Ye Maya Chesave Review

Where do you begin with this film. After watching Vinnai Thaandi Varuvaaya a million times, it seemed futile to watch the same story again with a different cast, even if the ending is different. But this is what happened and with the bluray copy sitting on the T.V stand at my house, a re-watch of this romance drama was all this hopeless romantic needed to start writing a flashback review.

The story is the same so while its silly to delve into it again, the reassurance you get is that even as new as Samantha (only one film old with Baana Kathadi and it hadn't released at the time of YMC) and Naga Chaitanya (the Josh debut was firmly in the back of our mind), the two deliver. Bright eyed bushy tailed, the two are raw, real and very much in sync with their character with their chemistry burning the screen. No nonsense of who has seen this and done that, just first take action. And for anyone that has seen the intereviews, the actors on any Gautham Vasudev Menon set would tell you that is what the director prefers. Individually, you cannot imagine anyone else for Karthik with Naga Chaitanya. Yes, Simbhu played it to perfection but unlike his filmography taking a turn with the film, Chaitu still had to form an opinion in everyone's mind. Perhaps its the expression he displays but one gets a very childlike perception in his portrayal. Thats not to say he was childish. But that innocence you relate to it, and beyond his age, there is a very young vibe from his character anyway. Samantha on the other was completely opposite in that there is a stern strictness that comes with age. She is delight to watch as she simply glides through the role. For a debut in a language that she is not familiar with (barring the obvious dubbing by the beautiful Chinmayi), Samantha did not let it be known and her lip-syncing is on point. As the friend who backs Karthik and helps him all the way to Aleppey, Krishnudu is cute and honest. You could say he was a semi comedian in the flick. As parents, Surekha Vani, Sanjay Swaroop, Lakshmi Radhakrishnan and Devan play their part effortlessly, although one did get a feeling that Surekha Vani was a little young looking for the mother of a 22 year old. Puri Jagannadh plays himself with director Gautham making a 2 sec no dialogue cameo. Since the film is predominately surrounding the lead pair, no one else gets a big role in the film besides the camera and music.

The comparisons are bound to be there. Same director, same music and same story. Even the locations have similarity. But what is so wonderful about this pair version is their freshness. The two films were being made at the same time at one point but for someone that has watched both version, you do not feel these newcomers lose out on the edge that the experienced actor have. If only some, credit for this must go to director Gautham Menon. Making a remake of your film is not unusual but there is never a guarantee it will work again. So Gautham's conviction even after the initial hesitation, is worthy of applause. From Manoj Paramahamsa to A.R.Rahman, the technical side of the film did not miss a beat. Visually captivating, subtle music yet erupting in emotion without a cartoon feel. Dialogues by Umarji Anuradha added the subtle nativity required to show difference in the film. Even as you hear the same songs composed by A.R.Rahman, you feel the lyrics give a new dimension to the songs you have heard so many times. Barring of course, the superbly sung Aaromale.

Downfalls? Well, after watching the film close to 1000 times, one gets over the "I-love-you-now, I-dont-love-you-now" rotating door emotions Jessie portrays because you finally understand. Making a choice based on your mind is very hard when your heart says something quite different. In your dady-to-day life, we are forced to do so in many situations. So with the backdrop of a love story, there is bound to be some tension. At the same time, there is literally only two scenes where you hear Jessie's mindspeak, the reason for that comes in the most simplest answers. The narrative is in Karthik's point of view. So naturally, we only see his side. You aren't supposed to understand entirely what Jessie does. Frustration and fury may get the better of you but  there is little room for Jessie's version of events. So dont get me wrong and think that there aren't flaws. It is purely a case of each her own interpretation and this reviewer sees a logic. Whether this was intended is left in the hands of the director to clarify.

One thing is most evident for this film. With all the accusations that real life is only seen on the big screen when the setting a love story is in the outskirts of a village, YMC shows the place isnt important for it to be real and raw. The city life has many stories and regardless of its picture perfect look, there is real life in the film, even as it entertains like a mainstream commercial film should.

Shall we skip the rating this time? ;)

Oosaravelli Review

Honesty is the best policy and since you, my dear reader, have taken the time to read this review, its time to confess. As much as NTR Junior aka Tarak is amazing an actor, Oosaravelli wasn't the most anticipated film for me. Keeping this hesitance aside, the normal hoopla that entails an NTR Jnr flick is anticipated. But lets dive straight into this one with the clear mind set that this is a masala film with a heavy action quotient [read blood, sweat and gore].

So on the story front it seems quite basic. Tony [Tarak] is gangster that is best described as the title, a chameleon. During his travels to Kashmir, he is taken hostage alongwith a bus full of people by some terrorists and meets Niharika [Tammannaah]. The two are bound together in a room as the remaining survivors and in the last few minutes of their survival, they share their final wishes. Tony expresses his desire for a girlfriend that he never fulfilled and in a split second Niharika kisses him and tells him to think of her as his girlfriend. But just as you'd think there begins a love story as Tony busts the both of them out, Niharika slips aways. For Tony, he  must find her even though he doesn't know the name or address of the girl who just kissed him. For Niharika, life has given her a second chance to live and she isn't going to waste it. Fast forward and shift to Hyderabad, Tony finds Niharika and finds out that she's engaged too. Neither shattered nor perturbed, Tony tries all he can until Niharika's fiance returns from his US trip. But who is Tony really? And is it really love that binds him to Niharika?

First of all, it must be said that Surender Reddy has moulded a story into this action-fest potboiler. So while it seems like a routine love story at first, the plot does thicken. Unfortunately, the film takes its time to bring that to the forefront. Until then, he does try to recreate the mayhem from his last film, Kick, to the point its like you are watching Tarak's version of Kick. Speaking of which, thank god that Tarak accepted this role. Not because its an amazing role but more because he explores his comical side in abundance. Barring a quite masalafied climax, Tarak is simple and totally alive on screen. To understand how such contrasting descriptions work for one actor, you will have to see the film. It might be requested though that Tarak find a new stylist. The clothing may have been next door boyish but that hair is unruly. Tamannaah darling, a special thank you to you. The girl has jumped leaps and bounds in the film. In fact, it is not far fetched to say she drives the second half film and that too, for a good portion of it. The ease in which she essays her expression can fool you to thinking she did not need to memorise the lines and meant each one. So she is a little annoying in the first half, she makes up for it big time in the second and thats what leaves a lasting impression. Payal Ghosh is back on the big screen after Prayanam and although the premise of her character is sketchy, she does an okay job. Prakashraj's has openly admitted the bad guy roles are his bread and butter but it would be so much better if he had a challenge because the man just cakewalks throughout. Shayaji Shinde could have been so much more to the film but is barely there, although lovable in the few scenes he has. Vidyut Jamwal is disappointingly absent thus makes an faint,almost non-existent impression. Raghu Babu, Jayaprakash and clan give the giggles initially but wear thin as the film progresses. Shaam is stuck in a circle and really needs to come out. The rest are strictly ok.

