Inimey Ippadithaan

Laughter has a direct effect on the life span. The more you laugh and smile, the longer you live. But, what does that make Santhanam, an artiste who constantly works hard to make his fans laugh?
 
 With Muruganand’s Inimey Ippadithaan Santhanam is back again as a hero, this time with a bit more commercial varieties added to his comics. The comedian turned hero plays a character that takes marriage very seriously. He isn’t interested in getting hitched by his concerned parents. He wants romance and loads of it. During his pursuit for a romantic partner, he ends up in a coup that he hadn’t expected even in his weirdest of dreams and tales.
 
 Enough has already been said, reviewed about Santhanam’s comic side and an expert that he is in that field, he pulls the crowd for just that. But there’s more than just comedy in Inimey Ippadithaan. Santhanam tests the actor in him a tinge more than usual and takes the audiences with him during his emotional rides. The part where he meets Ashna Zaveri in her room after the whole drama is uncovered is a perfect illustration, proving his proficiency in acting.
 
 The actor has also offered a wide variety of comedy – there are his usual slapsticks and insult comedy, a few intelligent jokes and some very entertaining physical comedy. It’s like Santhanam’s re-adjusting to the rapidly changing tastes of the audiences. Although like in everything, the excessive comedy has its own con. One might feel Santhanam’s attempt to make a joke at almost everything, a bit redundant.
 
 Talking about redundancy, the typical over-exploited song sequences (One intro song, one for love pursuit, one love song each for the two heroines, one sad song, one bar song), stereotypical portrayal of ‘pasanga’ and ‘ponnunga’ have lost luster.
 
 As for the ‘ponnunga’, Ashna Zaveri looks like a doll and her chiseled frame is justification enough for all the fuss about size zero. She also has a strong part and does well. On the other hand, having proved to be a promising talent in her previous film, the beautiful Akhila Kishore gets to play a major character that acts as a game changer, but the scope for the character turns out to be very limited.
 
 Thambi Ramaiah is another pillar for the film and his comedies are few of the best in the film. VTV Ganesh, Aadukalam Naren and the rest of the supporting team add hue to the film.
 
 Moving on to the technical department, the songs crack smiles, but the background scores are a tad underwhelming. Gopi Jagadheeshwaran’s cinematography and Ruben’s editing, understandably merely functional, have given the film gloss. Special mention to the costume designer, the leads’ choice of clothes is a major attraction.
 

Romeo Juliet

First-timer Lakshman turns director with Romeo Juliet, the Shakespearean characters that are immortalized and remembered whenever there is mention of love. The Tamil film Romeo Juliet is also about love but refreshingly, a very practical and a realistic take (for most parts) on this ubiquitous feeling.
 
 Lakshman’s Romeo Juliet played by Jayam Ravi and Hansika is about two contrasting characters, Karthik and Aishwarya, and their journey. The theme and premise are not anything new or unusual but Hansika’s characterization emerges as different and real which you don’t expect to see in a rom-com such as this.
 
 Aishwarya of Romeo Juliet is a never-before-done role for the beautiful Hansika in her career and she has essayed it with a flourish. She fits the role perfectly and brings to table the advantages of her innocent and cute looks to give her character the right dimension. It is also appreciable that she is accepting such characters with a difference and yet playing to her strengths.
 
 Lakshman’s practical take on love and life is mention-worthy when the reel world always paints romance with only one particular hue. Instead of just glorifying the feel, the director points his spotlight on the lesser highlighted region of this emotion as well.
 
 Jayam Ravi is always earnest and sincere to whatever character he takes on and Karthik of Romeo Juliet is no exception either. He traverses the ranges in emoting and delivers with ease. As a gym trainer, Ravi is perfect with his toned body and dance movements. Humor comes naturally to him and the scene in Hansika’s flat where he is in an inebriated condition serves its purpose. His puzzled expression when he hears Hansika’s repartee at his gym is also another example of his good work.
 
 You sit up with the very first frame of Romeo Juliet that begins to pay its tribute to love right from Bhagavathar's films and goes on to Sivaji, MGR, Rajinikanth, Kamal, Karthik, Ajith, Vijay and to Dhanush’s times. An interesting idea indeed!
 
