Aarathu Sinam

Aarathu Sinam

தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Malayalam script writers have been proving their proficiency over the years with incredible and exceptional writing that comes in different genres. Memories, directed by Jeetu Joseph were indeed one of the greatest films of this decade in Mollywood. While his Drishyam had a fantastic response with Tamil version ‘Papanasam’, his other film is translated by Arivazhagan of Eeram fame as ‘Aarathu Sinam’ starring Arulnithi and Aishwarya Rajesh in lead roles.

A drunken cop (Arulnithi) cannot get away from the flashes of a gruesome death of his wife (Aishwarya Rajesh) and his daughter, right in front of his eyes. Four years later, he is requested by commissioner (Radharavi) to handle a series of critical serial murders committed in the same pattern. Things get worse, when his very own personal life gets interwoven during the hunt of this serial killer.

To be precise, story is the actual showstopper in this movie and the actors are nothing but merely characterisations. Arulnithi rarely has anything to perform. This is a script where, one has to score brownie points through mannerisms and body language. It is a film meant actually from main league heroes like Vikram, Suriya, Vishal or Arya. But nothing to blame on Arulnithi and one more fact is that he looks too young for the role of a police officer. Aishwarya Rajesh has very little portions to perform and she does her best. Gaurav is okay. Radharavi doesn’t need any words to portray his performance. Tulasi is incredible as innocent mother. Robot Shankar isn’t really the apt one for this role nor his hilarious episodes work out well. It’s like adding up an unwanted comedy into a serious film.

When it comes to screenplay, the first half proceeds with some slow moments, but before the intermission, the momentum kick-starts and yes, the second half too is fast proceeding. The climax twist with Arulnithi’s brother brought into the picture is something an unexpected. The flashback sequences of murderer are more ethically shot.

The songs are not in more number and yes, it doesn’t affect the screenplay and background score by Thaman is really blissful.

Overall, Aarathu Sinam holds a strong plot and screenplay, but the star-casting should have been more prodigious to make it more enhanced. But for now, the film deserves a watch.

Verdict: Stark thriller with racy second half.



தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Very few films are made based on media thrillers and years back it was Ko, which spangled up an inmost thriller code, though loosely based on Hollywood movie ‘State of Play’. This one, which comes from Santhosh, a debut filmmaker is based on the counterfeiting of documents that actually pushes many into inevitable series of issues. The film features Atharvaa and Catherine Tresa in lead roles with an ensemble star-cast of Bhagyaraj, Karunakaran, Sunder Ramu, Aadukalam Narain and few more prominent actors.

Atharvaa Murali plays a journalist associated with a low profile TV channel… He has almost got a picture perfect life, when he is close on the heels of getting a job at BBC and winning the heart of beautiful girl (Catherine Tresa). But things turn out to be Topsy-Turvy, when police hold him as a criminal for counterfeiting college certificates. Many other youngsters are being cornered the same crime. Will the protagonist be able to uncover the mystery and get loosened up with the troubles is something you’ll have to wait and watch over the screens.

Post-Paradesi, Atharvaa had awaited a long break to get him on the right course of action and yes, it looks like the right time has come. While his ‘Eetti’ proved to be a decent run in the box office, he has improvised a lot over his performance skills in this movie too. Especially, his action sequences are incredibly expressive. Catherine Tresa has got nothing much to perform other than being an usual stereotypical heroine. Well, her glam-up factors would surely woo up the audiences. K Bhagyaraj offers his best in portions and so is Aadukalam Narain, who plays the role of his father. Karunakaran offers the best humour in parts and Sunder Ramu gets a meaty role to perform. Tarun Arora, the newbie in K-town spells out fabulously as a baddie in this movie.

Musical score by Sivamani is just okay with the background score offering some better orchestral.

The film has a fast-paced screenplay in the first half and the second hour could have been slightly trimmed, making it crispier.

On the whole, Kanithan is a decorous entertainer, where you find the narrative style in the pattern of Thuppakki, Kaththi and Arima Nambi.

