Yaradi Nee Mohini tamil movie

Banner:	R.K. Productions PVT. LTD.
Cast:	Dhanush, Nayantara, Raguvaran, Karthick, Karunas, Mano Bala, Viswanathan
Direction:	Mithran R. Jawahar
Production:	Dr. K. Vimalageetha
Music:	Yuvan Shankar Raja

Will Dhanush deliver his best in a candy floss love film? Will a movie on family value and emotions strike audience these days? These were the questions doing rounds in Kollywood prior to the release of 'Yaradi Nee Mohini'. However Dhanush has answered in his own inimitable style in 'Yaradi Nee Mohini'.

With Nayantara giving him the right company, the lanky actor has proved that he is just the perfect material who can do even matured roles with same ease and elan.

After an action-packed 'Polladhavan', he has come up with romance-filled 'Yaradi Nee Mohini', a remake of his brother Selvaraghavan's recent Telugu hit 'Adavari Matalaku Ardhalu Verulay'.

Thanks to debutant director Jawahar managing to retain the basic essence of the original, which sways our hearts instantly and a better performance by Dhanush, the movie strike chord instantly. It is a typical 'Mills and Boons' type of romance. A young boy comes across beautiful girl and love blossoms. She leaves an impact in his life.

An unemployed youth Vasu (Dhanush), is dependent on his father (Raghuvaran) for his daily expenses. Often chided by his father for his callous attitude, he starts to search for a job desperately.

One day he sees Keerthi (Nayanthara), falls in love and follows her to a software company, where she works in. So he works hard to get a job in that office.

And he does so with Keerti's help. Vasu is smitten by Keerthi but when he confesses his love for her she tells him she is engaged to her cousin (Karthik) who happens to be Vasu's close friend.

Sequence of events forces Vasu to visit his friend's village where Keerthi and his friends get ready for their wedding. Their parents live in a huge joint family which is headed by a conservative and strict patriarch (K Vishwanath). Keerthi does not realize her feelings for Vasu.

But in course of time, she starts to develop and affinity towards Vasu. Whom will she marry forms the climax.

A right mix of action, humour, drama, sentiments and family emotions, 'Yaradi Nee Mohini' provides a fresh feel to the audience, who had witnessed a slew of action-packed commercial masala entertainers in the recent past. The canvas is huge in the second half with a large number of family members, but each member has a role to play.

Yuvan Shankar's brisk musical score and the dazzling performance by Dhanush, Nayantara, K, K Vishwanath are the other major highlights of the movie. However the real scene-stealer is Raghuvaran. As a strict father, his natural and subtle emotions evoke applause.

Jawahar has treaded a safe path by simply recreating the original and retaining the emotions to the maximum.

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Santosh Subramaniam tamilmovie review

Santosh Subramaniam, a remake of the Telugu hit Bommarillu, is a family tale that deals with father-son bonding and relationship.

Santosh (Ravi) is the younger son of Subramaniam (Prakashraj), a successful and renowned businessman known for his impeccable taste, tough principles and rigid rules. A perfectionist, Subramaniam wants to instil the same discipline at home too. In order to establish orderliness and extreme perfection in his family members, he keeps shouting his tastes and choices, ordering everybody around; he does not even pause to consider that others may have other preferences or opinions. He consistently supervises, criticizes and corrects everything. Starting from his children's outfits to the tiniest knick-knack in his sprawling mansion, everything is obviously based on his choice.

Though his wife Lakshmi (Geetha), his elder son and daughter (Kausalya) and all his domestic help tolerate his bossy behaviour, Santosh dislikes it inwardly and follows his father's orders only half-heartedly. A charming youngster, Santosh prefers a little more liberty. He gingerly nurtures a secret hope that at least in the choice of his life partner, he will have the freedom to select her without his father's interference.

In the meantime, Santosh casually meets a girl Haasini (Genelia), the pampered daughter of a middle-class widower (Sayaji Shinde). Willingly, he follows her; lured by her childish charm, he falls in love with her. But Haasini, unlike Santosh, has been brought up with adequate freedom and has been allowed to make her choices and enjoy her life. Immature and easy-going, Haasini is like a grown-up kid who thoroughly enjoys every moment of her youth and freedom. Soon, impressed by his looks and demeanour, she too develops a liking for Santosh and is agreeable to become his life partner.

In the meantime, Subramaniam fixes Santosh's wedding with a businessman's (Vijayakumar) daughter (Keerath). In order to get his choice approved by family members, Santosh brings Haasini to his palatial house and introduces her to his whole family. He plans to retain her for a week there and hopes the acquaintance will establish a familiarity between Haasini and his family members after which, he will present the proposal to his father.

But do all his aspirations and dreams come true? Do Subramaniam and his family approve of Haasini? Are they sufficiently impressed with her behaviour? Does Subramaniam approve of his son's choice at least in this matter? Does it facilitate a better understanding between father and son? Does Haasini cooperate for the success of Santosh's plan? What happens to Keerath? Watch the intriguing film to know!

Director Raja's fine directorial skills are proved yet again in this subtle family plot. Santosh Subramaniam glitters with his exclusive imprint. Audiences move on effortlessly along with the film's sequences and characters. The mild disagreements between a strict father and a son who do see eye to eye has been portrayed with a natural touch. The sequences have an undercurrent of humour as well as naturalness.

Ravi-Genelia - their chemistry is excellent. They make an indelible impression as a bubbly pair. Prakashraj is at his best, as always. The entire supporting cast, including Santosh's friends' gang comprising Prem G. Amaren, Santhanam and Sreenath, Santosh's sister Kausalya, Keerath, Vijayakumar, Sayaji Shinde and Sathyan, the loyal servant in the household, are natural, apt and impressive.

Santosh Subramaniam's audio is already a big hit. Devisri Prasad's music is sensational and all the songs are melodious and enjoyable. Though a remake, Santosh Subramaniam has a genuineness and exclusivity about it, with some changes made to suit Tamil sentiments. Truly, a film worth watching on the big screen!

