Mission Impossible - Ghost Protocol Review

Agent Ethan Hunt aka Tom Cruise returns to save the world in his latest installment of the 'Mission Impossible' series, MI: Ghost Protocol, which is sure going to be remembered as one of Tom's best action flicks. For starters, this film is directed by two time academy award winning (Ratatouille and The Incredibles) director Brad Bird, who's only made animated films in the past. How did he manage to pull this off, a complete first-time live action feature film? Well, read on to find out how.

The world is on the brink of a nuclear war attack and there is only one man who could save it: Ethan Hunt. Freed from prison by his new team members, Jane (Paula Patton) and Benji (Simon Pegg), Ethan goes on to infiltrate Kremlin and retrieve nuclear launch device before madman Kurt Hendricks could place his hands on them. However, things turn awry and Hendricks walks away with the launch device, while Ethan is left with no other option than follow him. Through several picturesque locations such as Dubai and our very own Mumbai, Ethan and his comrades pursue Kurt to stop him from triggering off the nuclear device.

There comes a point in every star's career when he/she should stop and ponder - what next. I understand it's a tough decision to take but it is critical. Tom isn't cooler anymore, definitely not at 49. He has definitely forgotten the essence of cinema and seems to have started believing in entertainment, which he provides to the fullest. MI 4 proves that Tom is also one among those actors who believe in order to entertain audience, either show them sex or action. Because people come to theatre only for three reasons: entertainment, entertainment and entertainment.

The film is lost in action from start to finish and therefore entertains one all. Brad Bird manages to keep the thrill factor alive throughout. Thanks to his theory of bringing in 'anything-is-possible' theory that he uses to orchestrate most of the stunts in the film. Even when you wonder over the stunts, asking how is it humanely possible for someone to do all that, you're instantaneously confronted with Brad's theory.

The writing department didn't have a super plot. It was simple; there is mission that is considered impossible to pull off and therefore let Ethan loose, to go on a wild melodramatic action charade to eventually save one all. How difficult could it be? Except for the fact that Tom is not driving the story, it's Brad. If you're a diehard fan of Tom then you would notice a fast catching up trend; Tom is stuck with action films and refuses to deviate from the path, as he believes in entertaining his fans.

Hats off to the stunt team from which ever part of the world they've been brought to work in this film. I admire Tom for a simple reason that he knows what his fans want; unlimited action and entertainment and he manages to give them in the best suitable way possible. He compromises script over action by choosing the best action team in the world and thankfully that's exactly what saves the film.

For Indian fans, MI 4 was considered special, as they've been told that a good percentage of the film is shot in Bombay. However, besides the brief scene at an Indian hotel; rest of the supposedly Indian part of the film was believed to be shot in some Indian part of America. Tragic! If you still think you have a reason to smile because the film stars our own 'Anil Kapoor' then let me till you'd be disappointed, as he only plays a 'horny' rich Indian millionaire.

Duniya Review

Patriotic films are supposed to stir patriotism within you but not make one say 'this is stupid'. Unfortunately, Duniya is one of those films that will test your patience with its preposterous attempt to paint patriotism on screen.

Three friends Azhar, Vivek and Abhi share a common room in Hyderabad. Each one of them is blessed with a girlfriend and life is happy and progressing smoothly until trouble walks into their lives in the form of Noor Shah, a Pakistani religious cleric. Noor Shah is all ready to set off a series of bombings in the city with the aid of his fellow Pakistani extremists. Unfortunately, Azhar gets mixed up in the plot. Noor tries to convince Azhar to be part of their 'sacred' plan. When Azhar refuses, Noor threatens to kill his friends. What would Azhar do forms the rest of the story.

The film lags behind in all aspects, especially screenplay. The screenplay is inundated with so many loopholes that after a point of time you lose all interest in the film. The director didn't seem to have any clue about what he was doing. The attempt was juvenile and aimless, as though he just made this film to earn few quick bucks. Unfortunately, I don't think if he will be able to make any money at all.

None of the actors were worthwhile, especially the heroines. Neither did the film have any soothing songs nor any humor that adds to the entertainment. In fact I doubt if the film had any entertainment factor at all. Editing is bad and jerky. Cinematography is meager, not up to the mark. The music provided by Raman Rathod is complete turn-off, while the background score is partly satisfying. Dialogues thankfully suited the theme of the film and etched some sense patriotism in the audience. However, patriotism doesn't rely completely on dialogues, does it? Director Rao definitely needs some tutoring from some biggie to keep him alive in the industry.

