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

Cast & Crew

Movie: Baahubali
Starcast: Prabhas, Anushka Shetty, Tamannaah Bhatia, Rana Daggubati, Ramya Krishnan, Sathyaraj, Sudeep, Adivi Sesh, Nasser, Prabhakar
Director: S.S.Rajamouli
Cinematography: K.K.Senthil Kumar
Editing: Kotagiri Venkateswara Rao
Composer: M.M.Keeravani
Singer: Karthik, Damini, Geetha Madhuri, Ramya Behara, Deepu,Deepika, Kailash Kher, Mohana Bhogaraju, Haricharan, Vaikom Vijayalakshmi, Aditya
Lyricist: Mathan Karky
ProducerShobu Yarlagadda, Prasad Devineni
Tamil Presenters: K.E. Gnanavel Raja and UV Creations 

Things cannot be simplified over the grandiloquence of what SS Rajamouli has delivered through his magnum opus ‘Baahubali’. Sometimes, it becomes so much complicated to get a grasp of what a maverick filmmaker can deliver. Stunningly, Baahubali now proves to be the best ever prowess in every aspect. Starring Prabhas (dual roles), Rana Daggubati, Tamannaah and Anushka Shetty in lead roles, the film is made in two different parts and this first instalment is ‘Baahubali – The Beginning’.

Prabhas is seen as a man born acquainted to the Mother Nature and his lifestyle is completely as same as what we have seen in Jungle Book or Tarzan. Unaware about his unparalleled lineage, he leads a nomadic life inside the forests. One day, a beautiful girl he imagined arrives in front of him and she is none other than Tamanaah. She along with the bunch of rebels is on the pursuit of rescuing Devasena (Anushka Shetty) from the clutches of an evil emperor – Rana Daggubati. He has been treating her like an animal tied to the front side of palace and humiliates her terribly. Prabhas joins Tamannaah and her group to rescue Devasena for the love he has for her. On arriving in the palace, Prabhas realises that he is none other than the son of King Amrendra Baahubali (again played by Prabhas) and Devasena (Anushka Shetty).

SS Rajamouli has always been a master of screenplays with his wizardry craftsmanship keeping us revelled in all his movies. Irrespective of what genres he handles, he never misses to keep us engrossed with his commercial inclusions of elements, but with strong contents. As the show begins, we might be little tested with our patience with some 40 minutes not being so emblazoned with high momentum, but sooner towards the point of intermission gains its peaks. The second half has its own raciness and keeps us intact till the climax. The magnificent performance of Prabhas and Rana Daggubati are beyond excellence and they become the macho hero-baddie of this decade, for we have never seen such a promising combat warriors ever in Indian film industry. Tamannaah looks gorgeous as a mythological angel and Anushka Shetty doesn’t carry much prominence here. Obviously, she will be having a big spell in the second part titled ‘Baahubali – The Conclusion’. Ramya Krishnan has tremendously emphasized the importance of her character. Nasser is perfect. Sathyaraj is overpowering and we wonder is it the same man we have been seeing for more than couple of decades.

But what stands out to be an emblazoning factor it the mind-boggling CG works that stands absolutely on the pars of Hollywood movies. The exotic visuals of the forests and waterfalls are something that we have never seen before in our films. Picking up a premise that completely sticks to the Indian origin, SS Rajamouli has carefully employed the best traits of including CG works that entertains everyone in awe, but is not overdosed anywhere.

And yet, if you’re incisively looking to grab your piece on the flip side, we would say, the initial moments are not completely at its right pace. We need to be patient till the things turn enormous. The running length could have been trimmed to keep it more engrossing. Moreover, the romantic scenes involving Prabhas and Tamannaah could have been more emotionally bounded. The war sequences albeit its rich visuals and stunning CG works turn to be lengthier.

But that doesn’t stop our excitements anywhere and we are enthralled throughout the film. Personally, Baahubali is a stud of rarest pearl in the Indian film industry and it shouldn’t be missed at any cost.

Verdict: Speechless and no words to praise this unparalleled grandeur.



