Anegan

Yennai Arindhaal

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

Perhaps, a speculative one from Ajith Kumar and it looks like he has banked all his hopes on Gautham Vasudev Menon rather than script. It is so much illustrious with the basic plot that significantly focuses on a man’s different dimension and his encounters with few characters. Ajith Kumar has stepped out of his comfort zone that comprises of a stereotypical package of walk ups, triggering up bullets and giving profile looks. He settles down as a character and rigidly doesn’t entertain unwanted mass heroism anywhere. An ample evidence goes well with the first shot of his introduction.

Sathya Dev (Ajith Kumar) has been a honest cop with an inspiring intention that popped up due to a drastic tragedy that shook his life terribly. The complete film is about his mission to curb down a serious issue and his sudden reach out towards Then Mozhi (Anushka Shetty) creates a puzzling thought and even surprises Victor (Arun Vijay), who comes to kill her. What unfolds next is a series of episodes that unwinds the true identity of Sathya Dev forms crux of the story.

A deliberate factor! Gautham Vasudev Menon stubbornly sticks to the same prototyped formula of his narrative panache. It’s a cop story and something too close striking similarities with his yesteryear flicks like Kaakha Kaakha and Vettaiyaadu Vilaiyaadu. A cop’s sincerity tested by the trials and tribulations and the losses he incurs with retaliation at end. In all likelihood, the protagonist Sathya Dev abruptly steps into the same shoes, but the treatment turns to be slightly unparalleled with the brilliant delineation of characterizations. Though not a remake, it rigidly fits the zone of Departed, Taking of Pelham 123, Al Pacino-Robert Di Nero starrer ‘Heat’. Well these flicks doesn’t have anything to strike the similarities with plots, but the way lead actors, both protagonists and antagonists were portrayed. Ajith Kumar and Arun Vijay have their piece of stunning toast throughout the film, especially during the penultimate and climax sequences. Trisha becomes an apt epitome of how heroines in spite of appearing in shorter duration can create a great impact throughout the film. Anushka Shetty is a victim in the plot and there is nothing much for her to perform. Arun Vijay becomes the absolute stunner throughout the film, particularly during the last 25 minutes of this film, where the theatres are spangled with applause. Vivek might not be appearing to tickle the funny bones throughout, but gets his role sketched well.

Musically, Harris Jayaraj throws up some stunning music in the backdrops and his songs are exquisitely impressive with exotic visuals offered by Dan Mc Arthur.

If you are precisely looking up for some attributes on the flip side, the first half with slow moments with dragging screenplay could have been avoided. Gautham Menon’s same pattern is rewritten again and there is nothing new about it. Nevertheless, it’s the colossal performance of actors, especially Ajith Kumar and Arun Vijay that evokes the best response. Although, romance and action become the intriguing part of this film, the chronicled chapters of Ajith Kumar and his daughter girl are nicely captured, sometimes moistening the eyes.

Overall, ‘Yennai Arindhaal’ could be comprising a time-worn story, but a gripping narration during second half with some promising performances from the actors amalgamated with stellar technical aspects make it worth watchable.

Verdict: Appealing performance, but stereotypical plot

Kayal

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

Prabhu Solomon doesn’t miss to focalise on the depth of emotional relationships and his previous films Mynaa and Kumki have been the mere illustrations. With Kayal, he tries to complete the Love trilogy and let us see how far he has excelled with his attempts…

Synopsis

Socrates (Chandran) and Aaron (Vincent) are two freewheeling guys who have no worries in life. They earn by sweat and blood for particular months and they spend happily travelling for rest of the year. When they arrive in Kanyakumari, Socrates falls in love with Kayal (Anandhi) at first sight and she later develops a soft heart for him as well. They’re are alienated by situations and when they decide to join their lives together, the terrible Tsunami strikes playing havoc on their peaceful dreams. Will the nature play a spoilsport and let them united forms crux of the story.

Performance

Prabhu Solomon tries to exert his complete energy drawing emotions and has done it surpassingly in his previous movies through the characters. However here, we are little disappointed as the lead actors are always seen shedding tears. Anandhi has topped the league of star-cast giving a stunning performance. Her innocuous looks and naturalistic performance scores brownie points for her. Debutant Chandran gets a promising debut, but his characterisation could have been very well etched. Vincent as the close pal of Chandran tries giving his hand to humour. Others in the cast have tried to spell their best, but there is something that lacks in their characterisations. Nothing to blame on the actors, but Prabhu Solomon could have executed it in a neat manner.