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Nepali Tamil Movie Review

Much was expected from director V Z Durai in ‘Nepali’. Featuring Bharath in triple role, hype and hoopla surrounding the movie was high. However the movie fails to live up to all expectations as it provides a deja vu.

Though the theme and storyline may sound new, the execution is very familiar. A vigilante movie which Tamil audience got accustomed watching for the past several decades.

Durai has tried to weave three different stories together. Though it begins on a positive note, it stutters as it proceeds eventually reaching the climax after much gasping and panting.

The movie has enough doses of romance, action and bloodshed. Unfortunately Durai has missed out on blending them properly.

Bharath lends credibility to the role. A matured performance indeed. After a mass commercial hero in ‘Pazhani’, he has gone miles ahead to prove that he can play serious hero in the lines of one played by Suriya in ‘Ghajini’. Though Meera Jasmine looks a bit matured for the role, she gracefully performs the task. However the real scene stealer is ‘Kannamma’ fame Prem. As a tough cop Goutham he plays to the gallery and looks typically suited for the role.

The movie revolves around Karthik ( Bharath), a software engineer. He comes across Priya (Meera Jasmine) in a hill station. After formal acquaintance, love blossoms between them.

As usual, the girl family protests their affair. Eventually the couple walk out of the house and get married. They face trouble in the form of a greedy and sexual maniac police officer. He lusts on Priya. When he tries to molest her, she gets killed. The blame falls on Karthik.

He kills the police officer and goes to jail, where he meets a Nepali social worker (Govind Namdeo), who voices for women harassed in workplace. Inspired by the Nepali, Karthik comes out of the prison to punish those who misbehave with women at workplace. He bumps off a computer engineer, a professor and a doctor dressed as a Nepali youth.

DCP Gautham (Prem) takes up the task of cracking the serial murders. Does he manage to pin down Karthik forms the crux?

The movie is filled with bloodshed, violence and gore in the second half.

The Nepali make-up sits well on Bharath though at places looks a mismatch.

Cinematographer Madhi has captured the mood really well. The lightings and background shades used by him are eye-catching and set the mood for each scene.

However the movie at many places reminds one of films like ‘Sigappu Rojakkal’, ‘Manmadhan’ and ‘Ghajini’.

Had Durai concentrated more on the slick narration in the second half, the ‘Nepali’ could have come out strong, healthy and trim.

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Arai En 305 il kadavul Tamil Movie Reviwe

Cast:Santhanam, Kanja Karuppu, Prakashraj, Jyothirmayee, Madhumitha, Ilavarasu, Kuyili, M.S.Bhasker
Banner: S Pictures
Producer: Shankar Story, screenplay, dialogues and direction : Simbudevan Music : Vidyasagar Camera : Soundararajan
Choreography : Dinesh Stunts : Great Selva
Art : Selvakumar
Editing : G.Sasikumar
PRO : Nikhil

After the mythological comedy Imsai Arasan 23m Pulikesi with Vadivelu, director Simbudevan has made a striking comeback through Arai En 305 il kadavul, totally dissimilar in terms of plot and characterisations from Imsai Arasan... Contrary to Imsai Arasan... that dealt with a fabled storyline, Arai En... has tried to project a contemporary situation with a fictitious twist.

Mokkai (Kanja Karuppu) and Rasu (Santhanam) are room mates residing in room No. 305 in a bachelor's mansion located in Triplicane. Rasu is a B.B.A. graduate; Mokkai is a high school dropout. Jobless and penniless, both youngsters crave for money and societal recognition. They are pushed to the brink when the mansion manager (M.S. Bhasker) expels them. Other residents who are friends of Mokkai and Rasu arrange for one more night's stay there for them. Snubbed in public, Mokkai and Rasu become terribly upset. They vent out their anger and insult, scold and curse the Almighty. To their pleasant surprise, the Almighty (Prakashraj) appears before them and lends an ear to their problems. Armed with a powerful device, he promises to stay with them for a week. During that time, he tries to help them out, offering solutions and assistance. But never once does He go overboard to exercise his supernatural powers for their benefit.

Soon, the week ends and Kadavul prepares to leave them. Rasu and Mokkai plead with him to stay back for one last night. Kadavul agrees, and the smart pair run away with the powerful device. But does the equipment bring them happiness and wealth? With the suddenly acquired power of the device, does Rasu succeed in his marriage proposal for Mahi (Madhumitha)? Does it erase Mahi's tainted past and reformat her fate? Does Mokkai unite with his sweetheart Bhuvana (Jyothirmayee)? Does money bring recognition, affection and relationships for Rasu and Mokkai? Arai En... offers valuable advice here! Watch the movie to know!

Both Santhanam and Kanja Karuppu have offered noteworthy performances. From comedy roles, both have moved to the main league and have fitted the bill. With élan, Prakashraj shines in any role, big or small. Unquestionably, he is the highlight of Arai En... A picture of poise and power, Prakashraj has breathed life to the Kadavul role. His performance gratifies even those who do not have belief in God's ubiquitous existence and support for his devotees. Ilavarasu, Rajesh, Madanbob, Thalaivasal Vijay and V.S. Raghavan as mansion members provide substantial value to the story. Kuyili's role as the mess owner and Jyothirmayee's mother is heart-warming. Both Jyothirmayee and Madhumitha have done neat jobs.

Soundararajan's camera and Sasikumar's art are two more notable features in the movie. Vidyasagar's simple and lively tunes are soothing. The composer has also sung a song in the movie.

Simbudevan's dialogues are a big plus for Arai En. The dialogues are punchy in addition to being preachy in certain places. Also, Kadavul's characterization is certainly convincing. This Kadavul does not engage himself in performing magic and impractical stunts. Instead, he applies his wit and wisdom to help the youngsters to solve their problems. Apparently, that is why Kadavul's character does not face an abrupt ending. He lingers on for a longer time in the world, mixing and mingling with ordinary people, learning more about their problems, by interacting with them.