In one line, Duniya is a flawed attempt to churn out patriotism in the audience.

Journey Review

After a successful debut in Tamil, A.R Murugadoss's home production 'Engeyum Eppodhum' finally releases in Telugu as 'Journey'. Touted to be a small budgeted film, 'journey' is one of the cutest films to have released in Kollywood this year, and now I'm glad people in Tollywood could say something similar.

'Journey' narrates the love stories of two couples; Amudha, Gautham and Kadhir, Manimegalai. These couples fall head over heels for each other just like any other couple. However, they have one thing in common; a journey that they have to be in to go and finally meet their significant other. All of them board a bus from their respective locations to meet each other. However, tragedy strikes, as their buses collide. What happens then forms the climax.
Debutant director Saravanan brings forth a promising story with adequate dose of romance and tragedy. The film goes well past usual heroism style story and offers audience something fresh to remember and reminisce. The director cleverly weaves together a story out of tragedy. For most of us accidents mean number of casualties. However, for Saravanan it means not just numbers but the stories dead have left behind. He narrates the story through the perspective of the dead. It is as though four persons, claiming to be lovers from the dead, wanted to tell us their story. Brilliant!

Sarvanand and Jai fit superbly in their roles, especially the former as sophisticated city youth. His expressions are praiseworthy, and no wonder he could be so good at it, after working in films such as Gamyam, Andhari Bandhuvaya and Prasthanam that have changed the phase of Telugu cinema in the past. Jai as Kadhir pours innocence on screen. His 'rural guy trying to transform into urban youth' aura is definitely to look for. He pulls it off with ease and style. Ananya, on the other hand reminds us of a characters, who yearns for love but fears its consequences. Anjali is yet another brilliant depiction of a character with super level of confidence, which is courageous, outspoken and straightforward. All these characters are very close to what we see every day in our lives. Most of us wish to love like them but fear the repercussion.

Cinematography by Velraj is convincing, while Sathya's background score brings conviction into the film. If there is one person to be credited besides the director then it definitely must be A.R Murugadoss, the producer for believing in the director and supporting to make his dream come true. Kudos to the team and they deserve loud applause. I wish there is more to come from the team.

Rajanna Review

It's been a while since I've seen a good, heart-warming film in Telugu, and now I can proudly say 'Rajanna' is one such film. Of all the reasons to watch this film, one has to watch this film for two reasons; firstly, to watch Nagarjuna in a role that he's never done in the past and secondly, to watch Baby Annie, who plays Nag's daughter. She was just brilliant in her role as 'Mallamma' and definitely becomes one of the strongest contenders for child debutant awards.

'Rajanna', inspired by true events is the story from the pages of history, telling us the struggles of people of Telangana in the 50's, while some part of the story is also fabricated in a way to suit the plot. The film narrates the story of how Rajanna, a valiant freedom fighter inspired and instilled courage into the hearts of thousands of people in the British occupied Telangana and eventually in the process helped them in achieving freedom at the cost of his life.

The film has strong dose of violence that may not appeal one and all. However, the film on the whole produces something phenomenal that completely overshadows violence and makes the attempt quite enjoyable. Also, the characters are very close to heart, as they connect with each and every one in the audience. At one point, you will cry when they cry, you will suffer when they suffer and most importantly you will celebrate when they win their battle against the British. The story is so close to heart that instantaneously bonds with you and sucks the life out of you.

Nagarjuna did a brilliant job in his role as 'Rajanna'. He had the exact amount of energy and dedication required for the role. Moreover, it was lovely watching him doing a different, matured role than resorting to roles that he's done several times in the past. Of all in the film, Baby Annie deserves a standing ovation for pulling off such an intense role with absolute ease and aplomb. Sneha and others did their parts quite well and live up to expectations.

Bouquet to director Vijayendra Prasad; not only he entertained one and all but instilled courage, inspiration and patriotism within us. He is to be appreciated for the way he handled his artistes and extracted the best out of them.

In one line, 'Rajanna' pumps the adrenaline and injects patriotism within us. The film is definitely to be watched, at least once.

