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.