 Romeo Juliet majorly revolves around Ravi and Hansika with just a few supporting cast members. The character of VTV Ganesh as VTV Ganesh himself gives a déjà vu but the artist is effective. Poonam Bajwa is seen in the second half while Vamsi Krishna’s characterization is a clichéd one. Friends of Hansika are a neat bunch and the girl who plays Tina is noticeable. For most parts, the film travels in a uniform speed but towards the end, near the climax, it becomes a little prolonged. The predictable ending also does not help much.
 
 Sounder Rajan’s camera work is functional and adhering to the script. Imman’s tracks are utilitarian and the picturization of the number ‘Idharku Thaanae’ is novel while the same thing cannot be said of the ‘Dandanakka’ number. An already very popular track such as this could have been shot with a lot more zing.
 
 

Kaaka Muttai

Kaakka Muttai directed by debutant Manikandan and produced by Dhanush and Vetri Maaran has recorded much acclaim in many international film festivals. When such a film has its theatrical release, it comes with an age old tag of being slow, off-beat, non-entertaining and gloomy.
 
 But Manikandan’s Kaakka Muttai is a non-conformist in its own way and comes across as a cute, beautiful, feel-good, original product that leaves a smile on your face when you exit the theatre and renders a delightful feel even while chewing the cud later on.
 
 The oneline of the story is the pursuit of pizza by two young brothers from the slums. An idea or a theme such as this might appear vague on paper but Manikandan has masterfully translated this into a well-scripted visual tale that runs at a crisp duration of one hundred and seven minutes.
 
 The biggest plus of the film is its casting. The boys, Ramesh and Vignesh are terrific and natural justifying their National Awards. Kudos to Manikandan for spotting them! You never get the feel of watching someone act in front of the camera. The younger one, the cutest and cuddliest of them, rocks with his performance especially with his retort in front of City Centre, Chennai and laps up all the applause with his innocent antics and expressions.
 
 Their grandma is a gem. Where did Manikandan find her? When she says that only spoiled food will give out threads, you can’t help but smile. With her characteristic dialogue delivery and body language, she is every bit the neighborhood old lady that you see quite often. Joe Malloori as Pazharasam establishes what a fine actor he is.  Ramesh Thilak and his buddy are effective too. Aishwarya Rajesh makes an appreciable move to come in a totally de-glam avatar much early in her career.
 
 Dialogues of Anand Kumaresan and Anand Annamalai are enjoyable, spot-on, laden with intelligence and humor. G V Prakash is a huge strength to this pleasant tale, be it the songs or the background score. Late Kishore conveys the hope, disappointment and joy of the characters through his cuts. Manikandan himself has handled camera. The DoP in him, has worked in tandem with the director Manikandan.  
 
 Kaakka Muttai is appealing in many ways. The primary factor is its non-judgmental tone. In a film like this which is basically about the have-nots, there are many possibilities to paint the 'have's in a villainous color like how it is generally done. But, Manikandan not having resorted to this, has very skillfully revealed the economic divide without being in-your face types, conveying his ideas on the way.
 
 There is no melodrama, artificiality or high flung emotional scenes and the film rolls on smoothly. But there are sub-texts which when viewed with a different lens, will surface.
 
 Humor is the warp and weft of Kaakka Muttai that begins right from the very first anti-tobacco note when the kids fight among themselves to read it. The shenanigans of the children are charming, innocent and endearing. Some of their ideas to earn quick money like attempting to transport the sloshed men in a toy car, selling a roadside mongrel for an exorbitant price, distributing erectile dysfunction notices to a man with a girl friend and so on bring on huge rounds of applause.  
 
 An interesting fact about the film is that we never get to know the names of the characters till the end and they remain China Kaakka Muttai and Periya Kaakka Muttai for all practical purposes.
 
 The director has also softly jibed the role of media in current times and the society in general. But he never goes overboard or out-of-sync.
 
 Simplicity is the soul of Kaakka Muttai which helps it earn its brownie points. When this is combined with noble intentions and good execution, it is little wonder that the film has earned all its accolades.
 
 In all, the beautifully made Kaakka Muttai will easily be one of the gems of Tamil cinema that will please all types of audience. Go for it!