After Imsai Arasan..., Shankar's S Pictures has created yet another successful production. There are enjoyable and thoughtful moments in Simbudevan's Arai En 305il Kadavul. Certainly, audiences of all age groups will love this intriguing fare!

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Thoondil tamil movie reviwe

Cast: Shaam, Sandhya, Divya, Revathi, Vivek

Direction: K S Adhiyaman

Music: Abhisekh Rey

Production: Medient In Association With Tarlac And Good Win Movies

Thoondil, a film shot extensively in London, tries to fuse romance, suspense, and drama but doesn’t fully succeed. Though the plot has some twists and turns, it is basically a melodrama about a couple that is forced to wage a custody battle over their child. Directed by Adhiyaman, the movie raises questions about biological mothers versus nurturing mothers. The plot revolves around Shaam, Sandhya and Divya, and the emotional complications that ensue when both women stake a claim over the same child.

Shaam, a handsome young man has everything in life: a loving wife, a good job, a car and all the riches that any man could dream of. He marries Sandhya and the couple begins their life on a happy note. But Sandhya has a problem: though she badly wants a child, she is unable to conceive because she cannot produce enough eggs. She learns this from her gynecologist (played by Revathy) who does her best to medically improve Divya’s chances of conceiving.

And then, to everyone’s surprise, and Sandhya’s delight, she becomes pregnant, and gives birth. Life takes on a new turn for the happy couple as they discover the delights of bringing up a baby. But just as suddenly, in a blink of an eye, everything changes. Divya, a fashion model in London, snatches the child from them. Why did she do it? Why is Shaam so helpless though he knows Divya may have kidnapped the child? Will they ever get their child back?

Adhiyaman takes a familiar plot – the triangle – and adds a new element to it: child custody. The focus is not whether Divya, the ex-lover, reunite with Shaam but will the parents reunite with their child. The director builds the suspense carefully in the first half. The flashback romance between Shaam and Divya is entertaining. The dialogues deftly illustrate the points the director wants to make, especially in a lighter vein when, through Shaam, he makes fun of Sandhya’s nose and Divya’s height!

Shaam is in his element as the hero torn between two women. We’ve already witnessed how sensuous Divya was in Polladavan, and in Thoondil, she is even sexier and appealing. She is pure eye candy in the beach song sequence. Though the film’s villain (or should one say, villy?), Divya plays her character sympathetically. Sandhya sparkles as long as she is the young wife; one she turns the young mother, she is mostly teary-eyed and sad, and her sadness weighs down the film.


Once the movie gets a little heavy, Vivek steps in to bring us some comic relief with his running gag of wooing snazzy London girls in his Nattamai Vijaykumar getup! Revathy is competent. Kaviyarasu’s camera uses the London locales interesting, but for some strange reason, the scenes look grainy, and lack clarity. Abhishek Ray, making his debut as music composer, hasn’t done a bad job at all, coming up with at least two memorable songs. However, the background score is noisy, overly melodramatic, with a lot of screaming violins.

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Vambuchanda Tamil Movie Review

Cast: Sathyaraj, Uday Kiran, Riyaz Khan, Diya, Raj Kapoor

Direction: Raj Kapoor

Music: D. Imman

Production: Jai Mataji Cine Combines

Five songs, an equal number of fights, throw in a little romance, a little glamour, a little sentiment, some slapstick and something that resembles a plot and there you have it- - a perfect formula movie. The ingredients remain constant but the only question to ask of Vambuchanda is if the script and the execution do enough to hold your attention through the movie. The makers haven’t tried hiding their obvious intentions at attempting a tried and tested mix for the nth time.
Vambuchanda begins as a love story, takes a detour about halfway through, and turns into a political tussle between two men that ends in tragedy, (with the eventual face off and payback). For fairly formulaic fare, Vambuchanda at times isn’t as predictable in spite of the regular irking clichés. Uday Kiran and Diya are in love and it is just like any other routine screen romance with generously distributed song and dance numbers. You settle into another run of the mill parents vs. lovers story but surprisingly their love finds acceptance. That’s when the story really takes off. Uday Kiran discovers that Livingston (who plays his dad) is really not his dad (twist #1) and that’s when Sathyaraj (at long last) enters as a mentally deranged old man. Flashback- to Sathyaraj’s days as a strict election officer whose tiff with a political kingpin played by Fefsi Vijayan ends with both of them losing their sanity. Now, do they regain sanity and go for each other’s throats or do their sons (Uday Kiran and Riyaz Khan) settle scores for their fathers? This is narrated to us through many distinctly melodramatic (sometimes passable, sometimes amusing and sometimes irritating) moments.
Sathyaraj’s role as the lunatic old man is as stereotyped as a mental patient’s character can be. The director tries to evoke a few funny moments at the expense of Sathyaraj through some contrived situations but most of them fall flat while some appear downright ridiculous. Uday Kiran has nothing much to do and consequently doesn’t grab much attention. Raj Kapoor as the brother of heroine Diya is an assistant commissioner and also doubles up as the director of the film. Diya flits in and out of songs and scenes making no qualms about the fact that she is there only for the glamour, a job that she has done boldly. But if anyone from the cast has left a mark it is Riyaz Khan. The actor hasn’t been getting roles worth his talent of late but he impresses here, especially with his fury and emotion. Technically, Vambuchanda rises above what a mediocre masala movie generally delivers. Bulk of the credit for this should go to V.T.Vijayan’s editing, with the camera not doing too badly either. Music doesn’t offer much except for one number, Thaal Thiravai by Jyothsna and Naresh Iyer that stands out. Directorially, Raj
Kapoor’s effort lacks in vision and attention to detail. There are certain glaring errors that appear a bit amateurish and should not be seen in a movie of this budget. Also care should have been taken to avoid meaningless clichés like the costumes worn by women at the Ayurvedic resort in Kerala where the final part of the movie takes place.As in any such movie the ending to is highly melodramatic to the point of being testing. But we have seen similar stuff before, haven’t we? On the business front, Vambuchanda is a movie clearly aimed at the smaller centers and its fate will be judged only once it percolates down to the B and C screens