Konjam Sirippu Konjam Kobam Review

One stinker after another, after another. As the third film of the week opened with an item song, an exhausted and hopefully optimistic, Me, noticed the steady grasp behind the camera and decided that this one is going to be bearable. A two star rating or so. It was when I heard the line "Ippo en power theriyidha?" that an uneasy apprehension began to set in.

Konjam Siripu Konjam Kobam is an extended version of a Tamil serial. It is ridiculously fast paced. The hero is a typical do-gooder who takes the blame for something to protect the heroine and, gets held by the collar and thrown out of his house, followed by an interval that gives you time to digest it. The heroine sacrifices her love life for the sake of uniting estranged families. It is drenched in sentimentality. It's written by someone who probably suffers from black-and-white thinking. It's not hard to guess that making it must've been a mundane process.

The hero and heroine are like chalk and cheese. Have a look at the poster and you'll agree that they look like mother and son. Both actors are unsuited for the role. It's already hard to see Mahesh as anything but Lingu, the salesman in Angadi Theru. To make matters worse, he looks and acts the same in the shoes of a neglected character. The actress is channelizing the abstract Kollywood heroine and her performance comes off as a cheap imitation. It's hardly their fault. They're stuck in a real mess of a screenplay and the director's pedestrian rendition of it doesn't help either.

A few new strokes are attempted by writer-director, Sampoornam. For one, is the desperate attempt of subliminal advertising of carnatic music by letting graphic flowers fall from the sky when the heroine sings. Another, is the presence of a communal undertone. From a business point of view, this one's a smart move. But, no film ever, has worked on a single idea. A few other ideas exist in context but they're downright stupid and do little more than bemuse you.

The things that the characters do are highly consequential, but they aren't backed up by enough psychological motivation. Just add common sense to the characters and the film wouldn't have lasted this long. You can't empathize with characters that do the exact things that you pray they don't do. Comedians Sathyan and Ganja Karuppu are not even part of the same film. They're part of a different world shot elsewhere and somehow juxtaposed with the film's events to show how much of a hero the hero is. Film-maker Sampoornam has no idea what he's doing.

Konjam Siripu Konjam Kobam lives up to only the second half of its title. I could say I'm understating but the film is just too dull to provoke you any more than that.

Vithagan Review

Parthiban says "Police na periya pudingi thaan da". Parthiban kicks in the crotch. Parthiban shoots in the crotch. Parthiban makes people retreat like mice (symbolized with a real mouse). Parthiban's evil smirk comes off as a sheepish grin. Parthiban's thunderous entry makes his enemies spiral out of control by doing things such as shooting arrows into each other's nuts and spilling hot soup over their own. His mission is to stay 'with the gun' and ensure that everyone else loses theirs. Yes, that gun.

Just as there should be in every Tamil film enters She, as a witness to a murder committed by him. She stutters hysterically. She threatens to report the incident to the police. He gives her his gun. Still, she fears him. She hitches a ride home with him. Yes, that random. He attempts to force himself on her. She responds negatively by pushing him away. When she discovers that he's actually a lying murderer hiding behind a khaki uniform, she falls in love with him. When he becomes a rowdy and moves up the ranks (courtesy punch dialogues), she proposes to marry him. She's drawn to the very things that repel her. That's probably the sort of crowd that Parthiban has aimed his film at.

What's this sick fad in Kollywood? Everyone wants to play good guy and bad guy in the same film. Singam Puli, Mappillai, Udhayan, Puli Vesham were showy gimmicks. So is Vithagan.

If you don't believe all of the above mentioned were flaws, I have some more for you. There is too much predictable gun toting. A sticky situation in Vithagan turns tables just by drawing out 'new' pistols. Parthiban has not another trick up his sleeve. Well, other than shooting dialogues at the audience every once in a while- which displays a grand generosity of willing to accommodate more members in his fan club. Almost every scene in the second half has unwanted extras staring at the action taking place. You connect more with them because their mere presence testifies in favour of your opinion- that everything appears to have been staged. The experience feels like chewing on coarse indigestible cud.

Mayakkam Enna Review

"You are like my sister. Okay?" says Karthik (Dhanush) to Yamini (Richa Gangopadhyay). You've heard this clichéd dialogue a number of times but set within the circumstances surrounding it, this doesn't come across as a movie dialogue. You know it is being uttered by a person in desperate want of a better way of conveying it. She wants him but sticks with merely suggesting it so that the responsibility of catapulting their love triangle, involving Karthik's best friend Sundar, to conclusion would fall on his shoulders. The sticky situation right here is a subplot. The film, however, is about Karthik's crawl up the slippery slope of professional photography.