Massu Engira Masilamani

With the summer at its peak, we have Suriya and Venkat Prabhu coming out with their Masss (Massu Engira Maasilamani) in an attempt to cool it down for the masses a bit, with a breezy entertainer. When we have a star like Suriya on board, directors may sometimes go overboard in trying to play to the actor's strengths, diluting their core competencies in the process. But VP has stood his ground and his satirical touches, cheeky & funny elements are all over Masss. Of course there are a few twists in the tale as it plays along and the supernatural element to add more spice. So, to address the genre of the film, it isn't the typical horror comedy along the lines of Yaamirukka Bayamey or Kanchana 2, but a spirits-driven commercial cocktail with some purpose, motive and solid emotions too.
 
 Suriya carries the movie on his strong shoulders and the kind of energy and youthful charm that he exudes is incredible. He plays a street smart con-man and even after the entry of the supernatural elements, a consistency is maintained in his character graph and the director deserves a pat on his back. Masss is definitely an addition to his list of engaging films as he performs, emotes, dances, fights and romances with the ease of the pro, that he is. Venkat Prabhu seems to have gelled well with Suriya, and it shows on screen. To experience more on what Suriya has done in the film, just head to a theater nearby. We aren't writing anything more about his role!
 
 Since the film has some fantasy and paranormal elements, we have to suspend disbelief and just soak it in. There are a plethora of other actors such as Riyaz Khan, Parthiban, Samuthirakani, Sreeman, Karunaas, Sanjay Bharathi etc, and VP has given each of them well-defined little parts. Premgi is seen in a completely different dimension, but of course with his trademark quirks, lines and 'dry comedy'. Nayanthara and Pranitha look graceful and get a few key, pivotal scenes in the overall picture.
 
 Yuvan Shankar Raja is another heavyweight in the film along with Suriya, and his background score does all that is required - elevate, emotionally move and resonate. The Masss theme is used at the apt moments to aid the screen presence of the lead man. Among the songs, Poochandi is an enjoyable little sequence despite being dark and grungy. It is a tribute to Michael Jackson and Suriya's dance moves are exemplary. Piravi comes at a beautiful moment and quite a lot happens during its course. The film's EQ (emotional quotient) is at a peak during Piravi and it is easily the best song. The good thing is, both these songs aren't just 'song sequences' but are integrated with interesting scenes.
 
 The film's run time is a fairly crisp 2 hours 30 minutes and it is a packed affair with just a few blips along the way. Editor Praveen knows how VP's films work and being his 50th film, the experienced professional has definitely been watchful. Kudos to DoP R.D.Rajasekhar too for his 25th film, and he must have been required to keep the VFX part too, in mind, while canning many scenes. The VFX and CG works are a major factor in the film, and all the technicians who have worked on this aspect must be lauded. Given all the deadlines that the team must have faced, the overall VFX work definitely isn't tacky.
 
 Watch out for the end-credits bloopers like always, and leave the hall with a smile as Masss ought to be a satisfying experience. It has the expected Venkat Prabhu elements, the crowd-pleasing supernatural factors treated in a slightly different way and of course Suriya in all his glory.

Demonte Colony

Ajay Gnanamuthu who has had his direction lessons from A R Murugadoss makes his directorial debut through Demonte Colony, a supernatural horror thriller.
 
 Demonte Colony is one of the top haunted areas in Chennai in Alwarpet area and Ajay has used this place to weave a really scary tale involving four friends. At a time when horror-humor genre rules the turnstiles, Demonte Colony is completely fear centric and does not deviate anywhere. The duration of one hundred and fifteen minutes also helps the team to totally focus on their main premise.
 
 Talking much about the story of any film in a review spoils the fun and when it happens to be a scary thriller, it becomes all the more important not to divulge things. So let’s just say Demonte Colony is about four friends who are basically up to no good but tangle themselves in serious mess, the fall out of which is the film all about.
 
 A lone uninhabited haunted house in pouring rain, beam of light through a candle, screechy noise somewhere, doors and windows behaving weirdly, a mirror that shows a different reflection, sudden burst of sounds are some of the fixtures in a ghost thriller and Demonte Colony also has them. But in addition to these, Ajay brings a few features which are different that makes his debut flick stand out.
 
 Arulnithi, Ramesh Selvan along with debutants Abhishek and Sanath take on the role of four friends. They are apt for their respective characters and Abhishek among the new entrants, makes a mark. The Finnish actor is perfect casting with his sinisterly looks and facial twitches.
 
