Kaaviya Thalaivan

Kaaviya Thalaivan

Significance of theatre plays have gradually diminished during the years and it really requires a lot of efforts and daring attempt to make a film based on this genre. Producers Sashikanth and Varun Manian have come up with Kaaviya Thalaivan, directed by Vasantha Balan. The film stars Siddarth, Prithviraj and Vedhika in lead roles with academy award winner AR Rahman composing music….

Set in backdrops of ancient Tamil Nadu during the pre-independence era, two youngsters

Thalaivankottai Kaliappa Bhagavathar (Siddarth) and Melachivilberi Gomathi Nayagam Pillai (Prithviraj) are seen the pillars of the theatre group owned by Thavathiru Sivadas Swamigal (Nasser). Their friendship slightly turns into bitter side when one among them begins to thirst more for power, realms and achievements.

Director Vasantha Balan has tried compiling some of the real life characters through this film and succeeds with excellence. Apparently, the film gives a clear view that lots of ground work has been prepared up for making this film. On the performance level, Vedhika has done a marvellous job with some best expressions and body language. Siddarth delivers a neat performance after many years and Prithviraj scores the best points as a baddie with grey shades. Nasser as usual pulls up for a finest performance and Thambi Ramaiah is great with his acting proficiency…

The first half has some engaging screenplay and post-intermission sequences slight have some sluggishness. But the gripping moments of this film that includes the confrontations among Prithviraj, Siddarth and Nasser are tremendous, especially the climax is brilliant with emotions outpouring.

Technically, AR Rahman’s background score intensifies the screenplay and adds some emotions to it. Cinematography is top-notch and art department has really worked a lot, which completely deserves special mention.

On the whole, Kaaviya Thalaivan is a great attempt by Vasantha Balan and the actors have done a splendid job. But somewhere, we fail to get connected to this film and only witness it as a drama.

Verdict: Daring and promising attempt by entire crew

Vanmam

Vanmam

A story of friends hunted by situations that tests their loyalty. Jai Krishna, a former associate of Kamal Haasan has tried making a convincing family drama, but violence is dominated by its title Vanmam that goes very well with the film as well.

Kanyakumari is the hometown of Radha (Vijay Sethupathi) and Chella Durai (Kreshna) who have been friends from their childhood. Vadhana (Sunaina) and Chella Durai are deeply in love, which strongly objected by her elder brother (Madhusudhan of Goli Soda fame) leads to some conflict. Accidentally, when Radha tries to save his friend from her brother during a fight, he accidentally gets his throat slit open. Both of them try to hide this killing their own conscience and how far would be they loyal to each other forms rest of the story.

Vijay Sethupathi never minds taking up any roles and sometimes even a cameo as well. But he etches out the best spell from his store and easily wins the applause and appreciation. Over here, scenarios are same as the story stumbles halfway through the drama and yet his performance gives some life to the tale. Kreshna had gained a decent market with Yaamirukka Bayamey followed by moderate appreciation in Vanavarayan Vallavarayan. However, he has to change his style of performance to retain his status in Tamil cinema. Sunaina doesn’t fit the role so much and her emoting skills are a stark mediocre.

Musical score by Thaman doesn’t get your praises. The young music director needlessly follows the same pattern of musical score and none of the songs are captivating.

It takes nearly a hour and half for the actual story to commence and we are tested badly with our patience. To make it more simple, if not for Vijay Sethupathi, you walk earnestly walk out of theatres before the intermission unwinds.

Verdict: Overdose of violence, lack of drama

Naaigal Jaakirathai

Naaigal Jaakirathai

Lots of unconventional themes and neo noirs dominate our industry and there happens to be a rarity for family audiences to have their toast together. Naaigal Jaakirathai turns up to be such flick that has its own plus and little minuses, but offers it piece of entertainment to all family audiences.

The opens with a Belgium Shepherd Subramani sitting beside its murdered master, a major commander in Kashmir and it is commuted to Coimbatore at the neighbourhood of Karthik (Sibiraj), a cop on rest hit by bullet during shootout in loss of his close friend as well. Soon they start bonding well and become almost like brothers. Apparently, when a group of masked abductors already on headlines as dreaded troublemakers kidnap Karthik’s wife (Arundhati), both Karthik and Subramani set out to bring her back.

First things first! Sakthi Soundarajan deserves good acclaims for envisaging a beautiful idea to entertain the audiences. It’s been a long time we had come across sangfroid entertainers. Well, this isn’t a complete film for dog lovers, but with dog placed as an important character, it easily grabs the attention of kids indeed. On the pars, there is a substantial plot in the backdrops with a kidnap drama seriously haunting Sibiraj.

Sibiraj has made a comeback with safe bet. Not keeping himself glued to the usual style of heroisms, he turns up with a different style and thinking. His performance in few places faintly reminiscences of his father Sathyaraj, but that’s fine and it doesn’t hassle the film. Belgium Shepherd’s trainer deserves the best appreciation for making the dreams of Sakthi Soundarajan, Sibiraj and entire crew true. The relationship between Sibiraj and Arundhati are very well portrayed.

There are little minuses in the film; the way antagonists are delineated could have been more powerful. The first half has lots of engaging moments, but during the second hours, things slightly get slowed down. But overall, the drama remains to be good and entertaining in parts.

Songs by Dharan are the additional attractions and picturing by cinematographer are worthy of appreciations. In few places, the shot composition of camera could’ve been scrupulously done to avoid the illogical elements in locations.

