. Reason? The original film that this is remaking, Souryam. With all due respect to the original makers, Souryam wasn't exactly breathtaking. Yes, Vishal has garnered quite a few compliments from his successful Avan Ivan and Prabhudheva is shining strong with his remakes. But this doesn't mean they cant make a wrong move. So here's the gist of it.

Balu [Vishal] is appointed the new Phys.Ed teacher in the college Aishwarya [Poonam Kaur] studies at in Kolkatta and is told to meet her for a room to rent. However, her house is already rented out so she tells him to meet Paaru [Sameera Reddy]. After the usual song intro [with DSP doing a cameo] and some mildly entertaining mishaps, Paru is in love with Balu and we find out there is a bunch of goons searching for him. Beyond the obvious factors of no past , Balu's unusual emotional outbursts towards Aishwarya and any problems she has lead to a few questions. Who is Balu and what does a group of goons want him for? With the usual swashbuckling fighting frenzy and punchlines galore, we have the rest of the story.

Stepping back into commercialville, we have Vishal and in all honesty, this may not have been the best option for him. Remakes maybe on the order but not all of them are sure shot hits. In this case, all that expectation and admiration Vishal collected with Avan Ivan may have dampened the newborn fans' hope of some amazing acting. But that's not to say he didn't entertain. Sameera Reddy has finally had that commercial fun character that those in the Telugu FI have seen before. She is fun and out there, a complete contrast from her previous down played and somewhat realistic roles. Poonam Kaur is reprising a role she played in the Telugu original but there is very little reason given as to why as she disappoints in her limited yet crucial role. Shayaji Shinde is very verbal and has a ball playing the baddie with the comic streak but considering this is something he has done many a time in Telugu, there really isn't much to be said. And to say the rest of the cast comes and goes without leaving a mark, wouldn't be far from the truth. Even poor Urvasi couldn't do much in the comical cameo she has.

From the technical aspect, Prabhudheva is not in his element. Yes, he makes you laugh at times, but you neither feel the emotion nor have zest for the action. Yes, his material didn't leave for him to shine, but isn't that where directors differ from each other? Regardless of the story, they make a mark and show even an retold story can be enjoyable? Given Prabhudheva's success remakes, this hardly seems a viable reason to not show his technique. R.D. Rajashekar's camera is just about okay with V.T.Vijayan's editing requiring more diligence.

However, surprise surprise, Vijay Antony makes the music as a plus point the failed-to-please film, with Enna Achu and Ippadi Mazhai humming pleasantly and Bombay Ponnu dance-worthy (although condolences are in order for the lyricist Thamarai). Kadhalikka Pen Oruthi has the typical Vijay Antony touch but Andreah's vocal save it somewhat. 

Just like it was fun to watch Devi Sri Prasad groove on the screen, cameos and comic scenes may be ok for an one time watch but they are not enough to make one see the film again and they sure as hell dont make up for the rest of the film.

Rating: 1.5/5

7aam Arivu Review

Before we begin this review, lets take a look at one aspect of this film. The concept of Bodhidharma, a Buddhist monk dated in existence in the 5th/6th century does have some inconsistency. Some scholars note he was a Prince from the Pallava dynasty while others say he was from a Brahmin family with only a possibility of a royal bloodline. But there are two things they all confirm. One, he was one of the forefathers of martial arts and meditation. And two, he was a Tamil man from Kanchipuram Tamil Nadu. Now the scholars that quote details of his origination aren't exactly available so much like the origination of Zen, there is little factual evidence to prove this barring the temples and scriptures that are present even today. 7aam Arivu is based on these and the best way to watch the film is with the notion this is supposed to be an entertaining film, not a documentary on actual facts and events. So here we go.

The film begins with in 6th century Tamil Nadu and narrates the legend of Bodhidharma as a form of setting the back story straight. History lesson over, we fast forward to today and a plan against India devised by China is being actioned with our bad guy, a Chinese agent named Dong Lee [John Tri Nguyen]. His target? A geneticist [not a scientist] named Subha Srinivasan [Shruti Haasan]. How her research on genetic engineering and genetic memory ties the descendant of the 6th century patriarch, a circus artist named Aravind into Dong Lee's line of fire forms the crux of this conspiracy-sci-fi-action caper. There is little bit of love, history and loads martial arts along the way so its does behave like a masalafied version but the premise is something you wouldn't have seen before.