Sourse: behindwood

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Thotta Tamil Movie Review

Cast: Jeevan, Priyamani, Raghuvaran, Livingston, Mayilusamy, Santana Bharathi, Mallika, Sabitha Anand, Vagai Chandrasekar, Vishnupriyan
Direction: Selvah
Music: Srikanth Deva
Production: Ram New Light Productions Ltd.

it is obvious that Jeevan is in the path of shedding his earlier image of crookedness on screen with this blend of action and sentiment. However, director Selva’s Thotta offers nothing new and is a hodgepodge of all commercial ingredients that includes a past-its-sell-by date plot and other inevitable elements such as songs, stunts, love, sentiment, and sacrifice. Priyamani, and a sub plot involving her desire to become a cop, is what makes the movie a little interesting.
Jeevan’s mother is beaten to death by his father,Rajkapoor, and Jeevan is driven away from home. The kid finds shelter in a shady cop’s arms, Sampathraj, who eventually trains him under the auspices of another thug to raise him up as a ferocious hoodlum. Jeevan grows to become a terrifying gangster. However, when he is given orders to throw acid on Priyamani to disfigure her, he falls in love with her instead. Priyamani aspires to become a cop and Jeevan helps her fulfill her wish. In the process, Jeevan brings her to Sampathraj who demands that she sleep with him to help her get the job. Jeevan comes to blows with his mentor and takes a vow to get Priyamani the job without his help. In an unprecedented climax, he helps Priyamani prove her mettle in the shooting test eventually gaining her the job and fulfilling her ambition.
Jeevan is at ease playing the thug and proves that he can emote well- watch the scene when he takes revenge on his father for his mother’s death. The script has scope for nothing more than a typical action hero’s antics and Jeevan pulls it off successfully. Priyamani has all it that takes to be the next bombshell. She scorches alongside Jeevan with skimpy outfits in songs and plays her part to perfection in other scenes where she’s required to act. Other performances worth mentioning are Sampathraj, Livingston, Saranraj, Rajkapoor, and Chandrasekhar. Mayilsamy’s comedy doesn’t blend with the flow and is tiresome in places.
Balamurugan’s camera flips from frame to frame to provide the scenes with the necessary action-flick effect. T. Ramesh’s dialogue strikes the right chord in a few places. Srikanth Deva’s music is deafening, typical of an action-masala flick.
All said and done, Thotta seems to be director Selva’s attempt at reviving the 80s mindless action adventure flicks with an overdose of mother sentiment and sacrifice.

Sourcs : behindwoods

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Sathyaraj Goundamani fare - Tamil Movie Thangam

Thangam has a usual story that suits Sathyaraj brand of entertainment with the addition of sister – brother sentiment. Thangam is a simple story of a tug of war between two families. It is a story of friends turning foes.

Set in a small town near Coimbatore, ‘Thangam’ portrays two families headed by Rajendranath and Mahadevan respectively. Thangam (Sathyaraj) is the son of Delhi Kumar and Aaruchami (Shanmugaraj) is the son of Mahadevan. Kaalai (Goundamani) is the uncle of Thangam.

Thangam and his sister Bhagyalakshmi (Jayashree) share a special attachment. The sister finds a suitable girl (Megha Nair) for the brother, who tries hard to arrange her marriage in a grand manner.

The two families turn foes because of the local MLA, who is corrupt. The MLA wants to get rid of Rajendranath, who commands respect in the constituency. He gets close to Aaruchami, who is jealous of the respect commanded by Thangam and his family.

The story has many twists and turns. Aaruchami, a compulsive womanizer, woo Thangam’s sister and makes her pregnant. Thangam, who is mad of his sister, makes Aaruchami marry him. Aaruchami commits a murder but Thangam accepts the responsibility and go to the jail to save Aaruchami, to make the marriage of his sister possible.

Later, the relationship between the families is affected further with Mahadevan revolts against Rajendranath to make his son Aaruchami as MLA. In the process, he commits a murder and gets punished.

The battle gets worsened. Rajendranath and Bhagyalakshmi are killed. The rest of the story narrates how Thangam avenges for the murders.

Director Kicha has no pretensions. He makes it clear that he wants to give us an entertainer loaded with sentiment, action, and comedy. He does it with a well crafted script and the comedy of Goundamani – Sathyaraj combination. He narrates the story without making the audience feel boredom. He has paid much attention to the comedy and the smooth narration. The way Thangam takes on the rivals is worked out well. Especially the death of the MLA has been well conceived and executed. The sentimental scenes fail to appeal and the action sequences too are not that impressive.

Sathyaraj has no challenge or whatsoever in the film. The role is a routine one for him, which he handles with ease. He scores points in action and comedy but appears less convincing in sentimental scenes.

The highlight of the movie is Goundamani’s comeback. The veteran steals the show with his sharp satire and voice modulations. His take on the current political scenario is hilarious.

Shanmugaraj registers an emphatic performance as Villain. His eyes and body language do the magic. Bala Singh is excellent as a cunning politician. Others including Mahadevan and Rajendranath have done their respective parts well.

As far as Megha Nair is concerned, she has little scope to showcase her acting talents. The tall girl looks fresh and tries to impress in emotional scenes without much impact.

Music by Srikanth Deva is just about okay and camera work by D. Shankar is competent.