Coming back to Surender Reddy, its nice see that he kept his revenge story under wraps but where he and writer Vakkantham Vamsi keeps you interested in the second half, the constant gags of the first half can only cover the fact there is not story  for a while, not hid it. Music by DSP is a highlight as the composer is back to his peppy self with trusty aides Adnan Sami, Mukesh and Suchitra making a repeat attendance like on most his soundtracks. Neha Bhasin and Vijay Prakash's rendition of Niharika is extra sensual while DSP own track Brathakali is little different in tune and tempo. Rasool Ellore camerawork is fine but Goutham Raju's editing could have been that extra crisper but when its a Tarak flick, blood and gore are part and parcel so the action is bound to be lengthy.

Yet, the downside is just as obvious as the fake blood on Tarak's face in the trailer clips. Sometimes you wonder if Tarak's directors want to show him as an action star or a bloodied up star. The amount blood and killing that is depcted in several of his films can be a little putting off. Oosaravelli is no different in that way. But even as people/fans accept this to a degree, it is hard to swallow action sequences which entail the lead sitting tied up to a chair and fighting his baddies. I mean, come on! Laws of gravity or even Physics anyone! Ok so the action is OTT. Points are given to the moving the focus point at the right time but disapproval sets in again when actors like Shayaji Shinde are not used properly. The concept of the father still being around for the son even after death in a ghost form is shown in one scene then completely forgotten about after that. It would have been better to not have that at all. Logic doesn't take a back seat as much in this film with certain point connecting correctly but timeframes don't match on some major ones as well. But considering the premise behind the latter portion, I guess this isn't one of the pressing issues of the film.

Yet as you walk out of Oosaravelli, you don't think you have completely wasted your money so thats a plus.

Rating: 2.5/5

Dookudu Review

Is there a point to explaining the hype behind Mahesh Babu? Not really. Regardless of the film, the director, the music, the heroine or even the comedian that will be on screen for less than 1/5 of the film screen time, the title of Mahesh Babu in lead male role is enough to sky rocket the hype for any film. Whether the film delivers or not is taken as separate. In some ways, this is good for the actor Mahesh with appreciation flowing from all corners. In others, its a shame for such a versatile actor to be boxed into a bad script/film. Dookudu isn't all bad. But it definitely isn't the best either. Read on.

So here's how it goes. Ajay Kumar [Mahesh Babu] is gutsy Mumbai cop that has an equally sharp mind. His current target is Nayak [Sonu Sood], a mafia don that dwells overseas and deals in the usual criminal activities. Ajay wants he brought to justice. But his investigation shows that his ties to Nayak are deeper that he realises. Enter Shankar Anna [Prakashraj]. Father to a young Ajay, he met with an accident went into a coma although his town folk think he is dead. After his accident, Ajay was shifted to Mumbai by his remaining his family and has since never returned. That is till now. Shankar Anna is out of coma and has no idea of what has happened since. Ajay now, needs to replicate as much as possible including being his heir to the MLA posting Shankar held. Between his professional battle and personal trials, Ajay learns more about his father's accident with all of it leading back to Nayak. To get him, Ajay will bring in a host of characters to play, each getting him a step closer to his revenge. How? Watch in to find out. No, seriously! You have to watch it since it is way too hard to explain.

If Khaleja saw Mahesh strip his apprehensions and even become the butt of jokes on screen, Dookudu continues from where it left off and proceeds with a sentimental angle as well. His modulations, his expression and his attempt at a different slang are true treat for fans and non fans alike. He comes alive and is electric in every scene. Even his malasafied "Poleeess!" is a magnet for attention. Yet, he too slips behind when the spotlights zeros in on Brahmamandam and MS Narayana. The two veterans have a ball and it shows as they erase whatever past achievements and set new standards for themselves. As his father, Prakashraj is no doubt superbly fitted for the role but with the slight restriction of his "cinematic" condition, he does not get the meat to perform as well as we know he can. Samantha is cute as Prashanthi but besides her clothes, make up and dancing skill, she doesn't really get a chance to do much acting. A shame since Samantha has shown she can deliver. Please take note that the love angle of this film is at a minimal and is simply a starting point. Clearly the focus isn't the lovebirds so no comments on the chemistry as there wasn't enough time to develop it. Sonu Sood goes for a little older look with some painted grey hair but that cant take away from his 2D character losing much of its steam quite early in the piece. After Kandireega, I must say this is a little dissappointing. Nassar has definitely proved he has amazing comic timing several times before and it is great to see him show it off a little. Added bonus being that he dubs for himself [FINALLY!]. Kota Srinivasa Rao, Supreet, Subbaraju and Venugopal dont do anything different from what we have seen before. Adithya's hair is unfortunately, longer than his role. The rest are just there to fill up space.

So how do you describe Srinu Vaitla's brand of comedy? There really isn't one word. He's bankable to put it simply, on having the lead characters involved in the comedy, a drunkard/drinking scene and some crazy ideas that simply flow on screen. The man repeats his magic combo with Brahmam darling like nobodys business and if that wasn't enough, he has MSN in a role you make have seen before but not like this. This is one of those films that you can turn off your brain for but the question remains as to whether it will switch on by itself as some may find. And of course, it has some amazing visuals by KV Guhan and Prasad Murella with Mahesh and Samantha for the eye candy but its not just all visual treats. The film makes no bones in stating that you just need to sit back and let the comedy sweep you over, the action blow your mind and the witty dialogue surprise you. 