Due credit must be given to A.R.Murugadoss as a writer as he has gone to great lengths to research and insert the ideas of genetic memory stimulation, Tamil history and high level conspiracy for the common man to understand. Murugadoss' choice of Surya in the lead role works for the film as the actor dazzles once again. Even though Bodhidharman makes a bigger impression, the playful Aravind is good as well and the extent the actor has gone to for the characters is plain for all to see. Shruti Haasan is marking her debut in Tamil with this film and makes an honest effort to play it well. While there are a few things she needs to improve, as a newcomer she does well in a meaty role and isn't playing a ditsy college goer. In fact, there are moments where she is the brains of the outfit and Suriya the brawn, a nice change from the usual. John Tri Nguyen has played the bad guy before but he fits the bill with his sinister hypnotism act well and his background in martial arts is also evident. Its been a while since the bad guy had equal or even more screen time. Abhinaya is hardly there, Illavarasu has two scenes and Pakru plus the circus gang get lost when the story shifts gears.

Technically enriching, Ezhaam Arivu boasts of a particularly credible crew. Ravi K Chandran behind the camera works magic right from the first shot. He depicts the surroundings with style but nothing too OTT. Anthony at the editing board makes the film flow neatly. Special mentions need to be made for the action director, Peter Hein and art director, Rajeevan. Both have put in a lot of effort and it is evident on screen. The SFX plays a big part in the film to depict the fictional past and the action packed present. As a team, each member has taken forward their craft and as captain of the ship, A.R.Murugadoss gets the best out of them.

Yet Ezhaam Arivu is not without its shortfalls. As much as Subha and her research are given importance, the is no reason or purpose for Aravind to be in the circus. Nor is there enough screen time to show his antics. While the light moments cause a few giggles, the first half spends a lot of time on a 2 dimensional love story that really doesn't have enough merit to it, regardless of the effort put in by the actors. The holes in the conspiracy are gaping wide and the 1980's dialogue mouthed by the Chinese characters don't help. An odd fact since its the same Murugadoss who wrote the dialogue that makes sparks fly when speaking about Tamil culture.  It is nice to see he has tried to bring to attention the pressing issue of knowing your heritage and the culture behind it in amongst the story. [This is something which this writer believes is relevant to  all cultures, not just Tamils, but that is a separate issue.] However, it deviates from the entertainment factor which the director himself has requested for. Maybe the patriotism side of the viewer is the target but the emotion is not always consistent enough to pull it through. The pre-climax drama also seems way too far-fetched to be believable and the decision to do the experiment is definitely dipped in masala mayhem sauce. Cinematic liberties are part and parcel for filmmaking but this isn't something you would expect after the history lesson you get in the beginning. And finally, the music. Harris Jeyaraj is indeed extremely talented, but the fact that more than one song seems like a spin-off of a track from his own discography is not a nice feeling. The positioning of the songs should have been rethought since they act as additional speed breakers for a slow first half.

So the final verdict on what has to be one of the most anticipated and biggest films in Surya's career is watch it for John, the SFX and Suriya. Try not to think about the logic behind it all.

Rating: 3/5

Dheiva Thiru Magal Review

Sometimes the fact a film is based on another, or "inspired" doesn't make a difference to the outcome whether good or bad. This maybe due to the adaptation or acting. In one way, Nayagan, a "Godfather" based film is one such film where the outcome was amazingly good. With Dheiva Thiru Magal, there is no denying the film is based on I am Sam, a film that saw Sean Penn and Michelle Pfeiffer in lead roles. However, the request of this writer is when you read this and watch the film, do not draw comparison. So with that lets jump in.

The movie begins at night on the highway to Chennai. A figure [Vikram] emerges from the car that slows down to a stop. But as the car drives off, he panics. As he screams Nila, Nila and collapses on the ground, the car drives off. The dawn sees the figure wandering the streets lost. While its obvious to those he meets that he is not of the same mental capacity as them, none want to help. All that is known is his name is Krishna and he wants Nila. At this point enters Anuradha [Anushka], a lawyer looking for a chance to prove her skill and aspires to become an assistant to leading lawyer, Bashyam [Nasseer]. Along with her associate Vinod [Santhanam], the two unknowingly stumble across this lost soul but like the others, run away without helping. But when Krishna gets hurt becuase of them, Anuradha feels responsible. She begins to learn who the mentally challenged Krishna is and about Nila [Sarah], his daughter who has been taken away. Determined to set right her wrong and reunite the father and daughter, Anuradha will face more challenges than she expects. Not only in the form of going head to head against Nila's grandfather, Rajendran [Sachin Khedekar], a business magnet that runs several school throughout the state but also in the courtroom, against her idol, Bashyam himself. Will she be able to keep her promise? Will the bond between this father and daughter be strong enough against the law?