Overall, the movie has nothing new or novel to offer. But it does entertain with a good script and comedy element.

sourse : indiaglitz

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Indiralohathil Na Azhagappan Tamil Movie Review

The movie begins with an ‘opening song’ introducing the hero. The rule of Vadivelu, who dons three different characters and four different get ups, starts from the word go. The movie, written and directed by Thambi Ramaiah, who has penned many comedy tracks to Vadivelu, revolves around a human being making merry in the heavenly world.

Azhagappan (Vadivelu) is a member of a theatre group. One fine day an unlikely visitor from the heavens stumbles upon him and almost falls for him. The beautiful trio of the heaven – Ramba, Thilothama, and Urvashi – comes to the earth to enjoy its “beauty”. While the others get back to where they belong to at the right time, Ramba (plays by Suja) looses her track and gets into trouble. Vadivelu accidentally helps her to go back to the heaven. She gets him to the heaven during the night and sends him back to the earth early in the morning.

Frequenting to the heaven and the hell gives Azhagappan an idea of what is happening in the other world. He is not serious about his rare opportunity to see the Devendran (king of all deities – played by Vadivelu) and the deities but the death of a neighboring child changes everything. He takes thing seriously and wants to teach a lesson to the deity of death (Yama Dharma Raja – played by Vadivelu again).

Vexed with the death and the ways human beings are treated with in the hell, Azhagappan decides to tamper with the process of life and death. He wants to tamper with the laws of the gods. The gods get anger and Azhagappan pays the price. Comedy turns into tragedy, as he is in for a big trouble. Naradha (Nasser), as usual, makes amends to bring up the climax.

Ramaiah has chosen a premise that has potential to provide us with hilarious moments. The fantasy element peppered with mythological aspects is utilized well to entertain the audience. The initial scenes portraying Indran and Yaman in a different light are enjoyable. Ramaiah – Vadivelu brand of comedy is at its best when the characters are introduced in the heaven and hell.

Post interval, the film looses track, as the director steps into sending out message to the public. The fantasy crosses the limit and the movie slips into sentiments and stereotypes. The proceedings leading to the climax are testing our patience. The build up to the predictable climax is irritating.

Vadivelu’s powerful and colorful performances in three different roles are commendable. He is stunning as Yaman, though Ramaiah has gone overboard in shaping the character. As Indran, Vadivelu scores with his expressions. Azhagappan is Vadivelu’s usual character, which he handles with ease. His body language is amazing, so much so that even ordinary dialogues sound comical with the help of his body language. His rendering of dialogues in pure Tamil is fantastic, barring some hiccups in pronouncing a couple of letters. His portrayal of the old man is quite effective. The way he has differentiated the three characters by rendering three different voices and modulations are praiseworthy. Hats off to Vadivelu.

Nasser’s cool handling of Naradha role adds the impact, while Suja looks good and provides glamour to add variety. Others, including Manobala and Sumitra are competent. Shriya sizzles in the item song. The song lives up to the hype.

The music by Sabesh Murali is effective. The songs are humable. The background music in Yamalogam is powerful. Cinematography by Gopinath is excellent. The different colors used for Indralogam and Yamalogam are noteworthy. Thotta Tharani’s art work in creating the heavenly worlds is marvelous.

Overall, the movie impresses in bits and pieces. It lacks consistency. The second half, filled with stereotypes and dull sequences, is dragging. Had Thambi Ramaiah worked out a better script based on the same premise, the movie would have been far better. Still, you can watch it for Vadivelu.

sourse:Indiaglitz

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Kallai Tamil movies Reviews

It is but natural that Tarun Gopi’s second venture after the successful ‘Thimiru’ has been awaited with a lot of anticipation. While ‘Thimiru’ was in no way an outstanding movie, it did have the right ingredients to entertain. Hence Tarun Gopi gained the reputation of a director with potential to provide entertainers.

Tarun Gopi, in his second venture ‘Kaalai’, has roped in young and happening Silambarasan and this has triggered the anticipation further.

Tarun Gopi has worked out a script that has lot of twists and turns. The director has different threads, cleverly interwoven, to provide an engaging fare on screen. The initial scenes lead you towards a particular direction but a few other avenues open as the film moves on. Tarun keeps on surprising you right from the first scene, when Lal (Deputy Police Commissioner) is introduced as an auto driver.

The surprises continue with other characters getting introduced. The confusion over the name Jeeva makes an interesting suspense as to who is against whom and why.

Silambarasan is introduced in a typical way with a fight. A song, in which Nila sizzles along with white-skinned babes follows soon to make the introduction complete.

Meanwhile, the hype created to Silambarasan’s character has gone a bit too far. You are amused to see everyone showing much respect for him as if he is the prince of a kingdom. Later the mystery is revealed when the Theni track featuring Seema, the godmother of Theni, is told. Silambarasan is determined to avenge her death. The killer is the Deputy Commissioner. Incidentally (predictably?) his daughter loves the hero.

The first half moves on deftly playing with the confusion on the name and the second half shows how the all-powerful hero completes his mission. Meanwhile, you get to see some gals including the beautiful and curvaceous Vedhika dancing around Simbu, a smart dancer, in skimpy clothes.

Tarun Gopi is successful in narrating the story with speed despite many loopholes and logical weakness. The way he has clubbed the various threads is commendable. However, many scenes resemble ‘Thimiru’. The hero coming to the city in the disguise of a student, a girl sending a troupe to catch him, and the fight sequence in the bus stand have striking similarities with ‘Thimiru’.

Moreover, the narrative is too loud and it lacks finesse. The hunting game becomes redundant after a point and the build-up to the hero goes to the extent of being irritating. The young director must think new ways of approach for action films.

Silambarasan handles the ‘omnipotent hero’ character with confidence. He has worked hard in stunt scenes but looks less convincing while taking on the hefty villain in the climax. Dancing is his forte and he hasn’t disappointed in this area. But he must seriously think over doing stereo-typed action roles if he wants to develop his career as a multi dimensional hero.