Now to the less glamorous side of the film. The negatives. In all honesty, it all boils down to only a few things and even if intentions are commendable, its these things that hinder the experience. Firstly the length. The action alone takes up a considerable amount of screen time. For action lovers it might be ok and yes it's exhilarating at times but it drag massively. If it isn't the action length, its the melodramatic dialogue. Ok, so we love our drama, but please. Inducing a heartache with a few words of someone's return is a bit much. at the same time, a father need not have done amazing things for you to want to keep him happy and safe. He gave you life as Mahesh says. Next the songs. A lot more was expected from Thaman.S after Vandhaan Vendraan[Telugulo Vachadu Gelichadu]. Without looking at previous combinations, there is a spark that is missing from the soundtrack. A note to Thaman, the louder the song doesn't equal to the bigger the hit. Really, the sheer volume of the tracks are only just bearable. Guruvaram is probably the saving grace on a very robust soundtrack but even that has its moments. The picturisation also seemed a little down-sized for two decent dancers but the background dancers attempt to lipsync and their enthusiasm make it passable. Just. While making mention of the loopholes in the script is warranted, its seems to this writer logic very rarely gets the importance it deserves in commercial films, let alone TFI.

So where does that leave us with the Dookudu? A decent film that could have been awesome, I say. Oh and it has Mahesh Babu in it. :)

Rating: 2/5

Dhada Review

Its not always easy to keep up with the hype of an action film. For Naga Chaitanya, Josh had its action sequences and so did 100% Love but the main feature wasn't the action in the film. Ajay Bhuyan's Dhada was supposed to be Chaitu's foray as an action hero with a string of love in the story. But having the elements worthy of a commercial flick like music by DSP, current favourite Kajal Agarwal as the ladylove and locations in Thailand, Milan and Europe isn't enough to make it a successful one. Read on.

There really isn't much to either of the stories [yes, there are two]. On one side you have adrenaline junkie-ish Chaitu who has a run in with Rahul Dev's brother and thus becoming the reason for Rahul losing the 100 girls he sold to black market kingpin Kelly Dorji. On the other the hand there is Kajal who lives by her business minded father Mukesh Rishi rules and finds solace only in her mother's last home video before her mother commited suicide. In between the thrashing of the bad guys from one track, Chaitu spends most of his time impressing Kajal or using Brahmanandam for a bakra to get to Kajal or getting sentimental with his brother Sriram [Srikanth for the tamil audience] and sister-inlaw/mother Samiksha. In short, do the baddies/Kajal get Chaitu or not forms the crux.

A done to dust action film in terms of story can still work if the screenplay and the performance permit. But in the case of Dhada both are a severe let down. Now I dont mind that Chaitu has decided to do something different with the love angle taking a back seat but this is not the film of choice. He does score brownies on making an effort to improve his skills including dancing [one that he has been ripped to shreds for] but sorry Chaitu, you cant save this one. As a majority, it is hard to find leading ladies that have much to do in action films that dont revolve around them. But even with a particular portion about her, Kajal Agarwal fails to do anything. Yes, for the purpose of being a "pensive and melancholy" character, her character is restricted in emotion. But she doesn't invoke any and falls apart like nobody's business. Looking pretty and having 3-4 faces, none of which depict the intensity needed, just doesn't cut it. Rahul Dev tries really, really hard to be sinister but is given some ridiculous lines that just mar his performance. For a deadly gangster, Kelly Dorji doesn't even make you blink as a reaction, let alone fearful of a seemingly dangerously brutal individual. On a side note, both of these actors need to find better dubbing artists pronto! Sriram tries his best to add life to his character but it doesn't help when its a badly written role and is hardly impactive. Samiksha looks pretty. Mukesh Rishi is wasted beyond comprehension and funny men Brahmanandam and Ali need new material.

Ok so the performances were a washout. But visually, Dhada is great. Cinematography by Gnana Sekhar V.S. depicts Thailand, Milan and Europe in awesome light. Music by Devi Sri Prasad is good but nowhere near as good as you would expect from the likes of the composer that brought Arya 2 and Jalsa. Hello Hello Laila is hummable but Ey Pilla has too strong of a resemblance to Na Pere Meenakumari from Mallana [En Peru Meenakumari from Kandhaswamy for the Tamil folk]. Editing by Dharmendra cant be blamed for not snipping enough since the material isn't the best to begin with. For that, the man in the criminal corner is Ajay Bhuyan. The thought may have been a good idea at the time but the director not only struggles to present it, his script lacks cohesiveness entirely. We must be honest that originality isn't something that is often seen in TFI, but making the proceedings enjoyable can cover that major flaw. But Dhada loses out to that too. 

So is there are anything good about this film? Yes. The end credits.

Rating: 1/5

Nenu Naa Rakshasi Review

Sometimes we come across directors that try to make a film about a serious maybe unexplored topic in a masala format. While there are some that succeed, other fall into the sidelines. I guess the confusion begins with where to insert the cinematic liberties and where not to. If you don’t have a tight and cohesive screenplay, no matter how amazing the concept and performances may be, the point wont reach the audience. With Nenu Naa Rakshasi, Puri Jagannadh returns to the style of story-telling he used in Neninthe and explores a love story between two extreme individuals. Considering both Leader and Dum Maaro Dum have proved interesting on premise as well as different in role for Rana Daggubati, his second Telugu film with Ileana D’Cruz as the female lead is bound to attract expectations. Even the bad publicity of the Michael Jackson “inspired” track proved a booster of curiousity. But does the film do what its in essence supposed to, entertain? Yes and No. Read on to find out where and how.

The film opens with the final confession of a girl [Ileana D'cruz] before she commits suicide by hanging herself, while a man watches her through a computer through a webcam. Who is she, why is she doing it and who is the man watching her remains a mystery as we shift across the city to our hero Abhi alias Abhimanyu [Rana Daggubati], a sharp shooter in desperate need of money. As he escaping from his latest assignment, he goes to his routine collection point for payment at a graveyard where he sees Meenakshi [Ileana], a girl that works in a cafe with a troubled past. While Meenakshi barely notices him, Abhi falls for her instantly, and follows her wherever she goes. On the other side of town, Inspector Vikram [Subbaraju] is looking for a criminal that films people committing suicide and uploads it onto a website. While for Abhi, the inspector is just another person he has to maintain a distance from, especially since he lives only across the hall from him and he is friendly with his young daughter, Vikram is on the look out and suspects everyone. But things take a dramatic turn for the worse as Abhi soon finds Vikram's case is closer to heart that he thinks. Will he be able to get himself out in time? How does Meenakshi fit into all of this? Watch the film to find out.