Rarely do you see an actor that goes so far with his acting that you lose all capability to describe what the experience is like. Kamal Haasan is one actor that is hard to pin to words and now, it would seem Vikram is not far behind. As an actor, he has poured his heart, soul and voice into this character. Rarely a moment he seems over the top, he blends in perfectly. But even he has major competition in the form of the little starlet of the film, Sarah. To say this girl is cute is an understatement. But what is more endearing about Sarah is she is natural with her part, without a word out of sync or an emotion out of place. For a child that doesn't know Tamil, this is surely a big challenge but she just takes it into her stride. Anushka has stepped away from her usual glamdoll role and is elegant yet funny as Anuradha. Her quirkiness during the initial court scenes and subtle emotions with her onscreen father Y.G. Mahendran score her extra brownie points. Amala Paul plays an important role and does it well but does not have the same screen time. Sachin Khedekar is stern and powerful while Nasseer adds another face to his showcase with the sly and proud Bashyam. Santhanam does make an entry as the main funny man but soon becomes loyal friend. M.S.Bhaskar and his false teeth are much like him although he has a slight negative shade that can be seen as a reflection of society and their perception. Karthik Kumar, Surekha Vani and Pandi have small roles but are ok in.

On the technical front, one cannot complain about Nirav Shah's work since he has a consistency that is evident in Dheiva Thirumagal as well. Each shot is specially crafted to enhance the locales and Antony's editing makes the sequences smooth and crisp. G.V.Prakash has a special touch to his musical scores for films with Vijay and continues this with Vizhigalil, Vennilave and Aariro tingling the ears ever so sweetly. But behind them lies director Vijay. More than looking at what he has said with Deiva Thiru Magal, he makes you look at how he has said it. The act of having someone with the mental capacity of a 6 year old isn't easy. The key is making the audience understand Vikram's character is not stupid. Only that he takes time to understand simple tasks but they are understood with clarity if explained properly.  In the hands of a lesser actor or writer, this could have gone hideously south. Yet even with Vijay pulling the right heart strings with Vikram and Sara's performance, this isn't a perfectly crafted film.

Yes it is a well adapted film and the cast are a major plus point to the film but the slow motions and soft voiceovers can get a bit much. The proceedings take their time to get stuck into things and often drag out even then. Also, the factor of hiding a plaintiff because of his condition even though they believe he is capable, seems like the logic factor isn't one to take seriously. The Anushka-Vikram love track that was alluded to may have been beautiful to look at but really wasn't developed enough to warrant and disappears just as quickly. Especially since as you walk out of the theatre hall, possibly throwing a few wet tissues, the performance and chemistry between this father-daughter is what remains and is supposed to.

 

Rating: 3.5/5  

Mankatha Review

Where do you begin with Mankatha? From the word go, Venkat Prabhu's directorial ventures have quite a buzz about them so its hard to keep the expectations at bay. Starting with his first Chennai 600028. So ridiculously successful was the audio release, apparently there was requests/pleading from fans to release the film after the exam period. Considering it was from their target audience, request were heeded to and the rest is history. Then came Saroja which met with similar success as well as Goa with Soundarya Rajnikanth stepping into the producer seat. Now the mother of them all, Mankatha, hits screens with some of the biggest actors Venkat has worked with on board. But does all the expectation of Ajith's 50th film, an all star cast, Yuvan's music and a Venkat Prabhu game tag result in a good film? Read on to find out.

There is not much reason to writing a synopsis since the gist of it can be seen in the trailer but just to recap. Sumanth [Vaibhav], Mahat [Mahat Raghavendra], Prem [Prem G Amaren] and Ganesh [Ashwin Kakumanu] plan to heist cricket betting money worth 500 crore in transit when Vinayak Mahadevan [Ajith], a suspended police officer comes into the picture. Intelligent and with his own agenda, there is more to Vinayak than these boys know. However, where there is a crime to be commited, there has to be a hero to stop it. Enter Prithviraj [Arjun], ACP assigned with a special task force to bring down not only the robbery but the whole illegal betting system. Game set and all is falling to plan yet no one will be prepared for the game thats about to begin as the rules have changed without them knowing. The double crosser is about to be double crossed. Who remains and who comes on top forms the crux.