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

Cast & Crew

Movie: Papanasam
Starcast: Kamal Haasan, Gautami
Director: Jeethu Joseph
Cinematography: Sujith Vaassudev
Editing: Ayoob Khan
Composer: Ghibran
Singer: Sundar Narayana Rao, Malavika Anilkumar
Lyricist: Na Muthukumar
Producer: Suresh Balaje, George Pius, Rajkumar Sethupathi, Sripriya Rajkumar
Banner: Wide Angle Creations & Rajkumar Theatres Pvt Ltd


Nothing can over beat a film that ardently has the favour of Kamal Haasan. Last time, he precisely proved the unproved theory of rarity – Outperforming the original through ‘Unnai Pol Oruvan’, a remake of blockbuster trendsetting Bollywood movie ‘A Wednesday’. The film happened to be a surprise hit, where everything came perfect with emotions. Kamal Haasan has been someone who could easily move us in tears and bind us emotionally, while playing a father’s role. It was so much evident in his yesteryear movies like Mahanadhi, Indian and the recent one – Uttama Villain.

Well, everyone knows about ‘Papanasam’ and preferably, by now before walking into theatres for this show, everyone would have watched its original version ‘Drishyam’, which was a blockbuster hit transcending Malayalam cinema to the next level.

The film is about a happy family with picture perfect life. Though reluctant to spend money for his family and a complete money-saving person, Kamal Haasan, a not so educated person plays a good family head. His loveable wife (Gowthami) might not be addicted to his ethics, but cannot stop loving him incessantly and his daughters (Nivedha Thomas and Esther). Everything looks good and contended for the family, until a mishap is encountered by Nivedha Thomas during her educational tour and this changes the entire life. It’s now between the intelligent police and this uneducated man. As they wildly get into the process of investigation, he always remains a step ahead of them leaving them clueless.

The basic plot and narrative style of Jeethu Joseph is indeed a major plus that would eventually gain the best credits irrespective of who the star-cast is. Apparently, with Kamal Haasan on the board, there is no doubt; it would surely have its elevation. Although, the Tirunelveli dialect seems to be forcefully pushed into the film to show the difference from the original and rest of the remake versions, end of the show, it doesn’t stand out to be a hurdle. But this could have been avoided indeed. The film’s length almost extends approximately to 180 minutes, but doesn’t irk or bore us anywhere. It’s been a long time we saw such an intriguing thriller, where there is no room for action sequences, but the dramatic events that keep us on edge of the seats. It brings a new age thriller like Antony Hopkins’ ‘Fracture’ and this of course is a brilliant attempt of Jeethu Joseph. Coming up with others in the cast, Gowthami might not appeal as fresh and convincing as Meena, but she is okay. Nivedha Thomas is good in emoting precisely as her role demands and her highlighting trait is not imitating the girl who played the role in original version. Baby Esther is a stud of surprise. Asha Sharath is someone who stands out equally as powerful as Kamal Haasan and their confrontational episodes are awesome. The first half actually doesn’t carry anything in specialty for its completely confines to the nativity and lifestyle of the down south, but incisively it’s the second half that keeps us hooked.

Background score by Ghibran enhances the complete visual drama of this film and he scores brownie points more in this aspect than the songs. Cinematography is brilliant and it’s appealing to see the film set in the backdrops of dew capped mountains and misty spaces.

The film’s momentum actually gains during the post-intermission sequences and by the end, you’ve no options but to stand up and give a stunning applause to the entire team, especially Jeethu Joseph for not compromising with any changes to the original script and Kamal Haasan has evidently restricted himself with the acting part and not interfering in the script works.

Verdict: Well crafted remake with nuance performance of Kamal Haasan

Orange Mittai

Orange Mittai

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

Surpassingly Vijay Sethupathi has been exerting inmost heart and soul into his roles, albeit its minimal prominence, which sometimes would have been an underrated moment. Seemingly, he is on the bouncing back spree with some solo promising projects. One among them is mandatorily is his maiden production ‘Orange Mittai’, which seems to be completely new in style from his previous movies, where Vijay Sethupathi plays a dual role as 55-yr old patient and another one, a suspense. Justin Prabhakaran who teamed up with Vijay Sethupathi in Pannaiyarum Padminiyum has composed music for this film as well.