Rana Daggubati is a naturally stiff-looking person but with this film, it works to his advantage for the intense moments. Yet when he tries to be funny in the second half, it wouldn't have been all bad, had it not seemed so out of place in the script. Add to that some questionable dancing and he leaves the wrong kind of mark. Ileana is improving from her bathing in a beach, mid-drift flashing self but that doesn't mean she's perfect. For the most part I think she tries to be intense in her acting and expression. Mumait Khan needs a better dubbing artist and really needs to work her lip syncing. Ali tries hard to make you laugh and only succeeds part way. Subbaraju is handsome as Vikram and has a few scenes worth acting in. Abhimanyu Singh is ok yet boring as the baddie for someone that was so powerful in Rakta Charitra. The rest are so so.

Venice and India looks amazing with Amol Rathod's camera and the action is quite slick with the background score adding edge to each scene. Music by Vishwa and Rahman is strictly ok with Malli Malli Merupula and Papam Punyam being the only ones that stay in the mind long enough after the film. Editing for the film could have been a little more crisper but the real culprit lies in the writing. While some of the dialogues are quite witty and perk the proceedings, it doesn't help keep the film afloat completely.


 Puri Jagannath had the chance to make something novel but lost track of whether he was making a commercial film or an offbeat one. This confusion in conjunction with a lack of direction for or against the issue of suicide cripples what could have been a powerful screenplay. With the film not having an opinion, on one side you understand certain decisions, while others are just plain confusing and contradicting. All of which strain the understanding of the film entirely. On some levels the film makes you laugh and cry a bit but most of the time, you struggle to keep with the mood which changes drastically. Adding to that, the characters lack depth, making it hard to connect with them. Ultimately, what was supposed to be an intense drama, ends up to be long, drawn out and haphazardly melodramatic which you neither believe in nor can enjoy fully.


Rating: 2/5

Badrinath Review

The news of a new film from V.V.Vinayak regardless of who is in it, is enough to get hype started. After the successful Adhurs, Vinayak's Badrinath sees him join hands with Allu Arjun and M.M. Keeravani after Bunny and has Tamannaah in the female lead. Adding to this, the news of 22 sets being formed for the film,a first for TFI, and Arjun travelling to Vietnam for special martial arts training and the hype just kept building up. But with Geetha Arts and their rigorous publicity taking everyone by storm, is it a case of too much hype killing the film? Will Badrinath be able to withstand comparisons a host of other films and still make a successful mark? Yes and maybe. Read on to find out what its about.

The location is Uttarkhand. For centuries, the Hindu temples have had many devotees flock to see the deities and seek blessings. But devotees are not the only ones that come for "darshan" so as a safety from evil doers, each temple instates a protector and a keeper for all of temples as well. Bheeshma Narayan [Prakashraj] who runs a school that trains in martial arts for the protectors, is the keeper looking for a successor. To him, his star pupil is Badri [Allu Arjun], fearless and powerful, is the perfect choice. But complications arise in the form of Alakananda [Tammanaah], an atheist due to her past, she comes to the temple with her grandfather as he seeks hope against a danger threatening Alakananda's life. Initially annoyed, she soon develops a soft spot for Badri. But just as she is about to tell Badri of her feelings, she finds out Bheeshma's intention. Knowing she can’t withstand up against faith and devotion, Alakananda has just about given up when unknowingly, Badri shows her a way through prayer that he promises to help her with. But nothing comes easy and for her prayer to become a reality, she must return in time for the special pooja in 6 months time. Will Badri be able to save her from her danger and bring her back? Will he become the keeper like Bheeshma Narayan wants him to be? Confronted by his beloved guru, Badri's loyalty to the temple and his guru will be tested as he fights between his responsibility and his promise. 

Let me just say that the concept of a story with a temple back-drop is not something new so originality is not questioned this time. For “Stylish Star” Allu Arjun, Badrinath is a step back into the action genre that we saw him previously do in Desamuduru. And there is lots of it. Known to go to great pains for a role, Arjun’s effort is amazingly apparent in Badrinath, whether it’s his strong point dancing or the action sequence. Tamannaah is gradually stepping away from girly cuteness to full blown glamour but thankfully she has a bit of acting to do, although you will need to wait for the climax for it. Prakashraj needs no introduction and the actor cakewalks through his role as guru Bheeshma Narayan. Rao Ramesh is okay while Kelly Dorji, Ashwini Khalsekar and the actor who plays their son Nani are nowhere near as powerfully evil as you’d like them to be. Tanikella Bharani, Kovai Sarala and Pragathi are limited in their scenes and pitch in their two cents. Comedy kings Brahmanandam, M S Narayana, Krishna Bhagwan and Raghubabu try their best to bring out the giggles but most of it falls flat.

On the technical side, Ravi Varman’s cinematography depicts the Himalayan backdrop in exquisite form and is a sight for sore eyes. Anand Sai needs a special mention for elaborate sets with each one amazing in detail. M.M.Keeravani’s music is also in no need of introduction with the whole album being contagiously catchy but Vasudhara and Nath Nath are sure to remain on iTunes playlist for a while longer. Editing is okay but how one wishes the action, although well choreographed by Peter Hein, was cut back for crisper sequencing.

However, for all the hype and publicity, Badrinath is not without its shortfalls. And the main culprit is the writing by Chinni Prakash. For all the elaborate settings and amazing cinematography, the emotion in the film is lost on more than one occasion especially in the love angle of the film. Lack of depth in the characters makes the characters seem melodramatic or just plain loud. On the other side, Tamannaah and Allu Arjun look good yet there is little to no chemistry between them and barring the climax, there is not enough chance for it either. All it takes is for a loving/longing look from Tamannaah and a song begins. Yes the songs are entertaining but they are inappropriately placed and simply act like speedbreakers. As do the action sequences which are long and gory. But perhaps the biggest setback is the lack of logic. Yes, there have been many films that don’t give any importance to logic but for the effort put in, the dodging bullets with a sword and jumping mountains scenes stick out like a sore thumb. I wonder if V.V.Vinayak doesn’t like law enforcement since not a single one turns up when the mass violence occurs.