With all due respect, its about time Ajith had done this kind of film and this kind of role. Yes he has done, and very well might I add, negative shaded characters before but this is his first through and through bad guy role and boy does he nail it. He has made some really bad choices in the past but thanks to Venkat's writing and Ajith's acting, none of them come to mind at all. Simply put, Ajith is back and thank god for that! Out with the good guy hero image and in with the bad man, Vinayak is ridiculously cool and stylish. The actor had the time of his life playing Vinayak and its visible. In fact, his counter character Prithviraj played by Arjun who plays the cop role for the umpteenth time, struggles to get the attention of the audience. But he does the role given to him well. Vaibhav gets the meatiest role out of the four friends and plays it to the T. Ashwin Kakumanu is back with a bigger role compared to his last film Nadunissi Naaygal and is believable to a point. Prem G is relagated to funny man once again but doesn't really have a catch phrase this time. Thankfully his "Enna Kodumai Sir Ithu" was used only once through the film. While some may say his mimic act is boring, its become his trademark so its ok. Mahat tries to make an impression for his first credited role but has a long way to go. Now to the ladies. Sorry Andreah, Laxmi Rai, Trisha and Anjali, this one is definitely for the boys.Andreah takes the cake on believable acting, although only briefly. Trisha doesn't really do anything although dubbing for herself does scores her a few brownie points but even then, Anjali is a step ahead of her just slightly. In honesty, you sympathize with these 3 ladies for approximately 5 minutes which is about the same timeframe they are on screen barring their songs. Laxmi Rai is a beautiful lady but she needs to work on her acting and that too in major proportion. Jayaprakash downplays his smuggler act well and doesn't allow his previous stints on the dark side show this time either. The rest flow through.

Ok so stepping back to technicalities, we head to the music department first. Yet again, another round of banging music by Yuvan Shankar Raja and the charts are there to prove it. At the same time, the songs that stand out are Vilaiyaadu Mankatha, Ithu Namma Ballelaka and Nee Naan. However, it cant be said that this is Yuvan's best work. Cinematography by Sakthi Saravanan is passable and editing by Praveen K. L. & N. B. Srikanth could have been a little crisper. But the writing is to blame for any lack of performance here and that is in the hands of director Venkat Prabhu. While this kind of robbery flick from a negative character's point of view hasn't been seen before in Tamil and Venkat should be applauded for his attempt, there is no denying it could have been better. 

First off, we have the misfortune of pretty much every character getting overshadowed by Ajith, with the ladies taking the biggest blow. As remarkable and deserving of praise as his performance is, the focus can be a little overbearing and long winded. Plus you have to think, are the 4 boys, and everyone else for that matter, that easy to manipulate. Understandably, they are not supposed to be as smart as our man Ajith but at some points, it would have been better had they not seemed so stupid or gullible. On top of this, some of the scenes are just a little too long. Keeping the audience on the edge of their seat is vital to suspence flicks. If the scenes dragged out to one point, the songs pitched in on the speed breakers too. Vaada Bin Laada could have had better placing, forgetting that the picturisation/choreography was questionable. Yet it doesn't all head down hill in the second half. Whatever speed was held back through the songs, is picked up with the climax. By the time the film finishes, the out takes begin and you are left in stitches from laughter with the whole team and their fun.

So the final verdict? It may not be a Royal Flush but this one definitely has a Full House and Ajith.

Rating: 4/5

Venghai Review

Its not wise to expect science fiction from a children's book writer so while I was hesitant about what Hari had to offer with Venghai, I put my masala cap on to go with the flow. Plus I was enjoying a few songs from the soundtrack and considering Dhanush is always dependable on a good performance even in masala flicks, I thought why not. Suffice to say I wasn't entirely disappointed. Well, almost.

So with Hari making an open statement that his films are all about having huge families with a village backdrop and showing the human side to the ruffians with sickles, Venghai beings with the intro of the cast, backdrop and most importantly, the three pivotal characters, Veerapandi [Raj Kiran], his son Selvam [Dhanush] and Rajalingam [Prakashraj]. With Veerapandi being the do-gooder of the town and Rajalingam his nemesis whom is struggling to get out from under his thumb although he is the town MLA, Selvam becomes the target in a behind the scene revenge plot. But when Rajalingam is publicly humiliated by Veerapandi, the gloves are off and the war public. His target shifts from son Selvam to Veerapandi himself. How father and son escape from Rajalingam's ploy forms the crux. Oh and Tamannaah adds in the love angle with a bit of a flashback as well.