The first half of the movie is dialogue reliant and familiarizes you with its characters. It also sets the tone of the film and you choose to abide by it because you're sure Selvaraghavan has something to say. The interval had me sitting in my seat puzzled and wondering about how such a film could possibly conclude. After accepting the film's serious nature, surely you expect a strong social statement from Selvaraghavan. The second half of Mayakkam Enna makes its way in as a satire. It's strangely funny especially the presence of Sundar's dad quietly offering alcohol as a solution to problems. Nevertheless, this treatment was out of place and inconsistent with the film's tone. It works independently but impedes the experience that you think the film is about to provide.

Karthik loses all faith in humanity when he is deceived by the same person he worships. The one person he idolizes. The one person he sees himself becoming. And when that person lives Karthik's dream, he is enraged beyond words and things take a foggy turn for both Karthik and Selvaraghavan. Karthik, instead of learning from the experience throws it away letting the burning passion for photography die out. He's consumed by anger, an anger that is directed everywhere other than its primary source. On feeling guilty for being responsible for a certain mishap, he has a moment of clarity; which he uses to pick up the pieces and channelize his anger constructively.

Dhanush displays fine acting talent by staying grounded with the character and delivers one of his best performances on par with his performances in Pudhupettai and Aadukalam. Richa Gangopadhyay delivers a startling performance, something you don't see coming from a debutant especially because you think this is Dhanush's movie. Her character appears to be an absolute icicle of a human being, staying cold and non-confrontational with everyone around her. She is also the character that most frequently poses for the camera with an affected smile- Selvaraghavan pointing out that we wear masks. With the movie, she melts and you see that she is a strong willed person who sticks by the choices she's made. You might want an explanation for that change, but this is not her story. This is Karthik's.

G V Prakash is the sensory motor of Mayakkam Enna. His instrumental theme brings out the epic nature of Karthik's vigorous battle for his passion. The two chartbusters "Voda voda" and "Kadhal en Kadhal" accompany the film's events well and both tracks will take turns at getting stuck in your head. The other tracks accompany montages that condense less important events while moving the film forward. Ramji's cinematography is exquisite when you peer through the lens of Karthik's camera. Otherwise, he sticks to serving the film. Mayakkam Enna has been crisply edited by Kola Bhaskar making it the director's shortest film yet.

Selvaraghavan speaks to his audience in a number of ways and his expression gets across without needing the characters to voice it. There is an undercurrent of Selvaraghavan's contempt for the younger generation in Mayakkam Enna. It's there in all the little details; you're likely to miss it on the first viewing. But if you do, you will see that there's a lot he frowns upon. Like Karthik's only association with god is when he submits his photographs with a Vibudhi on his forehead. Selvaraghavan's dialogues also hint at the strained relationships between siblings as they grow older and the competitive rivalry between their nuclear families. His characterization attests that people today are self-centered to such a point that they are eroded of their humanity. A certain sequence of scenes involving a Kumudham magazine accidentally ending up in a pile of magazines long listed for an IPC award implies that luck is always a factor in achieving success. Those scenes, in the hands of the average Kollywood director would be treated as a cop-out twist. But Selvaraghavan compiles them so tightly and with restraint that you have to pay attention to notice it. Whether you agree with Selvaraghavan or not is immaterial, he expresses himself fluently and if you listen to his voice you will find the movie's soul.

Having finished with praising the film, I'll have to point out that Mayakkam Enna has a gaping hole which questions the time capsule of its events. Don't read past this if you haven't seen the movie because there are spoilers ahead. Karthik is nominated for an IPC award for best photograph beside someone falsely credited for Karthik's photo. This implies that it took place the same year. These award ceremonies take place every year. Not only did Karthik get married, he met with a near-death experience, he healed and managed to impregnate his wife twice. So much drama in a year? Or did the earth take a break between revolutions? I know, it's just a still frame in the film but it confounds the viewer. That's not all, Yamini refuses to speak with Karthik because she's angry with him for causing a miscarriage but she allows him to re-plant his seed in her. What's this? Role-play in the shoes of a comatose patient? These things didn't spoil the experience for me but it did affect the memory of it. They didn't have to be so cinematic.