 The screenplay and writing is pretty neat and has the audience’s attention right through. The unexpected twists shake you up and Ajay keeps us shocked on a regular interval. There is a lot of intelligence revealed in the writing. In the guise of bowing down to commercial elements, the team has not taken a detour and has mostly adhered to the main line. That said, the presence of the lady character in the film could have been justified better although it was a breather in the heavy scheme of things. When it comes to a horror thriller, it is imperative that all the knots are untangled properly which could have resulted in a product of sharper finesse.
 
 Demonte Colony is high on fear quotient and scene after scene, especially, in the second half wallops you in unexplainable and paranormal activities going on in the screen. The main man who gives you this feel is undoubtedly music director Keba Jeremiah who with his powerful background score pushes you to the edge of the seat with your heart in your mouth.
 Cinematographer Aravinnd Singh’s contribution to bringing out the eerie feel of the film with muted lights is significant. Art director Santhanam must be mentioned for creating the period feel with his set designs. Editor Bhuvan Srinivasan has worked on the cuts diligently.
 
 Toting up, Demonte Colony made by talented technicians is worth a watch when you want to get spooked.

Purampokku Engira Podhuvudamai

SP Jhananathan’s films have its own unique traits. The director makes it a point to showcase a socially driven film in a semi-engaging milieu.
 
 Not one of those typical run of the mill kind of socio-commercial entertainer, in Purampokku, the director honestly attempts to disseminate some revolutionary thoughts, mostly on the communistic backdrop. 
 
 V. Selvakumar and his art direction team deserve a special mention since 80% of the film takes place in jail; the set looks so authoritative. There have been galore of films taken in a prison, but this film stands out for its precision to make a prison look like a real one.
 
 The director has made sure that all three heroes get equal weightage in terms of performance and screen time.
 
 Arya is the go to man for multi-starrers and he is one of the very few artists who doesn’t care about his on screen image even after being around for a long period. He should be credited for constantly encouraging multi-starrer films. As a revolutionary fighter, he has underplayed his role and has served just what is required for it. The man looks convincing as a leader.
 
 Vijay Sethupathi is a powerhouse of talent, he has proved it earlier and he has shown it again through Purampokku. There is much variety in his facial expressions and the stress that he exhibits of a hangman is exemplary.
 
 Shaam makes a profound comeback with Purampokku. He plays a tough, honest cop; a very interesting character who doesn’t go by the book always but wants justice to prevail and stands by the quote ‘law is above all’. He is a surprise powerhouse. Karthika is apt as the strong revolutionary.
 
 The songs are one of the major let downs, which stop the free flow of the film’s proceeding. They just don’t glue well with the film while the background score lacks the experience that such a strong script warrants.
 
 We do have a lot of films talking about prison, prisoners, death sentence, jailers, but not many film stresses upon a hangman and his life. Purampokku is one of the very first movies to showcase that.
 
 The film does have its fair share of commercial elements, though some of them look like a forced intervention like a dance sequence in between a high profile mission.
 
 Director’s intent to make a revolutionary fictional story filled with interesting subplots is praiseworthy. He also showcases the impact of electronic and medical waste dump. The writing, content and the intentions are strong but the execution of the overall product could have been better. Climax is the highlight.

36 Vayadhinile

Although age is said to be notional, women somehow prefer it to be shrouded under a veil of secrecy and do not like to be prodded upon this sensitive subject. However, Jyothika, known for her talents in acting, returns after eight years to what she does best, in a film that appears to proclaim her age in the title itself. 
 
 Women wear different masks in the course of the day that range from daughter, wife, mother, daughter-in-law, sister, friend and many more. Beneath all those carefully decorated masquerades, is there a REAL being waiting to take a soft peek? Would there be a dream for this being in the first place?  If yes, is there an expiry date for it and who decides it?
 
 Well, in a way, 36 Vayadhinile talks about such sensitive issues in this comeback vehicle for Jyothika directed by Rosshan Andrews.
 
 Vasanthi, (Jyothika), a government employee in the revenue department appears to be quite contented with her life with husband Thamizhchelvan (Rahman) working for a radio station, her parents-in-law and 13 year old daughter Mithila in a middle class set up.  What changes this seemingly peaceful and flat set up that drives the protagonist on a mission of self discovery is 36 Vayadhinile all about.
 