Straight Ah Poyee

Singer: Vijay Sethupathi

Obviously, the song had its realms with the promotional video the makers had recently released and now this track gains some additional mileage with the mixing of some fabulous instrumentals. Sooner with the film’s final credits involving this track, it would be nice to keep the crowds on halt walking out of the theatres.

Theeradhe Aasaigal

Singer: Karthik

A soulful song that exhibits the emotional joy of a man’s quest of new explorations with a meaningful journey and Karthik stands out to be perfect with his intonating proficiency. Yet again, if the cinematography and exotic location, they are sure to make a decent impact.

Orae Oru Oorla

Singer: Vijay Sethupathi

Much alike the previous song rendered by Vijay Sethupathi, this one too has a hilarious element with a tale involving Lion, Fox and Rabbit. These characters are none other than the symbolic expression of Vijay Sethupathi, Ramesh and another person who play lead roles in this film. It would be patently having a neat embellishment with the visuals on the screens.

Payanangal Thodarudhe

Singers: Naresh Iyer and Padmalatha

While the second song happens to be a solo melody, Naresh Iyer and Padmalatha offer a honeyed duet that remains in our senses for a long time. Justin has extended his crème de la crème spell with this song and it will remain to be one of his best compositions in his career graph.

It’s a mixture of different genres. While two of the songs are peppy rock ones in conversational style, the other two melodies stand out as a prodigious work of Justin Prabhakaran. After a long time, we tend to have a commendable album from Vijay Sethupathi.

Verdict: Mellifluously enchanting

Yagavarayinum Naa Kaaka

Yagavarayinum Naa Kaaka

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

The very title of this film, quite an impressive and intriguing phrase in the world’s most renowned Tamil literature has been captivating us all. The precisely well crafted trailer with visually significant shots and Sathya Prabhas’ efficiently reveling impression caused some ignition to grab the show. The film finally comes to the theatres and we bring you exclusive analysis of this film.

Revealing more about the film’s synopsis could actually turn to be a spoiler and we have just few excerpts that actually form the basic premise. The film is based on a true incident that happens on a New Year eve, where a bunch of friends are relentlessly partying and a slip of tongue flares up a serious problem that will change their lives forever. The victim is protagonist (Aadhi) himself and what actually prompted the issues and how it’s gonna end is what the rest of this film is all about.

Instantly post-the show, there are certain things that retain in our senses – First one is about the magnificent performance of Bollywood icon Mithun Chakraborty. He is simply fantabulous as his expressions of eyes stand equivalent to 10 men performance. He never employs neither his body language nor many mannerisms, but throws up a compelling performance using his eyes. Secondly, the promising ensemble star-cast that includes Nikki Galrani, Kitty, Nasser, Shyam, Pasupathi and many more add up more intensity to the film.

What stands out as the spotlighting key element in the film is the non-linear narration by Sathya Prabhas. He has followed a unique method of storytelling that slightly brings forth an impression from maverick filmmaker Ram Gopal Varma. His inquisitiveness to showcase something different becomes his USP, but on the flip side, there are certain commercial elements, which look similar on the prototyped pattern. Say for instance, the hackneyed portrayal of parents, friends, romantic sequences laced with humour are nowhere different from many Telugu and Tamil movies. If Sathya had hired some proficient writers and consulted, this would have actually been something more unique. Aadhi delivers the crème de la crème performance on his part.

Nikki Galrani offers her stupendous potentials in keeping up the refreshing moments. In fact, her portions stand out to be something enjoyable in this suspense ridden tensed ambience.

There isn’t much to speak about the negative traits, but the second half actually turns out slightly sluggish and the penultimate to climax sequences are little lengthy as in most of the Telugu films.

Technically, the film is strong with brilliant cinematography and Sathya Prabhas’ narration gets more stupendous with the national award winning editor.

Overall, Yagavarayinum Naa Kaaka remains to be powerfully compelling with nuance performance and somewhere gets commercially addicted, which if avoided could have made it more driving.