Seriously speaking, there isn't much point in thinking with this film. It is a typical Hari film from start to finish. Not many changes and a serious case of old wine in new bottle. The sentiments, the flashback, the rivalry, even to the extent of how the rivals challenge each other has been seen before. So while I'm all for the masala format, sometimes churning out the same stories with different faces doesn't work, Hari. Yet I can't say I didn't enjoy it and the main reason is the performance. Especially that of Dhanush and Prakashraj, who are as always top notch. Although some may feel Dhanush doesn't emote extensively, I felt given the circumstances and the character's backdrop, Dhanush goes for a more subdued version of a ruffian with brains. All in all, Dhanush cakewalks through the film and really goes the distance to perform within his boundaries. Tamannaah looks like a village belle and although fine in the first half, becomes repetitive and irritating towards the end. However, her character does go through some random and haphazard emotional changes so this may not be her fault entirely. Raj Kiran is dignified as the father while Urvasi is a little over the top. Prakashraj is really scoring brownie points with the funnies he pulls out even while he is the bad guy and I for one, am loving it. Kanja Karuppu needs new writers for his comedy if he thinks crass jokes with blatant physical humour will get him far. Double meaning dialogues are bad enough but this was a pathetic excuse for comedy. Livingston was ok while Charlie touched the heart [p.s. welcome back Charlie :)]. Y.G.Mahendran is wasted after an outstanding performance in Yuddham Sei.

On the technical front, Vetri's camerawork is fine and editing by V.T. Vijayan could have been a little crisper. But in Vijayan's defence, Hari's screenplay and story didn't offer much in the first place. Devi Sri Prasad's music isn't at its best although Kalangaathale and Enna Solla Pore are definitely enjoyable. Pudikalai has his usual mass touch to it and will surely make it to a few iTunes lists. Action sequences for the film start off interesting however lose momentum quite quickly to become overdone and long-winded. Which leave us to the real culprit, the writing.

Is there a point in questioning the skill or sentiments of a director who makes statement like the one mentioned? Not really. So while the ill-sketched characters, long winded dialogues, repetitive screenplay and general done to dust feel of the story is most apparent, the director made the right choice in actors for the pivotal characters. The three men work their characters to best they can. Certain dialogues do have merit but they are few and far apart. Now, while I do not agree that a director should stick to one way of filmmaking, if he is good at a particular style or his signature works for him, there is little reason for him to change beyond his own desire to. As an audience member for Hari's latest film, I simply request he become more innovative in rehashing his own films.

Rating: 2/5 -Keeping your thinking cap off and far, far away. You might just like it.

Engeyum Kadhal Review

Love stories are perhaps one of the most retold stories in cinematic history. Within TFI, there is a love angle in pretty every story you come across. What's the few that escape this, have a mini-story in the flashback at least. For director Prabhudheva [he's changed his spelling], he has already swooned the Telugu audience with Nuvvanthanante Nenuvoddhantana but he has yet to show his charm to the Tamil audience after making a smashing entry with Pokkirri and Villu. Engeyum Kadhal brings together Hansika Motwani and "Jayam" Ravi Mohan in lead roles supported by Suman and Raju Sundaram with Harris Jeyaraj for music, Anthony for editing and Nirav Shah for cinematography. So what's it about? Read on.

The movie opens with the city of love, Paris. At every corner, at every street, Love is everywhere. No conditions, no restrictions. Just love. While the world sees Paris this way, Kamal [Ravi Mohan] sees it as his getaway place. After slaughtering it out for 11 months of the year in India, Paris is his destination for fun, frolic and female companions. The last thing he has on his mind is love. Enter Kayalvizhi [Hansika Motwani]. A firm believer in love, she sees love in every avenue she turns. Including in the cases that come to her private investigator father Rajasekhar [Suman]. So what happens when the believer falls for a non-believer? What lengths would you go to get the one you love to believe? Set in picturesque Paris entirely, Engeyum Kadhal is about how love is literally everywhere, you just need to open your eyes to it.