 Undoubtedly, 36 Vayadhinile is Jyothika’s show all the way. She looks fresh, glowing and owns the screen. The gamut of emotions - the pain, the happiness, the innocence, the lethargy- the lady traverses them all quite effortlessly. The block where she describes what happens at the President’s office to her friend Devadarshini is just a small example. Viji’s dialogues help her in this pursuit.
 
 However, the screenplay and writing in the film could have given Jyothika a stronger helping hand. Quantification of some of the characters with regard to their behavior could have been done better like for instance Rahman’s and the old lady’s. Abirami surfaces suddenly and her character seems forced.
 
 A film like this is expected to evoke women’s empathy and root for the character, but sadly, it is a little weak on this domain. The first half glides through, but some sequences in the second half render a docu feel to the proceedings. The turn of events in Jyothika’s life also is sudden and out of the blue resorting to quick text book resolutions, the dissecting of them will result in spoilers.
 
 Santhosh Narayanan’s Rasathe is filmed well and R. Diwakaran's visuals are pleasing.
 
 Suriya needs a special mention as a producer. While the film can be welcomed for a woman centric theme which is a rarity in Tamil films and for its protagonist’s performance, if other factors have also been taken enough care, 36 Vayadhinile would have emerged more powerful.

India Pakistan

This isn’t a film on border issues showcasing patriotism; Vijay Antony's India Pakistan is a laugh riot with no strain on the brains. Directed by N. Anand this comic-caper somehow manages to make us go in splits. Without wasting a minute, the film begins straightaway and establishes the story, yet retaining the suspense elements for the second half.
 
 This film might run low on the technicalities and the making, but considerable efforts spent on the scene flow and highly witty dialogues save the film from being a usual outing. With a simple story and a sound screenplay, India Pakistan is like those day-night matches between the biggest of the rivals, the gentlemen's game ever witnessed. Thanks to numerous characters equally allowed to score on screen, the film is attention grabbing and only a little tiring at times.
 
 Seasoned artists like Pasupathy, MS Bhaskar, Jagan, Manobala and lot other comedians evoke laughter on a regular basis and with simultaneously getting to be part of the story is a huge plus to the screenplay. Vijay Antony has become an expressive hero with time and experience, trying his hand with comedy this time. The music director turned actor has got a definite knack to select scripts that'll add value to his growing presence in the industry and also catering to the pulse of the audience. Sushma Raj plays the heroine and does her role fully with nothing much to complain except for the amateurish makeup obviously seen during the tight shots.
 
 India Pakistan is about two struggling advocates trying to resolve a civil case. When there are films being dramatic, informative and trend-setting on one side, India Pakistan is an out and out entertainer that does its job well without giving much task to its audiences. With the run-time being a spot of bother, the film is saved by a number of potential comedy tracks. Words like Aama kunju and Paavaadai might be a cliche, but India Pakistan differs because of the situation-comedy being rightly handled.
 
 Objectifying village people to be dumb and stupid might offend a few, but credits to the director for observing their innocence and using them to the fullest. Pasupathy and MS Bhaskar absorb all the limelight with their consistent performances. Jagan shouldering the film from his side also takes the equal share of the applause. Mundasuppati fame Kaali Venkat also as a comic relief adds freshness. With acceptable level of logic and the conflicts being properly interconnected, some level of writing has gone into India Pakistan despite the blind trust on the cast and the laughter elements.
 
 No experimentation, nothing path-breaking, but laugh your lungs out and leave the cinema hall with a smile on your face. To specify, watch out for the pre-climax portion happening at a shopping mall. Deena Devarajan's songs are noteworthy and the desi version of Mission Impossible theme in the BGM is creativity at it best. You might wonder why everybody is laughing real loud or you'll laugh along.

Vai Raja Vai

“Saagara naal therinjuduchuna vaazhara naal naragam aayudum” – That’s AGS Entertainment’s Vai Raja Vai best explained – a film aptly made by Aishwaryaa R Dhanush, daughter and a proven fan (with this movie) of Thalaivar Rajinikanth. Anymore said about the movie might end up being a spoiler. Hence, let’s move on straight to what worked and what didn’t in Vai Raja Vai.
 
 With an eye popping star cast, Vai Raja Vai surely drew heavy attention. Justifying the excitement, all the central actors deliver well.
 
 Gautham Karthik gets to play an average human with an extraordinary feature. Unlike his earlier hyperactive characters, the son of Navarasa Nayagan keeps a straight face throughout, which mostly goes well with his character description. That blankness in his face is well justified, for his mind tackles myriad emotions and thoughts all at the same time, thanks to his manufacturing defect (or is it an unintended benefit?).
 