Plus

Technical team deserves tons of appreciations. The cinematography, art department and D Imman’s musical score are the greatest pillars that relentlessly try to offer substantiality to the script, even at weakest links. The performance by Anandhi as Kayal deserves the best appreciations and marks our words! She’ll have her name listed in many nominations of the coming year. The performance of an old man is so realistic and such things pep up the film.

Minus

The film’s duration isn’t lengthy, but Prabhu Solomon fails to deliver a gripping narration throughout the show. Basically, this is almost like a short film that involves falling in love, separation and a surprising climax, but the method of storytelling is so bleak and flimsy. Especially, the second hour gets too sluggish and unwanted pathos could have been avoided. The film’s major portion is shot in the backdrops of Kanyakumari and we don’t see any characters rendering dialogues with the regional slang. How come an old woman who has raised Kayal from her childhood will casually ask her to go in search of a boy in Coimbatore? The relationship quotient hasn’t been very well depicted in this film and Prabhu Solomon should have scrupulously taken care of it. Prabhu Solomon had appraised his CG works and water simulation factors for Tsunami portions, but they look so amateurish in many places.

Kayal is musically exceptional with some best performances from Anandhi or else it’s a story of pathos and few engaging moments and a climax that separates from Prabhu Solomon’s previous films.

Verdict: Stops halfway to level of Kumki and Mynaa

Meagamann

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

Could this be a sigh of relief for Arya fans, who missed his action avatar of years? It’s a close call and of course it gets justified with the stellar packaging of Magizh Thirumeni, who earlier delivered a laudable action thriller ‘Thadaiyara Thaakka’.

Story

The backdrop is Goa and it’s portrayed a land of drug cartels ruled by an Invisible Drug Lord Jyothi (played by Ashutosh Rana). He owns the complete network, but a surprising part is not his own men have seen him till the date. Arul (Arya), an undercover agent is assigned by police department to pull down the entire network. He manages to join the group of Jyothi earning their favour in the name of Shiva. He hatches some smart plans to bring Jyothi into the outside world, but things get complicated when 1000Kgs of narcotic drugs gets stolen. The game of cat and mouse hits the high pitch laced with some exciting thrill and action moments.

Performance

To make it simple, Arya hasn’t exerted extra energy into this role as in his previous films. He remains silent sans expressions, but this role fits him. He has to thank Magizh Thirumeni for choosing him for this role that doesn’t require lots of dialogues and only body language with perfect mannerisms is more than enough. Hansika Motwani doesn’t get more appearance in the film, but is delineated in a perfect way that is required for the script. Ashutosh Rana is a new age baddie in showbiz and Magizh again deserves his praises for portraying him in an unforeseen manner. He doesn’t lock horns nor laugh heavily in villainous style, but offers the feel that baddies should. Ramana, Ashish Vidyarthi, Sudhanshu Pandey of Billa II fame deliver their best performances.

Plus

First and foremost, it’s the gripping narration of Magizh Thirumeni that keeps us so much engrossed throughout the show. There are many edge-on-seated elements that even lets the few minuses get diminished. The background score by Thaman is a huge surprise as the music director hadn’t delivered any such works in the recent times. The cinematography and crisp editing contributes a lot to the fast-paced narration. The climax has been delivered with perfection and it makes the film a complete experience of watching it.

Minus

If you’re suggesting that few intimacies between Arya and Hansika Motwani, bar dance track et al would be keeping away family audiences from this film, it is not actually a minus as the censor certification U/A has it all. The songs could have been better.

Meagamann is a racy thriller that arrives as a surprise for this Christmas season. It is worth killing your time for.

Verdict: Racy, gripping and fast-paced

Kappal

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

Balancing friendship and love becomes the most complex part in everyone’s lives and Kappal focuses on a lad’s colliding encounters between his love and friendship. Vaibhav and Sonam Bajwa play the lead roles with Karunakaran, Arjunan, Venkat Sundar and Karthik Priyadarshan as his close pals. Robot Shankar and VTV Ganesh have performed important characters. Karthik G Krish makes his debut directorial with this film, which is released by his mentor Shankar under the banner of S Picture

Right from childhood, Vasu (Vaibhav) and his close buddies – Kanagasundram (Karunakaran), Kalyanasundram (Arjunan), Pattabi (Venkat Sundar) and Venkat (Karthik Priyadarshan) have been closely bonded and their acquaintance is very well known to everyone. They make a childish affirmation that they shouldn’t marry as it would ruin their friendship and even so, the same girl as in the mythological characters of Draupadi and Pandavas. As they grow up, Vasu gets makes his way to Chennai and falls in love with a beautiful girl Deepika (Sonam Bajwa). Sooner, when love is all set to bloom, his friends visit Chennai and rest as you know is a bundle of hilarious confusions and emotions.