Vedhika announces her arrival as the potential glam girl of 2008. This one with a beautiful and innocent face has just the right figure to take up glamour roles.

Seema is quite impressive as the godmother. She has succeeded in bringing out the power wielded by her through her eyes and body language.

Lal’s performance is emphatic. But he looks uncomfortable in the police dress. Sangeetha stands out in the meaty role with her powerful display of emotions.

Music by G.V. Prakash is just above average. A couple of songs featuring Simbu and Vedhika are good.

The bottomline: Tarun has managed to give us an entertainer but the loopholes and clichés mar the impact.

Courtsey : Indiagliz

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Pazhani Tamil movie Reviews

Director Perarasu is not a kind of director, who gives any work for your brains or caters to your fine sensibilities. He always attempts to make an entertainer with scant respect for logic or novelty. He has done this earlier and ‘Pazhani’ is the newest addition to this list.

Perarasu makes his intentions clear by putting the tag line that goes like this: “commercial panchamirtham” (commercial treat). He hasn’t deceived the fans of masala flicks. Right from the first frame ‘Pazhani’ tries to entertain the audiences with 100% masala stuff. One wonders if Tamil audiences are still fond of such flicks. Directors like Perarasu should ponder over the fact that the average viewer has been rejecting this kind of stuff and encouraging meaningful attempts.

The film opens and ends with jail sequences. In both scenes the hero (Bharath) is seen behind the bars. The happenings from his release and his re-entry to the jail make the whole film. The hero, who comes out of the prison, puts his sister’s life on track through his heroics and goes back to the prison as a martyr.

The protagonist was put behind the bars when he was ten years old. He killed his father who made his mother’s life a hell by exploiting her to cajole his ‘keep’. He went to jail and his father turned an aimless vagabond. The boy’s elder sister grew up (with whose help?) and got married to a businessman (Biju Menon).

The innocent girl (Khushboo) is living in a fool’s paradise, believing the man, who is actually an anti social element.

But she need not worry about anything. The hero, who is now 25, has come out of the jail. He gets a job in his sister’s house without revealing his identity. He unearths the shady deals of his sister’s husband and reforms him and puts his sister’s life on track. Meanwhile he finds his ladylove (Kajal Agarwal).


By the time the film ends we are tired of seeing so many fights (Bharath is fighting with somebody once in every five minutes) and frustrated with the love track and irritating sentiments.

It is a futile exercise to analyze the plusses and minuses of Perarasu’s movie, as he makes no pretensions of logic or reasoning in his script. He is so convinced about his formula that even a couple of defeats haven’t made him think about the way he approaches a film. All that we could say is that this has gone beyond a point and that it could backfire.

While we could understand and appreciate Bharath’s quest to become an action hero, which could propel his career and put him into the top list, we would like to remind him a fact that sheer action without any substantial story could jeopardize his goal. The young man is actually evolving as a fine actor with skills to handle action roles. He could create a niche for himself with this combination and hence he must rethink deeply about his attempts to become just a masala hero.

Kajal Agarwal looks fine and fresh. She dances with energy. Her debutant venture fails to make any impact, as she gets no scope to show case her talents as an actor.



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It is like a piece of cake for the veteran Khushboo to depict a majestic house wife, who becomes a victim of her own husband. The actor provides a powerful performance in a routine role. Biju Menon as a shady businessman is quite credible. His expressions are flawless. Aishwarya as the second girl in Biju’s life (why Perarasu is so obsessed with ‘keeps’, by the way?) is competent.

Perarasu’s dialogues are sharp at times but they tend to ape T. Rajender’s style in many places. The punch dialogues are quite comical. He has compensated for the lack of comedy with the love track and the lengthy ‘punch’ dialogues during every encounter between the hero and the villain(s).

Jokes apart, Perarasu must do away with offensive comments on the colour of a skin.

Srikanth Deva has tried his best to suit the overall mood of the film. His tunes are peppy. His BGM ably suits the masala provided by Perarasu.

There is nothing to rave about cinematography and other technical aspects in a film that concentrates on mad heroism and clichéd sentiments.

Overall, the movie would entertain you if you love Perarasu brand of entertainment. Otherwise, you might end up cursing your stars.

Courtsey : Indiagliz

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Vaazhthugal Tamil movie Review

Director Seeman’s ‘Vaazhthugal’ has dealt with many dimensions of today’s life. The movie, without lashing out any attack on anyone in particular, tries to draw our attention towards today’s lifestyle that gives little room for finer elements of life and amicable coexistence. It also, rather indirectly, underlines the importance of adoring one’s mother tongue, which is inherently linked with one’s culture.

Seeman, known for his social outlook, has narrated a story of two pleasant families with divergent outlooks on love. Both families believe in human values but differ when it comes to love. Can a girl and boy love each other without hurting the elders and deep rooted family values?

Kadhiravan (R Madhavan) belongs to a small family that has high values. The noble hearted Kadhiravan is the head of a software firm. He is skeptical about marriage, as he is scared by the bitter marital experience of his friend, whose parents have gone to old age home.

He is forced to rethink by Kayal Vizhi (Bhavana), the enchanting agriculture student, who has got international acclaim. Kadhiravan gets to see her interview in a TV channel which reveals her wonderful outlook towards life and relationships.

The interview shows her grand big family with full of aunts, uncles and cousins, with Tamil names and ruled by the majestic grandpa (portrayed be Na. Muthusamy of Koothu-P-Pattarai). The home is full of sweetness and unadulterated love.

Kadhiravan, impressed by the girl and her values, falls for her. He particularly loves her family, which adores its elder members. He realizes that he has found his girl and decides to change his mind towards marriage.

He wants to win the hearts of the family members instead of approaching them formally fearing the possible rejection. He enters into the house in the disguise of an interior decorator and wins the heart of everyone, including Kayal. He finishes his hidden mission just when he finishes the job of renovating the huge house.