Yet can I say I didn’t enjoy the film at all? To be honest, no since I was singing Nath Nath as I walked out of the theatres and not thoroughly disgusted at the waste money. But my fan girl status to Allu Arjun was not enough to save me from disappointment. Especially when I’m not a fan of massive bloodfest and I’d like some respect to the laws of physics.

Rating: 2.5/5

Teenmaar Review

What is it about Teenmaar that makes it interesting? Beyond the obvious Pawan Kalyan and Trisha combo that hasn't been seen before, I guess it would be that the two are coming together with Jayant C Paranji for a remake of a film like Love Aaj Kal. An added bonus would have to be Tirivikram penning the screenplay and dialogue and Mani Sharma's hit music. But does a film that was a box office hit in Hindi despite the negative comments on the theme stand a chance as a remake, that too in Telugu where family sentiments dominate films in a larger ratio, a factor present in the negative comments for the original. Is a hit combo enough to pull the family oriented crowd? Is Teenmaar another successful remake for Jayant after Shankar Dada MBBS, a remake of Munnabhai MBBS? And can I really stay away from the original while reviewing Teenmaar? Read on to find out.

Michael Velaiyudham [Pawan Kalyan] is a chef in Cape Town that dreams of working as a banker on Wall Street. Fun and free spirited, life runs smoothly till he meets Meera Shastry [Trisha Krishnan]. A firm believer in enjoying life and with marriage far from her radar, the two hit it off fairly quickly. But with ambitions varying and reasons mounting on how they are doomed to end, Michael and Meera decide to part ways. For Senapati [Paresh Rawal], the issues that Michael and Meera use as reason seem odd after witnessing a love story like his friend Arjun Palvai [Pawan again] and Vasumathi [Kriti Kharbanda] in Varanasi almost 3 decades ago. The ultra-modern love story in front of him seems more out of convenience than love. Michael begs to differ yet forms an unusual friendship with Senapathi as they delve into the tail of Arjun's first love. Slowly but surely the tale takes a toll on Michael and his life. Even as Michael moves on with Michelle [Dana] and Meera with Sudhir[Sonu Sood], both are only a phone call away from each other. When they meet again, they relive the good times, if only as friends. But it becomes obvious things have changed. Yet it takes more than just fun memories and separation for a dillusioned Michael and a confused Meera to understand. When and how forms the crux.

Can I just say Pawan Kalyan is probably the last person that I thought of for this remake and now is the only person that could have pulled these characters off with more flare and charisma than Saif Ali Khan. I say this because I actually liked Saif in LAK and was worried Pawan might come off a little well, old. But trust Pawan to litereally smash any apprehension you have as he plays two distinctly different characters so well and with abundance that each will make you laugh, cry, swoon and get annoyed at on cue. The quiet yet strong emotions of Arjun as pines for Vasumathi remind you of his Tholiprema days and are an eagerly welcomed memory. Michael on the other has to be one of his most charming characters I've seen, a title I personally hold Sanjay Sahu from Jalsa at right now. With these two characters dominating the screen; Trisha Krishnan and Kriti Kharbanda have their work cut out for them to maintain some connection with the audience. Yet out of the females, Kriti Kharbanda leave a bigger impact with Trisha falling behind a bit this time. Although the character of Meera is one I can’t relate to and find confusing towards the end, Trisha’s portrayal was just about ok to a little bland for such a chirpy character. Whats more is much like her character, her stylist seemed a little confused as well. But then again, this is mostly due to high expectations on the actress who has done some amazing work in the recent past. Kriti is back in a full-fledged rôle after Ala Modalaindi and although limited with her lines, she does really well with her expressions and suits the rôle almost to a T, barring a dilemma with make up. Paresh Rawal will always be one helluva an actor with a distinct voice so while his rôle isn't outstanding, he cakewalks through it and makes an impression. Sonu Sood is a little eye candy on the side that you feel sorry for towards the end but like Paresh, he doesn't get much to do. It would have been nice to get a different dubbing artist for these two actors though. Dana is super sexy but that's about it.

Now to the technical side of things.First up has to be the cinematography. After a long break cinematographer Jayanan Vincent returned with Om Sakthi last year and despite the film not doing so well, garned much recognition. With Teenmaar, you witness some of the great work again with Capetown and Varanasi shown in new light. The dialogue definitely has the typical Trivikram touch, working wonders in so many places yet some may find it to be a little squirmish attempt on occasion for the normally family friendly writer. Jayant was smart to change a few scenes to suit the south audience but he is isn't consistent. One of my fav scenes that shows off the duo's capacity if the scene about kissing with Michael asking the question and Arjun answering. Editing by MR Varma only enhances this scene further. Mani Sharma music worked well with the film with Sri Ganga and Chiguru Boniya the pick of the lot with Aale Bhale being infectious.

Yet the remake does have its downfalls. While Jayant's adaptation proved a clearer picture, the director does the same mistake as LAK with a patchy screenplay. Add to that, MR Varma's insufficient use of his scissors and you will find yourself a little confused and bored where the dialogue doesn't save you. However, like the inconsistency, this too is not frequent. It also would have been better if the characters Michelle and Sudhir weren't so 2 dimensional. Yes, they are only there for a short period but the screenplay doesn't allow you to feel for them making the emotional connection a little weak. Another setback is the re-recording is rather poor and sticks out like a sore thumb, taking away from the scenes.

Rating: 3.5/5- All said and done, Pawan makes up for most of the setbacks and is thoroughly enjoyable to watch.

100% Love Review

Throughout the years, whether you're a girl or a boy, there are certain phrases that you are bound to here. "Men are from Mars, Women are from Venus", "Its easy to go the moon than to figure out a girl's heart" and "Boys are the most confused creatures" in the world to name just a few. Now these are said with good humour and are clearly not the norm but when it comes to love, everybody has an opinion about it. Sukumar is the kind of director that likes to take a different angle on everything and has done the same with his latest 100% Love. With Devi Sri Prasad on music, Naga Chaitanya and Tamannaah play the lead in this Geetha Arts production. So let's jump and check it out.