Verdict: Racy and engaging in parts



தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Movie : Sethupathi
Directed by : S. U. Arun Kumar
Produced by : Shan Sutharsan
Written by : S. U. Arunkumar
Starring : Vijay Sethupathi, Remya Nambeesan
Music by : Nivas K. Prasanna
Cinematography : Dinesh Krishnan
Edited by : A. Sreekar Prasad
Production company : Vansan Movies
Release dates : 19 February 2016
Country : India
Language : Tamil

Vijay Sethupathi has it all written throughout ‘Sethupathi’ and it completely travels on his strong performance. There is a sort of excitement and sluggishness on pars when we watch this film. Right in the first frame, we are introduced what we are about to witness in the next couple of hours. Sethupathi is a honest cop, who has a stubbornness and softness towards the profession and when it comes to family, he is a kiddo of innocence. He doesn’t miss to show his emotional attachment to wife (Ramya Nambeesan) and children. He never shows up his anger towards his fellow juniors at work, though he would hilariously attack them with witty lines. But his focus and anger is all towards finding the right justice against the ones who mercilessly killed a honest police officer.

The first half naturally has its impact of engrossing moments, where you don’t feel the stress anywhere. There are racy moments and you’re sure to enjoy them up, though a sense of Déjà vu strikes up now and then. Arun Kumar has convincingly imprinted the family quotients in a soft tone and in the very next sequences; we would find the seriousness with investigation prevailing up. But what turns out to be a slight disappointment is that Arun continually keeps repeating the pattern in second half as well. He could have completely avoided more family elements during the second hour, which could have kept the narration intact.

Vijay Sethupathi is a method actor, who could easily manage to take a cakewalk with any roles, he essays. This film is no exception as it gains him best laurels as a mass hero. He does what the usual mass heroes have done, but with discipline and perfection. You don’t see him flying across the airs, bashing down the baddies and shout out the punch dialogues, but he literally plays according to the situation. Ramya Nambeesan is a perfect cast for this role, but the disappointment comes in the form of baddies and his group. They don’t fit in well for the characterisation and someone like Prakash Raj could have added up more intensity.

Musical score by Nivas K Prasanna is pleasingly good, where he offers a mix of genres. The mass number by Anirudh fits well to the impact and couple of melodies are commendable indeed. Editing by Sreekar Prasad is simply best on transition that proceeds up the narration in style.

If director Arun Kumar had avoided too many family portions in the second half and replaced the baddies with more powerful actors, Sethupathi would have been more impactful.

For now, it holds a mass appeal from Sethupathi and although the story looks time worn, it proves to be a worth watchable show.

Verdict: Vijay Sethupathi strongly appeals with mass heroisms. 



தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Movie : Miruthan
Directed by : Shakti Soundar Rajan
Produced by : S. Michael Rayappan, M. Seraphin
Starring : Jayam Ravi, Lakshmi Menon
Music by : D. Imman
Cinematography : S. Venkatesh
Edited by : K. J. Venkat Ramanan
Production company : Global Infotainment
Distributed by : Ayngaran International
Release dates : 19 February 2016
Country : India
Language :Tamil

Miruthan Review in Tamil

Definitely, one of the most prominent things you could notice about filmmaker Sakthi Soundar Raja is that he attempts to make unique stories with unique genres. It’s a specialty that we have noticed in him from his first couple of movies ‘Naanayam’ and ‘Naaigal Jaakirathai’. With ‘Miruthan’, he reintroduces the genre of ‘Zombies’ nearly 28 years after ‘Naalaiya Manithan’ and ‘Athisaya Manithan’. Miruthan features Jayam Ravi, Lakshmi Menon and Kaali Venkat in lead roles with others in the cast including RNR Manohar, Amit, Baby Anikha and Sriman with D Imman composing music….

Set in the backdrops of Ooty, we find a poisonous chemical has leaked out and there begins the virus to spread out, where humans start biting each other transforming into Zombies. Karthik (Jayam Ravi), a traffic police along with his colleague (Kaali Venkat) embark on a journey to Coimbatore along with a beautiful girl (Lakshmi Menon), with whom he has been in love with, but she is engaged with someone. Karthik’s younger sister (Baby Anikha) is also travelling with the crew along with Lakshmi Menon’s father (RNR Manohar), a politician and couple of doctors.

Now the biggest question is whether these people would survive the Zombie attack or succumb to the fate.

First and foremost, the film deserves the best credits of appreciations for spearheading with a bold genre that isn’t a commonality in the industry. The filmmaker has tried to narrate the story in a much convincing manner with a running length not more than 106 minutes. This indeed acts as a strong element in keeping us adhered, especially during the first half and might be the second hour turn out to be little stuck with more violence and gun shots. But keeping it just to 45 minutes eclipses the flaws. Certain dialogues slightly sound amateurish and unwanted, including the hilarious lines from RNR Manohar and Kaali Venkat. But director balances between the serious and hilarious elements equally.

Musical score by D Imman is incredibly at its best that adds more powerful elevation to the script. The film’s cinematography is top-notch indeed.