Honesty is the best policy so in all honesty, this is a very simple story driven by the lead pair "Jayam" Ravi Mohan and Hansika Motwani's performance and chemistry. And for what its worth, the two do quite well. After seeing him in varying roles yet still with a boy-next-door feel, Ravi has come out of this shell and becomes the total charmer Kamal is. Suave and stylish, he looks a million bucks and fits the bill perfectly. Hansika's filmography has some big films in Telugu but this is only her second one in Tamil. Yet, it would be safe to say the actress is going to be the cutie in town as she pouts, giggles, cries and schemes adorably and given she has a "Chinna Khushboo" tag floating, you can appreciate the boys are going to like her but considering when the serious emotions come out, she makes an honest attempt the girls will warm up to her as well. However, she really needs a different dubbing artist than Savitha. Raju Sundaram is back after a long time as an actor and tickles the funny bone with his antics. It would have been nice to give him some more scenes with Ravi but the actor in Raju works with what he has well. Suman as the caring yet friendly father is not there for very long but he cakewalks through his role. Manoj Pawar and newbie KJR are passable. A big hug and special mention to the dancers in Nangai. As short the roles may have been their lip-syncing and expression was just awesome.

With all that said, the main atraction of the film is Paris. Or should I say Nirav Shah's view of Paris. He has shown time and again how he spins his web of magic on seemingly plain locations. But with the city of love in his camera, the man steps up and dazzles Paris like none before. Simply exquisite. Editing by Anthony is his usual best while newcomer R.K. Naguraj's art work well with the film. Nalini Sriram gets a special mention just for the styling of the lead pair which looks great but suited the characters to the T. Background and music by Harris Jeyaraj is as exquisite as the camerawork with my personal favs from the OST being Nenjil Nenjil, Nangai and Engeyum Kadhal. But now to our main man, Prabhudheva. The actor-choreographer-director [he has sung/rapped but we'll leave that for now] is showing maturity in his work whilst still maintain his classic signature. A jovial man in real life, the ease at which he inserts humour into the screenplay is typical of him alone. The simple yet stylish presentation conveys more than most long-winded dialogues. 

Yet Engeyum Kadhal does have its downside. The story by AC Mugil and Ravi Chakkravarthy lacks detail in the most vital points and thus taking away from the connection with the audience. Its not enough to make people laugh when the focus is also on the romance between the leads. While the chemistry is refreshing and new, due to the fallbacks in the writing department, including dialogues by Ravi Chakkravarthy, G. Jayakannan and Premsai, it does falter a bit and lose intensity. 

Rating: 3.5/5. Feel the love and it will entertain. See the logic and it might not.

Mappillai Review

Yesteryear classic have been a source of reference for film-buffs. The good are compared to the current while the bad are used as examples of what not to do. The trends though now are newbie directors starting their career with a rehash of the classics and trying to create the magic for the new century generation. While critics ransack the films and fans of the original slaughter the performances, the new audience is depended on to drive the film. For Suraaj, Mappillai is his return to a hit combo of Dhanush, himself and Mani Sharma after Padikkathavan. For Dhanush, its the one remake of his father-in-law Rajnikanth’s film that he himself wanted to do. A film that did wonders to the original cast and crew’s career, will it work for today’s generation? Read on.

Saravanan [Dhanush] is a role model youngster that’s used as an example in the colony he resides in. Whether its life or discipline, Saravanan is the one that parents go to for advice. But for a group of loafers headed by Child Chinna [Vivek] who’s day job is an amateur fan club for actress Namitha, this proves detrimental to their lazy ways. So with Saravanan agreeing to help as guidance counseller as compensation, Chinna tries  a shortcut to becoming rich by impressing a rich girl with intention of marrying her for money. Enter Gayathri [Hansika Motwani], daughter of Multi-millionaire businesswoman Rajeshwari [Manisha Koirala]. After a few unsuccessful attempts at getting her, Gayathri develops a soft corner for Saravanan instead which he initially rejects but then succumbs to later. But not before her mother finds out. Now for Rajeshwari, it is the female that should rule the roost so the timid, religious yet “cultured” Saravanan may be poor in financial terms but he is perfect for her daughter in demure nature and gives her the leverage that she wants over him. Wedding preparations get under way and everything seems fine until one of the guests drops a bombshell on Rajeshwari. The simple sweet Saravanan she selected is in fact a hot headed ruffian who has been banished from his home town for the constant fights he has. Determined to not be upstaged and that to by what she calls a "low class male", Rajeshwari quickly tries to change the groom in time for the wedding she planned but Saravanan is not going to make it easy for his proud mother in law. So while he does end up marrying Gayathri, what pursues is a game of tit for tat as this mother-in-law and son-in-law battle it out to see who will win their challenge.