Meet Balu Mahendra [Naga Chaitanya]. State level tenth standard first rank holder, state level Intern first rank holder, MCET first rank holder and according to him, he is a genius and a brand name. The only thing bigger than his record is his ego. Enter Mahalakshmi [Tamannaah], his maradalu [marriagable cousin] from his home town in the village. A country belle smitten about her Balu Bava, she comes to the city to complete her higher education and stays with Balu and his family. While the family already adores Mahalakshmi, its going to take more than looking cute for her to get on her Balu Bava's good side. For his part, Balu with his head is firmly in the sky, doesn't look at anything beyond her second class ranking and dismisses her promptly. She decides to stick to her studying but becomes frantic in her exam and breaks down crying. Mahalakshmi runs out of the exam and says to her Balu's father, her uncle[Naresh] that she is going to fail and she wants to just go back to her hometown when surprisingly, Balu steps in. Ignorant to her and her emotions as Balu may have been, he decides to help her out of pity. And so with his guidance, her own effort and a bit praying by the whole family to Ganesha, Mahalakshmi sits for the exams. But much to Balu's absolute disbelief, she doesn't just pass. She takes over his coveted first rank. Balu becomes furious at the humiliation while everyone else is applauding her. But he isn't one to let the humiliation last long so he puts in the extra hours to study and in the process, purposefully distracts Mahalakshmi from her own without her realising. Yet just before he can bask in his glory, Mahalakshmi realises his plan and starts her own cat and mouse game to even the grounds. D-day arrives after the exams and both get the shock of their life as their class mate Ajith[Anand] came first. For Balu, his ego maybe hurt with Mahalakshmi getting the first rank the last time but there is no way another student can take it. So the both of them set their rivalry aside and work up a plan to distract Ajith. But he's not the only one that gets distracted as the two spend more and more time together studying albeit with a few encounters on the personal side. Everything seems to go smoothly and as according to plan, Balu gets first rank. Celebrations are in order and the family members, who are by now aware of the private canoodling, plan for an engagement announcement on the day of the party when Balu gets a bout of jealousy as Mahalakshmi casually praises Ajith who missed out only by a few marks. Words become insults and with their guests and parents as witness, Balu and Mahalakshmi have a massive fight and the pair part ways. Yet only 3 years on, circumstances bring them back together. Has time healed all wounds? Have Balu and Maahalakshmi changed themselves? To find out, you will have to watch the moview.

First thing's first. Naga Chaitanya, who is only three films old and has thus far made some interesting choices with his films, is absolutely adorable as Balu. Personally, I could even say this is by far the most perfectly suited rôle for him. The arrogance, the dismissal, the attitude, the frustration. At every point, Balu has the face of Naga Chaitanya and that is all you see. Some may feel he is a little stiff at certain points but given that everyone has quirks and habits, this only adds to his appeal and I myself have come across real people that have rarely faced failure and get a big head over it. Tamannaah plays the bubbly Mahalakshmi with ease but tends to go OTT with more emotive scenes. She also has tendency of reminding you of an early career stage Kareena Kapoor. However, she looks amazing and has great chemistry with all on screen, including and most importantly, Naga Chaitanya. Anand as Ajith has very little to do even though he is quite important to the story. K.R.Vijaya is elegance on screen and delivers whats needed for her Mahalakshmi Bhama rôle. Naresh has very few scenes in the film but plays it with heart. Vijayakumar is apt in his special appearance. Big special mention to the kiddies in the crew. Each one adorable as hell but unfortunately names aren't available of these little champions. Dharmavarapu Subramaniam, 'Thagubothu' Ramesh, 'Chitram' Sreenu and M S Narayana add to the comedy cocktailfun while the rest are passable.

That leads us to the scene stealer. Sukumar is at it again with his "different" angle on love. Personally, I felt that life has become one big competition to see who's better and with the alarming rate divorces get sanctioned, there is more truth to Sukumar little message than most would believe. But leaving the realistic things aside, his trademark storytelling is evident. Keeping the fun in check and building the drama in proportion, he showcases his talent in abundance. Adding to his awesome screenplay is the superb dialogue. Yes there are some commercialised moments but in all, there were very few in the cinema hall that didn't enjoy such great lines. Music by Devi Sri Prasad almost always has automatic feet-on-the-dancefloor effect and he is back to his old tricks with 100% Love. A Squared. That Is Mahalakshmi and Kallu Kallu Plusu bring out the fun, crazy and melodious side where Diyalo Diyala is a classic item number that is always present on a DSP soundtrack. But the album entirely leaves a major impact. Cinematography by Venkat Prasad is top notch as is editing by Srinivasa Karthik. Both are a huge asset to the film. Leaving us with the negatives of the film remaining.

So what can be wrong with one the most enjoyable flicks in recent times? Not much. Depth in characters could have been extended to avoid a two-character-driven-story feel yet at the same time, the situations become as they are because of the lead characters. The disappearance of Swapna at the climax wedding was overseen but came to the fore when Ajith was shown leaving. A few snips here and there could have done some good but barring that, you will be hard fetched to find anything majorly wrong as the film does entertain and leave you with a satisfied feeling about the money you spent on the tickets. Even if you go looking, it is you that needs to judge if the film reminds you of them or not. 

To me, 100% Love is 50% Fun, 50% Masti and 100% Bindaas. A total time pass film that will have you singing the words and tapping your toes as you get the giggles from the story.

Rating:4/5

Veera Review

There are some actors that you expect to not stray far from their style of movie making. Of these, there are only a select few that you can tolerate. Ravi Teja is one such actor that has a distinct style. But not to say he doesn't try different things. Films like Neninthe Shambo Shiva Shambo and Shock may not have done well for the the "Mass Maharaja" but they were just a few reasons for the hardcore fans believing he was an actor not just a star. However his latest offering of Veera directed by Ramesh Varma starring Kajal Aggarwal and Taapsee Pannu is one that will test the boundaries of admiration. Read on to find out how.