Porali Review

Poraali was my most anticipated movie of the year. I've been an admirer of the Sasikumar-Samuthirakani duo's work right from their breakthrough, Subramaniapuram. Naadodigal was a very good follow-up. What made me want to see Porali so much was the experience of being blown away by the highly underappreciated Easan. The trailer of Porali was great. Cinematographer S.R.Kathiir's artistic touch reinforced by Sundar C Babu's theme music and Sasikumar's eminent self-righteousness sold this as a scathing attack on... well, something. The trailers of the duo's films have always been free of dialogue. You just see events unfold. It only makes the movie more inviting.

When most of the scenes of the trailer and the theme music are used up within the first fifteen minutes, you begin to doubt the trailer's intentions. And you realize that is not just the misleading trailer that bothers you but that it's the intentions of two brutally honest film-makers. This is not epic. This is not serious. This is not much of a battle either. This is a comedy. A slap-stick comedy followed by an obscure plot. Silly gags such as getting whacked in the groin and Sasikumar almost kissing an old lady summon a few chuckles. Come to think of it, you laugh only because you think this is a serious film. None of the jokes are original or smart. The characters are just a random bunch of people. They have no identity and differ from each other only by their looks. No one digs deep, be it in front of the camera or behind. Sasikumar, here, is the cool guy who keeps everything under control and takes care of everyone else's problems. It is a pity though that he had to wipe sputum off the mouth of his friend to establish the character's earthiness. Relationships shared between the characters are, for want of a better word, fake. Poraali is completely absent of the verisimilitude seen in their previous films. The opening dance sets the tone for the film, that this movie is set in a small world with insignificant, uninteresting people who do things that you might find funny.

When the movie begins to take itself seriously, it does so with distinctly melodramatic tracks and speeches about living life, all of which are pitched at the audience. Sasikumar's feelings for the Sri Lankan government are also brought to light when he expresses distaste for Ceylon paratha. Porali talks the talk; when time comes for the walk it escapes into pointless violence. At the film's core is a misguided sense of idealism. What the film is trying to say is- Problems will come. They always will. You have to stay back and fight even if the probability of winning is null. It's better to die a warrior than live as an escapist. Sasikumar seemed more convinced at the beginning when he said "Be content with the life you have."

The movie is not a sum of its parts. The skewed screenplay has a disconnected structure and most scenes are completely out of place. Sundar C Babu's music is of little use to the film. 'Yaar Ivan' and 'Shambo Shiva Shambo' bear a striking resemblance to each other. The theme music, however, might just be the best I've heard this year. Sadly, it's used excessively in a film with no theme. They were probably thinking: "Okay, we have something good. Now let's make the most of it. We've got to keep the audience glued to their seat." Sasikumar flaunts his acting prowess by getting his bloodshot eyes to tear slowly and so does everyone else whenever the movie attempts to win your heart. Porali pales in comparison to Samudhirakani's earlier venture, Naadodigal. This is just masala. Both filmmakers have dumbed themselves down to the level of the average audience. Why? My guess is, to show prospective producers that they can tend to the wants of the common man too- the kind who has no association with meaningful cinema. All I can do now is hope that it was a bad dream and considering how vague the experience was, it very well might have been.

PS: The rise in petrol prices is the only real depiction of anything in the film.

8 am Number Veedu Review

If you haven't already guessed, 8am number Veedu is staged at a place called 8am number Veedu. A middle-aged man has just witnessed the murder of his family by a particularly noticeable 'ghost.' He tries to escape but the ghost hunts him down. Just as I began to realize that the make-up on the ghost was done with such detail, he wakes up from his dream. Since when were dreams vivid?

New characters appear - a squint eyed man with a boner in his eye-lids, an albino version of Arya in Naan Kadavul and a stocky housemaid with a glow-in-the-dark face. And they reappear. Each time that happens, you hear a gong and you want to punch them in the face hoping to leave a dent. Or two, for the filmmakers. Your intelligence doesn't exist to anyone in this world. Story, plot, characters, atmosphere- none of this is of any importance to them. They rely on the ability of these faces to haunt your dreams. What kind of a crowd are they targeting? A-rated movies restrict children from attending screenings. But, why not vice-versa? Chennai is a scorching, humid place populated by resentful employees. Do we really need something else to tick them off? Considering that the theatre was bursting with energy, it seems to me that people here are willing to pay to watch nonsense of the kind as long as they can steal its 'light' by making even sillier comments aloud as attempts to criticize the movie. They're okay with watching such a movie for 'time-pass'. Then again, not everyone comes to the theatre to attract attention.