The problem erupts when the family, which doesn’t believe in love, comes to know about the love. No one in the family is ready to accept the love, as everyone fears that love would ruin the family. How Kadhiravan and Kayalvizhi break the ice forms the rest of the story.

Seeman has to be commended for making a film that makes us think about our life style and changing values. He has driven home the strong message to society to care for others, especially the elders. He has also shown that one could make a film without showing anyone as baddie. The scenes that portray the blossoming of love are poetic.

His penchant for Tamil language is praise worthy. His effort to go for 100% Tamil even at the expense of reality in certain places is admirable, given the overall atmosphere in the society, where the place for the ancient language is shrinking. Someone has to bell the cat and Seeman has dared to do that.

However, there are certain flaws in the screenplay. The grand joint family falling apart over the issue of love is not convincing. The grandpa’s instruction to everyone in the family to deal the issue with affection sounds good. But the way it turns out to be violent is hard to digest. It is hard to believe that the love shared by the traditional family members is not deep enough to withstand such eventualities. The pace of the movie could have been better.

The climax, however, is convincing. The dialogues between Kadhiravan and the grand father are on love, have been well written.

‘Chocolate boy’ Madhavan, as a kind hearted entrepreneur, is a delight to watch. His pleasing expressions strengthen the character and the message. He scores highpoints in romantic sequences. His expressions in emotional sequences are competent.

Bhavana as Kayal carries the role of a cute young girl with a lot of love and affection, with ease. She is quite expressive and energetic. The girl is known for deglamorised beauty and Seeman, who is not the one who tries to thrive on the glamour element, has utilized her elegant charm commendably.

Seeman has introduced a few new faces. Na. Muthusamy, one of the founders of the unique theatre group Koothu-P-Pattarai, impresses with his majestic looks and authentic expressions. The man, who has a hand in shaping up the talents like Pasupathy, handles his role with amazing ease. He excels in the climax.

Artist Trotsky Marudu, another debutant, looks cool as the father of the hero.

Venkat Prabhu, as Kadhiravan's friend, provides some comic relief. He handles his role as an experienced actor would do.

Yuvan Shankar Shankar Raja’s songs are tuneful and melodious. The songs Chinna Chinna, Azhagu Nila (written by Paaventhar Bharathidasan), and Kannil Vanthathum stand out. Na. Muthukumar’s lyrics go in tandem with the theme of the movie. Cinematography by Sanjay is beautiful.

Overall, ‘Vaazhthugal’ is a worthwhile effort by Seeman on the changing values of our society, with a positive message.


Courtsey : Indiagliz

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Bheema Tamil Movie Review

lot has been told about the delay over Bheema. Some doomsayers even predicted that the movie would not see the light at all. But the team of Bheema was unperturbed. Vikram once said, "Bheema is a sure winner irrespective of when it comes. It is worth waiting for such a film".

Now the movie has seen the light and it has vindicated Vikram’s words.

The whole team deserves applaud for providing us a neat entertainer. Lingusamy, Vikram, Prakash Raj, Ashish Vidyarthi, Raghuvaran, Kanal Kannan, Harris Jayaraj, R.D. Rajasekar and S. Ramakrishnan have done their best to make it a smart and stylish action film. And you have the charming Trisha as a gentle breeze amidst a powerful storm.

The story is all about a tug of war between two underworld gangs trying to outsmart each other. Periyavar’s (Raghuvaran) group is bigger and more powerful, while Chinna’s (Prakash Raj) group is struggling to gain strength.

Enters Shekar (Vikram). The powerful man adds new life to Chinna’s gang. He challenges Periyavar’s powerful troupe and puts China on top. He is the man who grew up seeing Chinna as his ideal. He is a man of steel - physically and mentally. He, as Chinna tells once, bears everyone on his powerful shoulders like the Bheema of Mahabharatha.

The gangs are targeted by the new police commissioner (Ashish Vidyarthi) and the three pronged hunting begins.

Lingusamy has worked out a strong script and executed it with aplomb. He has excellently handled his cast to make it an entertainer. He has to be commended for not restoring to any gimmicks in the pretext of providing entertainment. He is also bold enough to avoid a comedy track, which would have been an irritant in the script.

The characterization is near perfect. Like the legendary Bheema, Shekar is always ready to attack, unmindful of who stands against him. If he puts a step forward, there is no looking back. Powerful, straight forward, and fearlessness. Lingusamy, with the able support of dialogue writer Ramakrishnan, has shaped the character remarkably well. The relationship between Shekar and China is well portrayed.

Likewise, his handling of the track of gang war, entwined with police action, is quite smart. The climax is something unexpected. The picturisation of the songs is spectacular.

Vikram has lived up to the expectations with a dominant and flawless performance. If his hard work to become physically strong is praise worthy, his efforts to transform himself as the character are stunning. He reflects the essence of the character both physically and mentally. His body language - particularly his eyes - is awesome. He breaths fire in the stunt scenes. The fights in the rain and in the construction site (intermission point) are astonishing.

He also scores in romantic sequences, which are very less in this action packed movie. He brings out the transformation in his character because of love in a lovely manner. Hats off to Vikram.

Trisha gets her share in the action movie and succeeds in adding colour to the film by spreading her charm. She looks ravishingly beautiful in songs. Her eyes and minute facial expressions are pleasing.

Prakash Raj comes through out the movie. His character is so powerful that he looks like a second hero. The versatile actor has brought a new dimension to the character of a gangster.

Ashish Vidyarthi in a small yet significant role is competent. His portrayal of a smart police officer, who means business, is flawless. Raghuvaran as Periyavar impresses but his histrionics have become predictable. Sherin in ‘Rangu Rangamma’ is impressive.

Kanal Kanan (action) and Rajashekhar (camera) have added immense value of the film. Kanal’s setting up of the fighting sequences is certainly a treat for action movie lovers. Rajasekhar’s camera work is brilliant. The shooting of intermission fight in the darkness stands out.