Veera begins with ACP Shyam [Shyam] standing up against crime and criminals. He bows to none and makes it clear justice will be served. On one such serving, Dhanraj [Rahul Dev]'s son is killed in a misfired shot meant for Shyam. As revenge, Dhanraj kidnaps and kills his son. Although an honest cop, Shyam is human and he starts to question his purpose since he as in the police department is there to protect the innocent when something happens. But when he himself is targeted, what happens? Enter Deva [Ravi Teja]. A stern security set to protect him and his family, he quickly mingles with the family barring Shyam's wife, Satya [Sridevi]. Agitated and irritated by Deva's presence, her disliking is most apparent while the friendly neighbour Aiykee [Taapsee Pannu] forms a liking towards him. Deva develops a rapport with Shyam's young daughter Anjali, and aids Shyam in hiding the truth about his son from his family, Satya holds her tongue from verbalising her annoyance and asking him to leave. But Shyam isn't the only one that is hiding the truth as there is more than meets the eye with Deva. With the threat hanging over his family's head, will Shyam be able to find out the details of this stranger before its too late. Who is he? Where is he from? And whats his connection to Dhanraj? Watch to find out.

Ravi Teja is one actor that I know has the talent to be amazing on screen. Yet his mass form of acting and dialogue delivery is one that does entertain as well. In Veera, the actor delivers his normal antics in a different light as usual. He may have succeeded had it not been for bad writing and a logic lacking screenplay. Taapsee Pannu is one cute actress that I have faith in but her role of Aiykee is limited to say the least. Strutting in designers didn't make her role any more enjoyable but what worse is that your expectations are completely shot and your left asking for more. Result, the actress leaves little to no impact at all. Kajal Aggarwal has more depth in her role but in all honesty, she too has very little to do and has done the bubbly character before, although not in such mass action flick. It would be great if she selected roles that were not only different but she looked the part as well. She puts in her two cents worth but seems completely out of place in some areas. Brahmanandam and Ali try their best to lift up the proceedings with their comedy and succeed to a degree. Sridevi returns after a few years of marital bliss but hams severely. Roja is forgettable while Shyam doesn't get much of a chance this time around to make a mark. However, he is ok when he is on. Supri, Pradeep Rawat and Rahul Dev simply do a repeat show of their former roles. The rest are strictly ok.

Chota K Naidu takes hold of the camera and makes it work in his favour where possible with some amazing visuals of Europe and nice handy work on onshore shots. However the good points pretty much stop there. Music by Thaman S is strictly ok and have a serious sense of deja vu. Background score does perk it up a bit as compensation but not high enough to count. Editing by Gautham Raju could have been much better but in his defence, the real culprit is the main man, Ramesh Varma. His lack of direction, in more ways than one, really brought down this film. Yes it is an action based film so it wont be accepted by everyone and some hardcore fans will love the bloody screens and graphic violence that is present in abundance. But even the good points of the film struggle to bring the film over the border. For Veera, logic has not just gone for a stroll in the cinematic liberties park,  it is non-existant. Major loopholes in logic not only drag out the film but lose the audience entirely on occasion because of disbelief. On top of this, the dialogue simply did not evoke enough emotion to engage the audience. Due to this lack of emotion, at times, it would seem the casting was completely wrong for the melodramatic screenplay and OTT dialogue.

So what does it leave us the audience with? A half-baked film that only entertains in bits.

Rating: 2/5

Manmadhudu Marathon

Holidays are a great time to catch up on movies you've missed. In my case, I got a chance to watch some old Nagarjuna flicks, courtesy of my own scavanging and a DVD combo with his latest Ragada. Unlike my usual review, this is total fangirl type reviewing so I am more biased than usual. I will attempt to be tame but no promises :P First up was Ragada but since I have already reviewed it, we move on to the next. [But I must say he looked awesome in Ragada :)]

So we continue on with a classic that was Allari Alludu. A film about the common man teaching a lesson to his Goliath or in this case, a son avenges his father honour by becoming the son-in-law of the enemy. Nag really looks like he is having fun instead of acting. Meena and Nagma add the glamour in desi and non-style respectively. But in all honesty, I kind of felt the film's item number with Ramya Krishnan had more appeal than the two. But that could be from the chemistry they share. Anyways, main man Nag is his mass-ive best in this film with his trusty sidekick Brahmanandam. Don't look for logic, since in most cases, there is none. A fun flick with ample dosage of everything including overacting sentimental scenes and flying fights scenes. Classic stuff.

Next up was Hello Brother. I saw this film first in Tamil and loved it to smithereens. Then found out it was a dubbed film and since normal CDs were hard to come by at the time, I had no chance of finding the music for it. A totally fun, revenge comedy that is based on one of Jackie Chan's flicks, I think the adaptation is perfect for our kind of cinema. And the fact it went to Hindi with Salman Khan is a double treat. Twins lost at birth must come together to stop a revenge that will cost them their individual families and their father's life. Forgetting the logic once again, the lovelies include Ramya who is vivacious and fun as Mangatayaru and Soundarya who is adorably innocent as Ooha. Even if its one song, we also have Aamani, Indraja and Rambha shaking it up. Apparently this is the first time Rambha was seen on screen for the Kannipettaro song. Brahmi and Sri Hari aren't the only comedians with Mallikarjun, Kota Srinivasa Rao and host of others coming in to add to the drama. If the dialogue has you in splits, the songs will get your feet tapping and humming away. 

After suggestion flew back and forth on twitter from my dear friend Navya and go-to info person/freelance writer Hemanth, comes Gharana Bullodu. Another film that I saw it Tamil first and feel in love with the songs more than the movie at that tender age that I can't even remember. But the tunes of Bheemavaram Bulloda and Adhirindiro are definitely hummable even now for anyone. Of course it another David-Goliath kind of story but more than recapping the film, I watched it to bring back the Surru Summaipoddhi dialogue that was made famous by this film. Aamani and Ramya Krishnan play the leading ladies with Aamani silently going the background after a while and Ramya Krishnan taking over. I still remember nagging my mum for the silver skirt that she wore in Jaabilli. Another mass film from Nag but just as enjoyable if you forget the logic again. However I think this one showcases a more flexible Nag in Bheemavaram. No? Or maybe thats me going gaga again. :D

The last but never ever least that I had time for [considering I started in the morning on the previous day and was still up and running 28 hours later] was Ninne Pelladatha. This has to be one of my most watched films top 5 but even now equally enjoyed film. My mum felt this had a bit of DDLJ in it but I frankly didn't care. Nag and Tabu have some amazing chemistry that at certain point I had to turn the fan on for how hot they were. I know he had a mullettish thing happening but he pulled it off for the most part. And seriously, can Tabu be any more elegant and fun at the same time? But yet again, the love started in Tamil so kudos to the lyricists and writers. With either version, you still could find me in tears from laughter or drama [yes, I'm that emotional]. But what can I say. Its a family drama about two families that are split by one marriage and rejoined by another. Lots of fun, laughs, and great music. A total family entertainer and this time for a change no Ramya Krishnan.