A new dimension is added with the inclusion of a psychological disorder. It sticks out like a large zit on a leper. The ghost is the restless soul of a nymphomaniac who committed suicide after being rejected by a man she wanted to sleep with ("Foolish madhiri pesadhe"). The ghost (resembling the one in The Exorcist) then enters the body of his dying wife, who recovers and seduces him. A back-story is told simply to provide answers regarding the story but the questions that linger in our mind pertain to the film's quality. Please. Sell it to the Sun TV dependant housewives.

The technical department does its share of annoying the heck out of you with sound effects that bleed your ears and visual effects that scratch out your pupils. This isn't the worst movie I've seen this year but it is hands down, the silliest. This is an absolute mockery of the audience. There's no way Chinna and Co. made this movie with a straight face.

Osthi Review

It wasn't until I saw Osthi that I realized that Dabangg did have quite a few things going for it. One being that it was actually watchable, another being that it was technically sound. To give it more credit, I'd say it had a rigid form, even within the masala format. That's not to say that Dabangg is a good movie. It sucks. That is not the same as saying it is a downright failure, either. It does succeed with its intentions. But, it is a movie that trivializes life as we know it. Things were bound to go wrong the minute director S.Dharani decided to remake a movie that serves as a wakeup call to film lovers about Bollywood's inability to mature.

Dharani decided to call it Osthi. Most of the scenes and dialogues ring déjà vu. Santhanam is brought in as a comic foil and his unwelcome presence only grates Osthi to its bitter end. Dabangg was two hours long, Osthi drags to almost three hours and its ingredients don't mix well with each other. The shabby editing coupled with the shaky camera make the fight sequences look hazy. Dharani doesn't simply refrain from improvising on the original, Dabangg; he also fails to keep Osthi faithful to it. Two Kollywood debutants remade two Hollywood classics this year 'The Texas Chainsaw Massacre' and 'Strangers on a Train' with 'Nil gavani Sellathey' and 'Muran' respectively. Both directors improvised on the original in certain areas and even if their movies didn't wholly surpass the originals, they were worthy tributes. S. Dharani certainly hasn't learnt much from his ten year tenure as a director in Kollywood. Of course, who could forget the incorrigible Gilli?

This is a snoozefest. Silambarasan just stands there doing what he did in this year's Vaanam i.e. playing himself. Since Vinnai Thaandi Varuvaya, there's been no attempt to get into character. Well, he's not to blame. His characters in both films required someone to voice them and he did just about that. The best part of Dabangg was Malaika Arora Khan sizzling in 'Munni Badnam Hui'. 'Kalasala Kalasala' is a weak substitute. Take away more points from glamour and there's very little left in Osthi. The funniest part of both movies was the ending- where the villain is forced to fellate the exhaust pipe of a tractor.

Mouna Guru Review

Directed by Santha Kumar
Produced by M. K. Thamizharasu
Starring Arulnithi, Iniya, John Vijay, Uma Riyaz Khan, Krishnamurthy, Sujatha
Music by Thaman

Mouna Guru is a Tamil Movie in which Vamsam fame Arulnidhi plays the lead role and the movie is directed by Shanthakumar. Mouna Guru’ has an off beat theme with all commercial elements thrown in.

More and more cliched Masala from the A-league actors and very few films manage to come up with brilliant stories in hand and indeed showcased their adeptness. Say for instance, ‘Kattradhu Kalavu’, ‘Ali Baba’, ‘Aaranya Kaandam’, etc, etc… were more off that genres. These films didn’t perform well, but were standouts as taut thrillers.

To start off with, ‘Mouna Guru’ falls into this category and its filmmaker Santhakumar kick-starting his directorial venture with this film. Indeed, it’s a promising debut and this auteur has a long way to go. Let’s rub off the statements claiming it to be an inspiration or a replica. Overall, it’s a neat work by the entire team and Arulnidhi has chosen an apt script to suit his image. Simple words to mark the verdict – Mouna Guru is an edge-on-seat thriller, though not with more twists and turns, keeps you engaged in many parts.