Harris Jayaraj’s music, which is already on top, fits well in to the movie. Almost all the songs have come out very well.

Overall, Bheema has lived up to the expectations up to a large extent. Lingusamy and his powerful team have succeeded in presenting an action oriented entertainer. True to its name, Bheema is a power packed action entertainer.


Courtsey : Indiagliz

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Billa Reviews

Actors: Ajith, Nayanthara, Namitha, Prabhu Ganesan, Rahman, Rose Dawn
Director: Vishnuvardhan
Producer: L. Suresh Balaji
Story: Javed Akhtar, Salim Khan
Screenplay: Vishnuvardhan
Music: Yuvan Shankar Raja

Billa Movies first part realese in 1980 hero Superstar Rajinikanth
now Billa 2007 Release in Dec 14 hero Ajith

The worst piece of Billa was Ajith's pathetic performance. Prancing about like a Korangu than a seasoned actor, Ajith looks wooden in most scenes. There's absolutely no range in his emotions or his dialogue delivery.

One of the crucial scenes in the old Billa is when the Deputy Superintendent of Police (Balaji) convinces a street performer Rajappa (Rajnikanth) to impersonate the don after Billa's death. That memorable scene was handled with great finesse by Rajnikanth but completely messed up by Ajith in the new Billa.

While the story of the new Billa - filmed mostly in Malaysia - broadly follows that of the old Billa, the remake's story is disjointed with a careless screenplay that is frequently jarring. To put it succinctly, Billa is the eponymous story of a ruthless criminal and the efforts of the police to capture him and his gang.

Although a movie belonging to the action genre, much of what passes for action in Billa, whether the car chases, the killings or the fight scenes, are downright pedestrian and have been beaten to death in other movies. Hardly anything to write home about let alone savor.

Even the opening scene in Billa in the airport hangar was nothing extraordinary.

Adding to viewers' agony in Ajith's Billa are the two so-called actresses Nayantara and Namitha

In the Seval Kodi song, Ajith looked ridiculous prancing about in jeans while everyone around him is dressed in religious garb. Is there no limit to nonsense

Rating for Movie:
Kumutham : Billa Movie 42 / 100
Vikatan : Billa Movie 42 / 100

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KALLOORI Reviews

Cast: Tamanna, Akhil, Hemalatha
Music: Joshua Sridhar
Direction: Balaji Sakthivel
Producer : Sankar

After a huge, trendsetting hit, some directors consciously attempt a film in a different genre to prove their versatility while others play it safe by presenting the same kind of film under the view that that is what audiences expect from them. Kaadhal director Balaji Sakthivel falls in the latter category. And his attempt to deliver the same kind of film proves to be his follow-up film Kalloori's strength and weakness. The naturalness and realism are welcome and refreshing but the attempt to make it emotional seems artificial and forced and has the exact opposite effect than what was intended.
Shobana(Tamanna) has joined B.A(History) in the Arts college in a small town but thinks of it as just a temporary stay since she is waiting to hear about her admission into the prestigious Birla Academy in New Delhi. Initially aloof, she warms up to a particular group of students who studied together in school and so are closely-knit group in college too. She soon becomes an inseparable part of the group and shares in their joy and sorrow.

Colleges in Tamil cinema usually have no semblance of realism. When they are not futuristic, unreal buildings housing students in designer clothes, they are nondescript buildings that rarely figure in the proceedings and are little more than a place for the students to dance and fight. Professors and headmasters become comedians while teachers are skimpily dressed sex objects the students can ogle. Kalloori finally brings realism to the college campus. The fun atmosphere is nicely brought out as the students have fun in class and outside(the teachers join in too but not always). But we also see the students attend class, write exams, practise for an athletic meet and go on an educational tour. The conversations the students have, the problems they encounter, the quarrels they get into all seem real. Seeing the proceedings here, its easy to believe that Balaji trained his camera on students in a real, small-town college.

Inspite of having many main characters, each of them manages to have something special that makes them stand out. Each of them fulfils a role(Kayal is the moral compass, Ramesh is the joker and so on...) that makes the group feel complete as a whole. Their backgrounds, though mentioned only briefly, play an important part in making them three-dimensional characters rather than cardboard figures. Once we know their stories, we realize that they are laughing inspite of their troubles; they share their sorrow and not just laughter and their friendship takes on a whole new meaning. The supporting characters too play a big part in making the characters seem well-rounded. The parents and siblings are, for the most part, well-meaning characters who are sacrificing a lot to see the student succeed in life.

There have been movies(Prashanth's Piriyaadha Varam Vendum or pretty much every other Murali-starrer would be some examples) where a character silently carried love in his heart without revealing it to the object of his affection. Kalloori sees two such characters but at different times though. When the first character hesitates to reveal his true feelings, it is understandable since it can be attributed to confusion and indecision. His struggle is nicely brought out. But by the time the second character shows the same symptoms, we've had enough of it. This character reveals the feelings in a very contrasting, interesting way but it goes on for too long and tests our patience.

The final section of the film It feels completely unnecessary and is a transparent ploy by Balaji to deliver what he thinks people expect from him after Kaadhal. The climax of Kaadhal itself felt a little overwrought and manipulative but compared to Kalloori's climax, it seems very subtle and straightforward.

Tamanna is the only familiar face in the film. Inspite of her background story, it initially feels a little odd seeing her among the students in the small town. But she gradually wins us over. She looks simple but pretty and performs well. The rest of the cast is good considering they are new. Akhil and Hemalatha get the meatiest characters and so make the best impression though their expressions could use some work. The actor playing Ramesh is completely natural while the actress playing the shy one surprises with her transformation in the inter-college cultural festival. Sariyaa Idhu Thavaraa... is a nice number from Joshua Sridhar.

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