Performance

You cannot expect more of an unconventional performance in a comedy film. Vaibhav is so emotionless in many scenes and this guy has to exert some super power if he wants to achieve some good status. Or else, he would be seen in multi-starrers or some pivotal roles. Sonam Bajwa is a postcard girl and looks like a hotshot model, but when it comes to performance, she is an amateur kid. Karunakaran evokes some laughter with his usual style and Arjunan is okay. VTV Ganesh gets a meaty role and he slightly resembles the Vadivelu style in few places.

Plus

Karthik G Krish has employed an equal status of friendship and romance in this film. A ‘Ship’ that never sinks is Friendship and it can be a major strength till the end for anyone in their lives. The emotional quotients are very well handled. Cinematography is pretty appreciation in places and Kadhal Casatta songs engrave the touch of director Shankar with rich and grandeur art works and visuals.

Minus

The film has to be crisp irrespective of its genres or else things turn out fallible. The writing gets perfect during the initial portions and slightly turned out flimsy. The songs really don’t impress us and they don’t sustain in our memories anywhere. The continuity between few scenes turn missing and Krish could have added up some songs really engaging.

Kappal had some innovative designs and creative teasers, but when you watch it as a film, there is 50% of engagement while the rest fails to keep us engrossed.

Verdict: Half-sunken ship

Lingaa

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

An experimental attempt could be the word to mark this new project of K.S. Ravikumar and Rajnikanth coming together after couple of massive blockbusters like Muthu and Padaiyappa. For director K.S. Ravikumar who hasn’t strained himself with a much complex or unconventional theme, he has picked Pon Kumaran’s script that dates back to period drama set in backdrops of 1939 and alternatively switches to present situation as well.

Set in backdrops of two different time periods, we find Raja Lingeshwaran (Rajnikanth) in 1939 raising a huge dam for the well being of poor villagers suffering from drought. In spite of facing many troubles and upheavals, Lingeshwaran manages to complete the construction of dam, but is cheated by the fraudulent activities of his very own conniving men and few British people. Years later, his grandson Lingaa (again played by Rajnikanth), a small time thief arrives in the village unwillingly to escape from cops for a crime, but sooner he realises the wonderful deeds that his grandfather had performed. Sooner, there is a serious situation for the destruction of dam by political MP (Jagapathi Babu) and will Lingaa be able to save it as a citizen and grandson forms crux of this story.

Superstar Rajnikanth throws up a magnanimous performance in dual roles as Lingeshwaran and Lingaa. To be precise, his performance the Lingeshwaran in the period drama portions is a versatile act and something new to this generation of audiences. We have seen him in many avatars, but missed to have his Aaril Irundhu Aravadhu Varai act and this one is a precious exemplification. Be the scenes, where he furiously opposes the British collectors or his emotional outbreak in silence when his own men cheat him and barge him away from the village, the aftermath sequences between them is a wonderful melancholy that leaves tears in our eyes. But again, the gimmicks of his usual style go missing certainly as in his previous movies. The other role of Lingaa is KS Ravikumar’s attempt to include the best commercial elements and if you ask us, the period portion was more than enough to keep this film intact rather than wasting time on modern portions. This is an attempt to add the commercial elements rather than simply making it an offbeat flick. But it works out as the comedy sequences between Rajnikanth and Santhanam works out well, but little disappointing to see that Karunakaran has been wasted.

The technical brilliance is embellished by cinematographer Rathinavelu, but AR Rahman is vanishing throughout the film and we don’t find his presence anywhere. There is a bit track, where Rajnikanth worships Lingaa statue inside a temple and it is very well done. The film’s length could have been trimmed and more prominence of period portions is dominated by emotions rather than usual KS Ravikumar commercial stuffs.

If one has a good reason to watch this film, it is for none other than Superstar Rajnikanth and in fact his films don’t need a review.

Verdict: New avatar of Rajnikanth emblazoned with his powerful performance