First 10minutes into the film, the howls and comments for not so famous league of actors is blurred. Yes! An accident followed by group of cops looting a big money. A girl with unknown identity makes a video recording of their plans through the camera, which in turn falls into the hands of another man. Unexpectedly Karunakaran (Arulnidhi), a calm student is linked to the mysterious proceedings and what unfolds next is a racy drama of combats between the characters.

Uchithanai Mukarnthal – Tamil Movie Review

Star Cast : Sathyaraj, Nasser, Seeman, Sangeetha
Direction : Pugazhenthi Thangaraj
Music : D. Imman

What’s common between Sathyaraj, Seeman and director Pughazhendi Thangaraj? All the three never shy away from voicing for the cause of Tamil Eelam Tamils.

When the trio come together for a movie, obviously it has to speak about the conflicts and atrocities of Sri Lankan army in the neighboring island nation.

The movie harps on the sufferings of a 13 -year-old girl, who was allegedly gang-raped by Sri Lankan military men. Though it speaks about the sufferings of a girl, it throws light on the ways and means adopted by Sri Lankan army to wipe out Tamils.

Pughazhendi Thangaraj had handled a similar theme in Kattrukenna Veli before. But Uchithanai Mukarnthal is more bold and sound.

Professor Natesan (Sathyaraj) voices for the cause of Tamil Eelam Tamils in Chennai. He goes out of the way to help a 13-year-old girl Punithavathay (Neelika), who hails from Batticoloa in Sri Lanka.

She is reportedly gang-raped by Sri Lankan Army on 1 March 2009 and is on the family way because of it. Natesan taking pity on her, brings her to his house illegally and nurses her with the help of a doctor (Lakshmi Ramakrishnan). Natesan’s wife (Sangeetha) too helps him in the mission. The atrocities of Sri Lankan army are brought to light through Punitha’s words. Fate strikes in a different way in their lives.

More a documentary, it chronicles the sufferings of Tamils. The director has sounds loud and used news reports and statements from refugees to make the movie.

Neelika, the bubbly young girl is the apple of the eye in the movie. She breeze walks into the role and gives best performance.

Sathyaraj plays a Pro-Tamil with ease. His emotions and sufferings at seeing the young girl suffer is brought out well. Sangeetha, Seeman, Nasser and Lakshmi Ramakrishnan form part of the cast.

At places, the movie goes little crude. The director carried away by the sufferings of Tamils have tried to capture everything on screen that becomes preachy.

But dialogues comes to his rescue. Kannan’s camera and D Imman’s music go hand-in-hand. However the slow script and a documentary feel could have been avoided.

Mambattiyan Review

Cast : Prashanth, Meera Jasmine, Kota Srinivasa Rao, Prakash Raj, Vadivelu, Mumaith Khan
Music : Thaman S
Cinematography : Shaji Kumar
Editor : Don Max
Producer : Thiagarajan

STORY

The honest young man Mambattiyan (Prashanth) of Malaiyur village is dragged into a hard situation when his father Chinnasamy (Vijaykumar) is killed by greedy local landlord Periya Panna (Kota Srinivasa Rao) in a dispute.

Now, Mambattiyan has the responsibility of protecting the village people from the landlord and also to take revenge for his father’s killing. A group of youngsters in the village join hands with Mambattiyan. They lead a life in a forest. By robbing the rich and distributing the wealth to the poor, Mambattiyan becomes the local Robin Hood.

The ‘Robin Hood’ is also wooed by a village girl (Meera Jasmine). Meanwhile, police forces led by DIG Ranjith (Prakash Raj) go from pillar to post to nab Mambattiyan. This is the start of a cat and mouse game between the two. The encounters between Mambattiyan and DIG form an interesting part in the screenplay.

And, how Mambattiyan eludes from the police wing and revenge the baddies for disturbing his family and what happens to Mambattiyan in the end is the climax that should be watched on silver screen.

PERFORMANCE

Prashanth has done an extraordinary performance. He has put in lots of effort. and excels in all departments. He outshines his father’s performance in 80s film at places.

Meera Jasmine is fresh and cute, and she fits the character reprising the memorable role done by Saritha in the original.