There is nothing much to speak about flaws and even the minute ones gets overshadowed with the best works of technical department and stark characterisations. Miruthan definitely deserves a watch for the newfangled concept and would surely be loved by the kids out there.

Verdict: A stark, stylish and taut thriller with emotional realms in places.

Jil Jung Juk

Jil Jung Juk

தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Sometimes, a different attempt surely deserves better verdicts, but what turns out to be a hampering factor is that the treatment and how it is done makes the difference. Jil Jung Juk, right from the announcement of title, first look and the fascinating fact that there is no heroine in the movie kept us engrossed and definitely, what the final output is deserves special acclamations.

Special tons of appreciations to Siddarth, who could put forth a daring attempt to produce and act in a movie that doesn’t feature any heroines… It’s a very wafer thin plot that involves a fantasy backdrop laced with adventure and action.

We are commuted to the world in 2020, where we find a reigning drug lord named Deva declining from his powerful status. He has the last deal to be done – smuggle up the cocaine to a top league customer that could gain him money. He hands over the job to three youngsters with unique characters – Siddarth, Sananth and Avinash, where a car painted pink with narcotic drugs has to be delivered on time. Sooner, things turn out to be bizarre, where the car gets devastated and now the three lives are at stake.

Apparently, as cited above, what keeps us likeable towards the film is the concept that Deeraj and Siddarth have boldly picked up. A sort of inspiration from various Hollywood movies in terms of narration and technical vistas and yet is works out to a decent extent. But the problem occurs slightly with the screenplay. Such racy paced thrillers should keep itself limited with duration around less than 2 hours. The first half gets racy in places with enjoyable moments and as you keep expecting what’s gonna happen next, although the screenplay in second half is pretty good, there seems to be a sort of dragging in places.

Getting on with the performances, everyone in the film has rendered a stupendous acting. Siddarth is so much matured with his acting and others in the cast including Avinash and Sananth too deliver a promising performance. Radharavi and the one playing the characterisation of Deva are best. Although Nasser appears only in one particular scene, he simply lets up the show and not to miss the hilarious moment with RJ Balaji as well.

Background score by Vishal Chandrasekhar is magnificent and is really breathtaking in places, especially during the climax portions. The unique vintage tone offered by cinematographer is always stunning.

On the whole, if Jil Jung Juk had obtained a better treatment of screenplay, especially in second hour, it could have been much enjoyable.

Verdict: Interesting and enthralling in places, but lacks pace in moments



தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Tea stalls have almost become the iconic emblems of Indian country, especially towards the down south territories of Tamil Nadu. Every tea stall records the lives of unique individuals and stories and that’s how Anjala is themed upon. The film is directed by Thangam Saravanan and is produced by action choreographer Dhilip Subbarayan with Auraa Cinemas releasing it.

The film traverses through the episodes of Anjala Tea stall, which is owned b Pasupathy. During the narration, we get to see that his very own grandfather (again played by Pasupathy), who was the main reason behind the origin of town during the pre-independence period with his little hub of refreshing the passerby people down there. Now with the contemporary times, we get to see that Vimal and his friends are having a great time out there. He falls in love with Nandita, who gets at the Anjala bus stop and there are lots of characters having a close connection with the tea stall. The film travels through the ups and down that the tea shop faces.

Vimal, Nandita and Pasupathy – All these three actors have something in commonality and that’s their exertion of naturalistic performance towards any roles they essay. They’re pretty rare ones, who could easily deliver a promising show with more elegance irrespective of their characterisations. Especially, when it comes to rural based movies, Pasupathy, Vimal and Nandita make their best spell and this one isn’t an exception. Thangam Saravanan has tried to register some lively moments in the film during the first half and on the flip side, the second hour has some sluggish incidents, which lowers down the momentum. But somehow, it will not be felt amongst the village side audiences.

On the technical front, cinematography deserves special mention for the tone and colours used. Musical score by Gopi Sundar doesn’t fit into the nativity of this movie. Not to blame the reigning music director of Malayalam industry, but his background score and song composing for Tamil rural nativity doesn’t befittingly get well. The flashback sequences are very well shot and the entire technical team deserves special mention along with Pasupathy.

On the whole, Anjala will be surely a decent show across the down south territories as there could be emotional connect with the movie. The audiences who don’t rely on reviews and critical analysis would definitely love it and when it comes to Multiplex theatres, there wouldn’t top opening, but might get well with the viral publicity.

Verdict: Emotional in few places, but screenplay could have been better

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