 Priya Anand, who plays his girlfriend, is surely an eye candy. Her presence adds an extra color to the film. Vivekh has better scopes to score than Satish, but both have their moments in the movie. Vivekh’s combinations with Manobala tickle hard. Vasanth, Sri Ranjini and Gayathri Raghuram as Gautham Karthik’s father, mother and sister respectively and Daniel Balaji, as the greedy being with an access to a golden duck are Vai Raja Vai’s massive strengths.
 
 Coming to the powerful cameos, Taapsee is elegant, attractive and spot on. SJ Suryah surprises and kindles chuckles, but is an expendable. But, how do we phrase Dhanush’s appearance in the film? Allow us to do it as short, cool and powerful as his role – “Semma Kalaai”.
 
 Coming to the technical aspects, Aishwaryaa scores with her astuteness in the interval block, pre-climax and the kickass climax. Audiences erupt with applause in these sequences, not only for the charisma of the protagonist but for the structure in which the sequences are written, which is surely a good sign marking audiences’ appreciation to progressive Tamil cinema.
 
 While Yuvan’s songs in Vai Raja Vai have been appreciated and talked about enough, his background scores act as huge pillars to the film, contributing mightily to the suspense elements and thrills. Velraj’s mix of softness and suave in the visuals are well noticeable. For a film such as this, editing is as important as the story itself. VT Vijayan proves his finesse with his Sherlock Holmes style editing. His work contributes the much required pace for the film.
 
 All that said, the downside of this film lies with the commercial compromises. The film is kept crisp at 2 hours, but it could have been a bit more gripping had the extra songs were chopped. ‘Vandha Kadha’ song featuring SJ Suryah and the spoof sequence involving Vivekh and MS Bhaskar drags the film a bit and takes it away from a gripping tale.
 
 On the whole, Vai Raja Vai is surely a well woven tale of an ordinary man with a single extraordinary possession and the greed of people around him. Aishwaryaa has also brilliantly ended the movie with a potential lead to a joint-sequel of Vai Raja Vai and another celebrated movie. Are we looking at a potential flick featuring Dhanush and Gautham Karthik?

Uttama Villan

In the oxymoronic titled film of Kamal Haasan, director Ramesh Aravind narrates a story of remorse and redemption in a way that both endears and moves the viewers, eventually leading to an excellent cinematic viewing experience for the audience.
 
 The narrative style is new and different from the ones we have witnessed all along and Ramesh Aravind has adeptly interspersed two different time periods in this story that is replete with many sub-texts and ironies.
 
 Coming to the story, Manoranjan played by Kamal Haasan is a popular hero who seems to have it all. There is a doting wife Varalakshmi (Oorvashi), father-in-law producer Poornachandra Rao (K Viswanath), Doctor Arpana (Andrea), a loyal secretary Chokku (M S Bhaskar) and a roaring career. And then comes a point that becomes the trigger for many things to come. The mere mention of the main knot in the film will be a spoiler and there is a conscious refrain from discussing it in this review.
 
 There are many movies in Tamil cinema that have talked about the life of a film star. But the way it has been delved in Uttama Villain appears different which showcases the other side of fame in an emotional manner and tugs at your heart’s strings. The best example is the scene where Kamal bonds with his son in his garden which narrates the price that celebs pay for their stardom.
 
 The film aces in all the departments from performance to music to direction to set designs to cinematography. There is not a single area that can be said to stay behind and this works hugely for the positive feel about Uttama Villain.
 
 Performances are top class and for an actor of the caliber like Kamal, it is a sleep walk. The Hiraniyan Naadagam demonstrates the length that this gifted actor can travel, to perfect his moves and infuse life into his role. His interactions with his son and later with Parvathi or with K Balachander are guidelines for the next generation. Late K Balachander dons on a role very similar to his off screen and sure makes us miss him a lot. There could not have been a better tribute than Uttama Villain for him. M S Bhaskar has a role of his lifetime and is superb. Nasser brings in the humor quotient with his cronies and Jayaram has a small but significant character. Pooja Kumar gets an opportunity to demonstrate her dancing talent and Abirami’s voice is a plus for her.
 