On the onset the director makes no bones about how he has planned his film. No intricate storyline or screenplay, just mad masala magic with punch dialogues, ridiculous fights and humour in a large dose. For Dhanush, this is another Padikkaathavan and he cakewalks through the film. His comic timing becomes more apparent with each film and it’s pleasing to see him flaunt it. Considering the content of the hyped up mass hero story, it definitely is refreshing to see an actor go for a bit of self-mockery in the midst to heighten the proceedings. Hansika Motwani debuts in Tamil and is the typical beautiful girl who doesn't do very much. In her defence, the role is very limited but her lip syncing and general over-reaction does not help her at all and she becomes irritating and worse, easily forgettable. Manisha Koirala is not new to Tamil so she needs no introduction. However, for such an outstanding actress, this film is a far cry from her Bombay days. Even Mudhalvan had a little more spectrum for someone of her caliber but with that aside, Manisha puts in her two bits and makes the most of it especially in her scenes in the village and her confrontations with Dhanush. Vivek tries his best to play on his ever youthful entourage and the comedy duo that sparked a new hit jodi with Dhanush but with Manobala in the mix as well. Ashish Vidhyarthi, Pattimandram Raja, Sri Ranjani and Sathyan Sivakumar are apart of the cast and respectfully do their 3-4 scenes and move on.

While it would be unfair to not state the positives on the technical side, this is one film that blurs the lines of my infamous structure so please bare with me. On the technical front, camerawork by S.R.Satishkumar does his best to dazzle the locale and with general visualisation while T.Kishore needs to be a bit more liberal in his editing. Several time, scenes dragged out for a lot longer than needed. Mani Sharma may be a talented music director that has many amazing tracks to his name but when he reuses his own tracks from various Telugu films to form one OST, it lacks the passion and creativity. Aaru Padai is mostly hummable. Suraaj’s dialogue usually is dependable to evoke humour and he does in parts but whatever good he does in his dialogue gets overshadowed by his poor form in story and screenplay writing. But given that the director isn’t the type of director that boasts of intellectual kind of filmmaking in his filmography and has made no qualms about his intention, can you still say Mappillai works? Unfortunately, the answer is more no than yes as the big loopholes and general lack of movement simply bores. I haven’t seen the original with Rajnikanth in a long time so rest assured this isn’t from a comparative point of view. Even so, director Suraaj has missed the mark this time as the waifer thin storyline lacks the punch needed to keep the audience engaged and the spark that his previous films had regardless of their tried and tested content goes missing in Mappillai. 

Rating: 2.5/5. Its all about the masala and the money it makes. Each of his films has shown this and it would be silly to expect anything less. But it could have been so much better.

Vaanam Review

How does one take a film like Vaanam? Granted the original has been out for quite some time and had a shock value to it that Vaanam doesn't but does a remake of a good film amount to an automatic success story if the director is the same. Not always. The critically acclaimed film Vedam, written and directed by Krish in Telugu, was prominent not just its content but the fact it boasts of a star cast of Allu Arjun, Manchu Manoj Babu, Anushka Shetty, Manoj Bajpai, Saranya and Nagayya. Considering multi-starrers are only now making a comeback in TFI, the cast alone got people’s attention as each played a special part in a 5 story screenplay. After the film’s release, detractors were apparent but the general consensus was of positive reviews for the film. For its remake, Vaanam, the cast changes slightly with Simbhu in Arjun’s role, Bharath in Manoj’s and Prakashraj in Manoy Bajpai’s role while Anushka and Saranya return to reprise their roles from the original. However, I was fearful that when the makers of the film “adapted” the story to the Tamil audience, the 'heart' that I fell in love with for the original film would get lost. Director Krish has gone on record to say only slight changes have been made since this was a universal story about the human spirit, he was confident it would work. Read on to find out if it did.