So thats the list. Nothing major in terms of heavy duty stories but each one keeps your attention and entertains years after the films were released. But it did get me thinking that they don't make actresses like Ramya Krishnan or Tabu or the late and my beloved Soundarya anymore. Sad since I love them so much. On another train of thought, I felt in one way Nag's influence is bigger in the Tamil industry during those years since there were constant dubbed releases that reached overseas shores but this could have also been because of many never reaching the corner shop. Regardless, he is one actor you can depend on for big class and bigger mass flicks. Wonder how I am going to handle it when he retires.. :( But thats another matter to deal with IF it happens. Hope you enjoyed reading. If you haven't caught any of these films, make a trip online or to your local and BUY a copy. But don't forget to leave your thinking caps aside to enjoy the Manmadhudu Madness.

Mad about Madhavan...

This is a repost of an article I did for Bollyspice but given its relevance, I'm posting here as well. :) Madhavan definitely has the goods. But when you sit down to write what those goods are, one can't help but stumble on the words. After all, there are so many Maddy fans of varying ages. So, what do we actually like about Madhavan Ranganathan? Some may think that Maddy is simply a lovable character; some may swoon for that smile. With the release of his newest film Tanu Weds Manu we here at Bollyspice decided to reveal the top 10 things we love about Maddy! So, in no particular order, here it is. 1. His smile For those that have seen the Tamil version of Saathiya, Alaipayuthey, you may remember that the first few scenes are of a grinning Madhavan riding his motorbike. Careless and on top of the world, the scene later proved to be a tragic one, but for those few moments that grin proved deadly the ladies. Bollywood lovers weren't waiting for very long to see what made everyone swoon, remember the scene as he sweetly smiles at Soha Ali Khan when he asks her to marry him in Rang De Basanti. I'm sure she wasn't the only one that fell for him. 2. His professionalism Whomever you speak to, Maddy has always been and still is Mr. Professional. He is never one to badmouth his colleagues or make drama on the set. In an age where we hear about on set squabbles between two main lead actors are frequent, Maddy has been apart of 17 multi-starrers in his 50 film career and never once has there been a rumour of issues between him and his co-stars. 3. His versatility Even at the start of his career, he did not hesitate to try and be different. With Mani Ratnam'sAlaipayuthey he shot to fame as a 20-something year old that falls in love and learns to deal the trials of life after marriage. Within a few years he played a father of three in the story of a journey of child going back to her homeland to find her birth mother in Kannathil Muthamittaal, something which was considered taboo in the south for a long time. He then proceeded to transform into a goon in Aiyutha Ezhuthu, a role essayed by Abhishek Bachchan in Yuva, was an innocent chef who travels abroad in Nala Damaiyanthi/Ramji Londonwaley, only to turnaround and become Farhan Qureshi, an engineering student in 3 Idiots. Phew! 4. His effortless acting One thing we all agree on is how effortless Maddy is at the characters he plays. Be it Ajay Rathod of RDB, Shyam Saxena in Guru, or his latest Manu in Tanu Weds Manu, he fits the shoe no matter how big, awkward, dorky or even the downright sombre. He has openly said the role of the goon Inbasekhar aka Inba in Mani Ratnam's Aiyutha Ezhuthu was one of the toughest roles for him to do, yet whoever saw him on screen did not see R. Madhavan, but the character Inba, such is his acting prowness. 5. His style While a good physique is bound to have the women swooning and the men envious, it is not the only thing that matters when it comes to style. For our dear Maddy, he may not be from the 6-pack-body-bearing class of actors but the man has class for sure. From innocently quirky to charmingly suave, he fits the bill to the T. 6. His eyes They say the eyes are a gateway to a person's personality. Not quite sure if Maddy is showing his personality in his eyes, but they never fail to show the emotion across beautifully. From the frustration of the common man in Evano Oruvan, a Tamil remake of Nishikanth Kamat's Dombivili Fast or a Post Traumatic Stress Disorder sufferer in Mumbai Meri Jaan, he is as sincere as when he romances his leading lady Diya in Rehna Hai Tere Dil Mein. 7. His charm Give it up ladies, if you met someone as charming as Madhavan, would you not fall for him or what? I'm sure Sarita, Maddy's wife of 12 years, would have a few words to say about his wonder charm. But seriously, the appeal about it is not even the 'Oh my god, he's so hot' types. It's the type that has you giggling like a little girl while your friends smile in a jealous fits yet when you take him home to the folks... your mum will want to make him a home cooked meal and dad will impress him with his golden year stories. 8. His all round appeal Much like his charming ways, Madhavan is one of the few actors that appeals to all ages. Be it the youngsters, the kiddies, the parents or old timers, or language, be it Hindi, Tamil or Telugu, Maddy has a fan base that shows their support. In fact, his Tamil film Priyasakhi, which was later remade as Shaadi Kar Ke Phas Gaya, was the first Tamil film to ever be dubbed in the South African language, Zulu. 9. His determination Fixed formulas and sentiments go hand in hand with Indian cinema and especially with our "heroes". As mentioned, Madhavan not only changed the rules by his choice of films but every time he was shunted as a typecast because of his appearance, he came back with something innovative and different. 10. He's all heart When it comes to giving a helping hand, the humanitarian in Madhavan is always present and ready for action. From being an active member of PETA and winning the cutest male vegetarian award while Kareena Kapoor won the female one, to being a part of the AIDS Awareness program initiated by Richard Gere, to featuring in fellow actor and friend Suriya Sivakumar's Agaram Foundation campaign "Herova Zerova" to promote educational awareness, Madhavan has utilised his fame to do his bit for society. Now whether your reason for being Mad about Maddy is on the list or not, there is one thing that is undeniable. Madhavan is one sensational actor with a heart of gold.