Vadivelu has reprised the popular village minor character of Goundamani, and he has done it in his own style. Sure, ‘Mambattiyan’ will be the re-entry movie for Vadivelu.

Mumaith Khan touches our hearts with her character role that Jayamalini did in the 80s film.

Prakashraj with his performance makes you sit upright and watch. He is a good choice as a police officer.

Thiagarajan, who donned the title role in the original has taken care of the story, screenplay, dialogue, production and direction, and must say that he has tried his best to revive the flagging career of his son. His hard work is seen in every frame of the film.

Camera work by Shaji Kumar is worth a mention.

Music is by Thaman. Songs are already a hit and background score is a big strength for the movie. Silambarasan has sung the title song remix ‘Kaattu Vazhi…’ The original song in the voice of Thiagarajan is a good number that lasts in our mind even after we leave the theatre, especially the song ‘Chinna Ponnu Sela…’!

Rajapattai-Tamil Review

Movie: Rajapattai
Production: PVP Cinemas
Producer: Prasad V. PotluriS
creenplay: Suseenthiran, Bhaskar Sakthi (dialogues)Story: Seenu VasanDirection: Suseenthiran
Star-casts: Vikram, Deeksha Seth, K. Viswanath, Pradeep Rawat and others
Music: Yuvan Shankar Raja
Rajapattai is an Tamil action-masala film directed by Suseenthiran based on a story by Seenu Vasan. Featuring Vikram and Deeksha Seth in the lead roles and music composed by Yuvan Shankar Raja, the film is being produced by Prasad V. Potluri’s newly-launched PVR Cinema on a budget of 39 crores. The story revolves around the issue of land grabbing and how the protagonist becomes involved in it.

Expectations were bigger with ‘Rajapattai’. Reason? Chiyaan Vikram’s comeback as mass hero after a long span of time while Suseenthiran’s first attempt into commercial genre of movies. Moreover, it was something to mark as ‘Acid Test’ for this duo combo.

Yes, the actor kept winning laurels and awards for his ne plus ultra performances in ‘Raavanan’ and is set to continue the winning streak with ‘Deiva Thirumagal’ as well. But the actor’s success graph was more with ‘Dhil’, ‘Dhool’ and ‘Saamy’ that were pure commercial entertainers gaining appreciations from the crowds and of course filling producers’ sacs.

Let’s take a sneak look into the film’s plot, which isn’t out of box thinking, but has an engaging screenplay.

Anal Murugan (Vikram), a gym boy in films aspires to become a big villain. Alongside his lane resides a beautiful girl (Deeksha Seth) and they’re in love, though haven’t expressed it. On an unexpected occasion, Murugan saves an old man (K. Viswanath) from bunch of hooligans and is later shocked to know that his own son had hired them to trap him. It’s all for the sake of land property he owns that gives shelter to hundreds of homeless orphans, which his son wants to hand it over to a lady politician fondly called as AKKA. What unfolds next is a series of combats between Murugan and the Land Grabbing Mafia network.

As on whole, it’s a complete show by Vikram. It is awe-inspiring to see him in different looks and you’re sure to marvel upon his physique. It’s been a very long time we saw him flexing his muscles and involved in juggling action sequences. Deeksha Seth has nothing much to score here, but woos down the audiences with her cherubic looks. Veteran filmmaker K Viswanath was last seen in Dhanush’s ‘Yaaradi Nee Mohini’ and over here has lots of portions to play. In fact, he keeps the first half going well with funny moments. Pradeep Rawat as the baddie is powerful while the lady in negative character showcases her best work.

The gripping drama begins from the very first scene of second half and from there’s you’ll keep yourself hooked to the screens. With a running length of 120mins, it doesn’t seem like an hour has passed after intermission.

Director Suseenthiran could have avoided few portions in the first half, but it looks like he wanted to keep the first half at least to one hour. The drama between Vikram and Pradeep Rawat during second half where he appears in different get-ups is clap worthy.

Songs are not so appealing while the background score and theme song ‘Rajapattai’ (not included in audio CDs) is awesome.

‘Rajapattai’ is a commercial film that will not disappoint audiences and it’s your turn to book the show, grab your snacks, sit back and relax.

What works: Vikram, Screenplay, commercial ingredients, Characterizations
What doesn’t work: Little slow moments in first half, songs