Bharath[Bharath] is a guitarist and front man for a band based in Bangalore. Doubling up as his friends as well, he and his band members aspire to make it big and land their first gig in front of a large audience in Chennai. But thanks to Bharath's carelessness they miss their flight. Cut acress to Tutincorin, Ramayya and his daughter in law Lakshmi[Saranya] are silk weavers from a poor family background in a rural area. Since both are uneducated, they take out loans from the local loan sharks in an attempt to get Lakshmi’s son Paandi a proper education but are unable to pay it off the interest. Pressure is further mounted on them by the loan shark who takes Paandi custody until they pay it off. From here we move to Sulurpet. An area close to the Andhra Pradesh - Tamil Nadu border where Saroja [Anushka Shetty] is a prostitute that gets paid big money but hardly sees any of it. Fed up with her mistress' cruel ways, she plans with her man friday in Chennai to get away and start her own brothel but has to wait for him to call once everything is set. In Coimbatore, Rahim [Prakashraj] receives a call from his family doctor to say his wife Zara [Sonia Aggarwal] is  pregnant again. Excited about the news, he also finds out that his missing brother has been seen in Chennai. As he and his wife board the bus, the painful past which holds the reasons for his sorrow filled happiness unfold as they go in search of his brother. And lastly, we then shift to Raja alias Cable Raja [Simbhu], a cable tv contractor living in the Chennai slums, he dreams of big cars, bigger houses and even bigger bank balances. Money on the mind and no way to earn it he manages to convince his multi-millionaire heiress girlfriend Priya[Jasmine] who is unaware of his financial status, that he is well off also. However, convincing Priya is only half the well crossed. The next and final one is to convince the parents and that too, at an expensive New Year party he needs to buy the tickets for. 

We begin with the introduction of these 5 separate stories. Each is different in location and in lifestyle. But each finds their way to the streets of Chennai insearch of something.While it would seem each none of these individuals will ever meet, destiny has something else in mind. Their individuals searches will see them scratch and fight for what they want and need. Yet, it is also their individual searches that will see them face to face with a common enemy. As reality hits them these commoners, lessons will be learnt, lives will be lost and the human spirit will be tested.

As mentioned, I loved the original film Vedam so I had to try hard to keep the screenplay and performances out of my head. But comparisons aside, Krish has done well with his choice of cast. Simbhu has a very hard image to crack and is showing honest attempts at trying to break away from it. For the actor-director, his portrayal of Cable Raja is both fun and earnest with the actor excelling in the penultimate 20 minutes as he cruises through anxiety, shock, remorse and courage. It would have helped if the comedy sequences between him and Santhanam was downplayed to the same degree but he does induce more than a few laughs at his mock T.Rajendhar act. Speaking of which, Santhanam is his usual best and may have another hit Jodi with Simbhu on his hands. However, the actor does need to work on his emotional skills. Anushka Shetty reprises her role so there isn’t anything new about it but she plays it convincingly. The last time I saw Bharath play his role so effortlessly was in Pattiyal and he plays the rock star role like a rock star whether it be mannerisms or swag. Vega Tamotia has a significant yet small role of Bharath’s girlfriend and back bone that she does with ease as well as looks apt for. Prakashraj steps away from his bad guy persona and plays a victim of malicious behaviour with his usual élan. Sonia Aggarwal’s role restricts the actress in her come back vehicle and is quite small for someone that has had a fair few prominent film in her filmography. Saranya Ponvannan and the actor who plays her father in law fit the bill perfectly. Radha Ravi is brief while VTV Ganesh evokes much humour. 

When it comes to a multi-story screenplay, it takes one slip with up by the director and you will confuse the audience. Thankfully, Krish has moved from his Gamyam days and shows maturity as he gives each story the same amount of time and importance. Kudos to him and writer Gnanagiri for maintaining the emotion whilst adapting. At the same time the changes that were made in the screenplay came as a surprise and that too a welcomed one in the case of Rahim's story. I did note though that the general feel of the film became less intense than that of the original. However, this doesn't hinder the pace or structure. Editing by Anthony is clean and crisp while Nirav Shah and Gnanasekaran's camerawork remains honest without overriding the screenplay. Music by Yuvan Shankar Raja is always something to look forward to. But this time I would say Yuvan has missed the mark a little. Vaanam and Who am I are the saving grace in a bass beat dominated soundtrack that is strictly ok while M.M. Keeravani's track for Anushka Egari Pothe is dubbed. 

Lets be honest, whether you look at Vedam or Vaanam, it’s not perfect. The character development for Priya [Jasmine] and Zara could have been worked out better since they lacked importance in the original as well. However, in the case of Jasmine, she was a severe let down in the acting department and her dubbing artist did not help her at all. Add to this having an actor like Jayaprakash play the role of the terrorist feels like such a waste considering his potential. Also, as crisp as the editing was, there were a few shots that could have been trimmed back a little more. At times the dialogue seemed like just a translation from Telugu than an adaptation but these moments are few so it can be excused. 

Rating: 3/5. All in all, Krish has recreated the film with the heart that I fell for. Even if it did make me laugh a little louder, it also made me feel the same as before.