Verdict: Taut and gripping in places



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

Sometimes, impressive title and a sparkling actor like Samuthirakani, earlier Prakash Raj and Raghuvaran sort, were more than enough to pull some crowd into the theatre. Apparently, Samuthirakani here becomes a strong element that might propel audiences to opt for ‘Kaaval’, which features Vimal in lead role. Filmmaker V.R. Nagendran has seemingly pulled in a bunch of some prominent actors to make sure the film is strongly conveyed, but it fails somewhere in the middle with flaws found in plethora across everywhere.

The film has a simple plot, where Samuthirakani plays an undercover agent looking up for a hunt on the most dreaded smuggler Karuna. During this process, Vemal, an useless youngster gets befitted to this conflict and what happens next is portrayed with a much predictable screenplay.

The film has lots of weak points and director has failed to give more emphasis on substantial screenplay. Everything in the film irks us to the core and really make us wonder how come such proficient actors afforded to sign this project. Vemal has been considerably doing well with his projects, though some of them might have not peprformed well in box office, but this one slashes down his brownie points earned through some previous works. It’s just Samuthirakani who gains the best attention with his dialogue deliveries and intensely powerful performance. He has undoubtedly become a prominent actor who can give a try to any role with excellence in an effortless manner.

Technically, the film is more disappointing as nothing impresses or even deserves a notice.

On the whole, Kaaval as the title suggests speaks about the justifications on strengths of a police department, but nothing actually with accordance to the narration of Nagendran does its best from this film being sunken.

Verdict: Not worth watching for.

Indru Netru Naalai

Indru Netru Naalai

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

Debutant Ravi Kumar makes a decent effort in making a movie that literally is something new to Tamil cinema. Time Machine and Time Travel, so far have been a tremendous genre in the world of Hollywood and after many attempts by several filmmakers, director Ravi Kumar picks up the option. The film is jointly produced by C.V. Kumar of Thirukumaran Entertainment and K.E. Gnanavel Raja of Studio Green with Vishnu Vishal, Mia George and Karunakaran in lead characters. Making his musical debut with the film Aambala, Hip Hop Aadhi has composed music for this film and cinematography is handled by A. Vasanth.

Its 2065 Chennai, a scientist (Arya) has endeavoured manufacturing a Time Travel machine and sends his pet dog as the subject. Unfortunately as the machine commuted to current time gets malfunctioned and it gets into the hands of Vishnu Vishal and Karunakaran, who are close friends and a lunatic wannabe scientist. The encounters they have through his machine are quite profitable, but sooner the lives are doomed. Now it’s up Vishnu and Karunakaran to make sure that thing are set properly so that the pathetic lives are transformed into happy moments.

Fine! Keep aside the negative traits if you’re triggered to find out. We have got to appreciate the entire team for delivering a completely new dimensional movie. Time Travel has been a long time desired genre in Tamil and newcomer Ravi Kumar has pushed it to the best levels. He has clearly understood the fact that it’s a complicated theme and has distinctly mixed it up with commercial elements. The first half becomes more evident of his decorous effort and it would have been nice if the second half had its course of engagement in the right manner.

On the performance level, Vishnu Vishal hasn’t really exceeded our expectations but has played what the role has demanded. He has underplayed his role in many places and has done proper justice to it. On the pars, Karunakaran has efficiently showcased his prowess in humorous and emotional quotients. Mia George might have not obtained a substantial role as in her debut film ‘Amara Kaaviyam’, but somehow manages to steal the show with her blissful acting. Jayaprakash is efficiently good and Sai Kiran, playing the baddie deserves appreciations.

There is no sign that Hip Hop Aadhi has composed music for this film, but has done some decent task in background score. Cinematography is an additional benefit and so is editing. But what stands out at the best is the Computer Generated works that has bestowed the film with the standard it actually deserves.

There might be some confusion over the narration and that’s not the fault of director, but the theme that really keeps demanding our attention. But with Ravi Kumar keeping things balanced with rational and entertaining parts, Indru Netru Naalai becomes a commendable entertainer.

Verdict: No worries! Just grab your tickets

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