 Dialogues written by Kamal himself are sharp, witty, intelligent, and mischievous. His play of words in the scene where Nasser falls sick tells us his prowess with the language. 
 
 The technical departments scream of mastery. Music director Ghibran rocks big time in Uttama Villain. If his songs are the major attraction of the film, his BGM reaches a different level and accentuates the feel of every scene, be it a heavy duty emotional one or a light humorous one. The Hiraniyan Naadagam is the highlight of the film where Ghibran’s work is intense and powerful. Shamdat’s camera is brilliant and captures the period segments regally. Major credit should be given to set designers Lalgudi Ilayaraja and Mohan Kere for depicting the royal period.
  
 A film that is high on emotional content is rare to find these days for the simple reason that it has not many takers. But Uttama Villain scores its brownie points in this domain.
 
 When you walk out at the end of the film, after the credits roll, there sure would be a lump in your throat and you would tip your hat in favor of this amazing artist called Kamal Haasan. Take a bow sir!

Kanchana 2

Looks like Raghava Lawrence, who tasted success with the earlier versions of his horror comedy, Muni franchise has returned with full vigor and confidence aiming for box office glory yet again. Has he done it again is the big question now?
 
 Horror Comedy is not a new genre by any means - Chandramukhi being one among the first Tamil horror comedy flicks that went on to make it big. But one should say it was Lawrence who took the genre to a league of its own and it is currently the most sought after genres of K-Town; thanks to Muni and Kanchana 1. Because only after Kanch
 
 Spooks, thrills and entertainment are rest assured along with a flashback in films like Kanchana but how entertaining is it, is all that matters. The core theme of the film looks pretty much the same as its predecessors and like how Lawrence managed to slip in some useful social messages through his earlier films, he has managed to knot one or two useful social messages along with the narration.
 
 Unlike the previous versions, this film is filled with more horrifying moments which only adds flavor to the film. The comedies are perhaps the highlight of the film, but it feels some of the slapstick comedy sequences looks repetitive. Nevertheless, people would still laugh their heart out, thanks to Kovai Sarala’s brilliant comical chemistry with Lawrence and the expression oriented performances of Mano Bala, Sriman and Mayilsamy especially in the first half.
 
 Lawrence as an actor has improved so much compared to his earlier films - his interesting introduction block kicking off with an array of boneless dance moves is a treat to watch. His comedy timing looks impeccable while he also scores high with fierce power packed punch lines.
 
 Let aside the logical loopholes; in fact, it is not fair to look for sanity in such films, the film keeps you at bay right through. Looks like Lawrence has mastered the genre, so well that he knows how to keep the audience at the edge of their seats. His creative imagination has made this film different from the usual horror comedy films. Editor Kishore has to be credited for his cuts, which enhanced the overall film’s pace, however a weak flashback sequence and a pretty less gripping climax pushes the film to the slower side.
 
 Vaaya Veera is easily the best number of the lot and Taapsee looks too hot to handle in the song. BGM was more functional but suited the mood, the scary female hum which Thaman has placed at critical points of the film makes an impact.
 
 Though the CGI work in the film’s climax looks slightly unconvincing, Rajavel Olhiveeran has coped all the falls up with some glossy visuals and massy scenes in between, making the overall production value look cool.

ana, people started adoring films of such kind and we have seen the industry welcoming more such films.

O Kadhal Kanmani

Revered director Mani Ratnam returns with A R Rahman and PC Sreeram to tell a feel good story of contemporary urban relationships in an endearingly titled O Kadhal Kanmani (OKK) with Dulquer Salmaan and Nithya Menen enlivening his vision.   
 
 OKK is about the change in perspective of urban youth towards marriage as an institution and also about relationships as such. The director has set his story in Mumbai and there could not be a better alternative than the most happening city to reflect the episodes of contemporary urban society. In fact Mumbai is almost a character in the film and the audiences are sure to fall in love with it.
 
Aadhi (Dulquer Salmaan) and Tara (Nithya Menen) are commitment phobic, live for the 'moment' and belong to a generation that follows Carpe diem’s principle of ‘seize the day’. Mani Ratnam balances his story very well with them on one hand and with the much matured Ganapathy (Prakash Raj) and Bhavani (Leela Samson) on the other hand. It’s just not frivolity all the way but there is restrained wisdom too on life’s take. The effect that the elder couple has on the younger duo is showcased with astute subtlety that only a maker like Ratnam is capable of. 
 
 Dulquer has a boyish charm with a high instant-likeability quotient which comes in handy for his character portrayal. It’s just not fun and frolic all the way but in heavy duty scenes too, he sashays with élan. Nithya on the other hand projects the intelligent, free-willed, independent women of today who are clear in what they want but with a heart of their own.
 
 While Dulquer Salmaan is now officially a nice breezy addition to the list of actors in Tamil, Nithya Menon is 2015's answer to Mouna Raagam Revathi.
 
 Need we say anything more on Prakash Raj? The seasoned actor that he is, brings on the finer nuances of his character with a lot of dignity and understatedness. Leela Samson, dancer and former director of Kalakshetra is in a different creative medium now and has quite a substantial role to play with, which she delivers well. If casting Prakash Raj was a brilliant move, then casting Leela Samson was a masterstroke.
 
 Songs of OKK are already a hit and they seamlessly move the narrative forward. Each one is a gem and not once does a song protrude unnecessarily.
 
 Dialogues score major brownie points in OKK with their mischief laden essence and are sure to be a hit with the youth. Ratnam seems to know the exact feel of the younger populace. Makes one wonder about the age of the director! Humor glides through the film effortlessly albeit without a full-fledged comedian’s assistance. Ratnam’s characteristic tropes, rain and train, are there in OKK too and they sure energize the narrative.   
  
 Brindha shines in 'Parandhu Sella Vaa' song, while the art director, Sharmishta Roy, is very consistent in portraying Mumbai through out. Sreekar Prasad challenges all current generation editors if they can be as contemporary as him in the cuts, PC Sreeram challenges all young cinematographers if they can be as imaginatively fresh as him in the colors and frames, Mani Ratnam challenges all new age directors out there if they can be as romantic as him, and A.R.Rahman, forget it, is there anything else left for him to challenge? The great technical team of Mani was sure about making a mainstream movie, but with what elegance did they make it ?!
 
 Mani seems to be clear in one thing from the word go in OK Kanmani - to tease his audience by setting up scenes of possible cliches and then to surprise them with something else. This has worked big time for the movie

Komban

After Kutti Puli, director Muthiah returns with one more rural flick that has its fulcrum around the love-hate relationship between an old man, Muthiah (Raj Kiran) and his hot blooded son-in-law, Komban (Karthi).
 
 In the middle of this relationship, you have warring groups in the villages that have scores to settle with different people with diverse motives and intentions. Komban is basically a story that interweaves all these characters, incidents and emotions to roll out a product that is high in action.
 
 Casting of Komban is perfect with every actor fitting perfectly with their character. A much beefed up Karthi with a handlebar moustache, ever tied up dhoti and angry looks is the perfect picturization of Kombaiya Pandian. He lights up the frame whenever he is around and is the major strength of the film. As an actor, this movie is a good follow up for his previous outing, Madras.
 
 Raj Kiran as the understanding, matured but anxious dad is dignified. His interactions with his son-in-law Karthi and the hurt in his eyes every time Karthi mocks or insults him, simply state what a seasoned artist he is.
 
 Thambi Ramiah repeats his act of a maternal uncle in Komban too and is present with Karthi in most frames. Kovai Sarala brings to table her immense years of experience. As Pazhani, Lakshmi Menon’s characterization is strong and the young girl brings out the nuances of her role well. Karunas in Komban is serious and does not take charge of humor. Super Subbarayan as Gundan is menacing enough.
 
 The religious traditions of Ramnad and the neighboring places are recorded in the climax. The stunt sequence inside the prison is also a highlight of the movie.
 
 If there is anyone in the film who has worked overtime, it has to be Dileep Subbarayan, the fight master, as the film constantly and at periodic intervals is dotted with action sequences and there is always someone indulging in vigorous gravity defying stunts.
 
 Technically cinematographer Velraj has chosen to light up most of his frames in golden sepia tone and he also makes a short cameo. He captures Karthi and the stunt sequences in all grandeur. G V Prakash makes his presence felt with Karuppu Nerathazhagi number. His music during the climax is high voltage.    
 
 The problem with Komban is that we have seen such rural rage a lot before. The stunts also get one too many.
 
 However, bond between a father-in-law and his son-in-law is relatively untried and this has been quite decently handled by Muthiah.