On the whole, Naaigal Jaakirathai is a decent family entertainer that will engage the audiences and it has some values that will let family audiences have their fun and good time together.

Verdict: A cool entertainer for family audience

Thirudan Police

Thirudan Police

Attakathi Dinesh made his debut with the film prefixed to his name and later won incredible laurels for his critically acclaimed flick ‘Cuckoo’. Now he settles down with a much emotional drama in ‘Thirudan Police’. The film is directed by Caarthick Raju and is produced by SPB Charan. Iyshwarya of Rummy and Pannaiyarum Padminiyum has played the female lead role. Rajesh, Aadukalam Narain, Naan Kadavul Rajendran, John Vijay, Bala Saravanan and Nithin Sathya have played important roles. Yuvan Shankar Raja has composed music.

Attakathi Dinesh plays Vishwa, who brings disregards to his father Rajesh, head constable. He always locks horns with assistant commissioner’s son (Nithin Sathya). When Rajesh threatens to reveal all the illegal activities of Nithin Sathya and the misdeeds of AC, the latter kills him through his bunch of hooligans (Naan Kadavul Rajendran and John Vijay). Commissioner of Police (Aadukalam Narain) offers the same job of deceased Rajesh to his son Dinesh. But Dinesh is not convinced with the work and decides to give it up, but on the spur of moment changes his mind feeling the pains that his father suffered during the service. He now takes his mission of finding the culprits responsible for the murder of his father and bring them before justice.

On the performance level, Attakathi Dinesh scores brownie points. He emotes very well in sentimental scenes than trying his luck with humour. Actor Rajesh might not appear in many scenes, but keeps up a fantastic job. Iyshwarya doesn’t have any sequences to showcase her potentials and she just keeps herself walking with modern outfits throughout the film. Aadukalam Narain stuns us with his performance. John Vijay and Naan Kadavul Rajendran are supposed to be baddies, but in contrast they keep tickling your funny bones.

The first half has some good moments, but the momentum drops during second hour. Nevertheless, the humour we come across during the climax turns to be more entertaining.

Musical score by Yuvan Shankar Raja is good in background, but in songs, it’s yet another disappointment except the song based on the father-son relationship.

On the whole, Thirudan Police deserves a watch if you aren’t really concerned about the logic missing and if your need is all about entertainment.

Verdict: Fun and sentiments together

Oru Oorla Rendu Raja

Oru Oorla Rendu Raja

Plot: When a doctor gets into trouble with o owner of factory, two who-cares-what happen guys discovers their purpose in life.

Director R. Kannan who rose to fame with movies like Jayam Kondan and Settai has now come up with another film titled Oru Oorla Rendu Raja featuring Vemal, Priya Anand and Soori in the lead roles. Here we bring you the ‘what works’ and ‘what does not work’ factors!

The story revolves around two main characters – Azhagu (Vemal) and Michael (Soori). They lead a very carefree and purposeless life. However, when they come across the beautiful Priya (Priya Anand) in a rail journey, Azhagu falls in love with her. Soon enough, their life sees an unexpected and massive twist leading them to an unanticipated situation.

Priya Anand interests the audience with her glamour factor in the song sequences and also, she plays the role of a professional doctor quite convincingly. On the other hand, improve has improve his appearance a lot while compared to his other movies and his role was very well appreciated. While Vishaka Singh does justification to her role, Nasser’s characterisation is quite a highlight. Well, kudos to director Kannan for he just perplexes the audience with a great message in the film. However, all the good things are not noticed so well due to the poor writing of the script. Humour quotients do add spice to the film, but a couple of unwanted humour sequences are quite meaningless and the songs get nowhere near the script. In the second hour, the film gets more sluggish and to makeup that adds more commercial elements, the director makes the heroine to reciprocate the love of hero back for no reason.

Well the film has a good concept and it conveys a good message. While Vemal’s looks are appreciable, Soori keeps the audience engaged with his humour quotients. D. Imman’s music is good Thambi Ramiah does a fair job. Cinematographer P.G Muthaiah deserves a special mention for his great works.

Capping at all, Oru Oorla Rendu Raja has some great message but the poor narration spoils the show.

Verdict: Fails to impress

Poojai

Poojai

Hari films are never a dearth of action packed sequences that involves adrenaline rush of car chases, unlimited usage of weapons, splashing bloods, fast-zooming and panning camera shots, where it travels more than 10 miles in one second. His latest release Poojai that stars Vishal and Shruthi Haasan in lead roles with an ensemble star-cast of Radhika Sarathkumar, Sathyaraj, Jayaprakash, Thalaivasal Vijay, Mukesh Tiwari, Soori, Imman Annachi, Black Pandi, Manobala and many others comes with the same package. Let’s see how engaging and entertaining is ‘Poojai’ compared to the previous films of Hari.

The story traverses through the lives of different characters. Vishal plays the role of Vasu, a powerful person in the busy vegetable market leading his livelihood with money lending business. When he falls in love with a beautiful girl (Shruthi Haasan), she abuses him verbally of what status he has to propose her in spite of a long friendship. Sooner she falls for him and then realises that she Vishal is none other than the only heir to a huge tycoon family. Meanwhile, Mukesh Tiwari, a deadly don and contract killer hatches plans to kill a honest police commissioner (played by Sathyaraj). But somehow, Vishal saves him and there begins the hunt from the baddies. But a surprise twist in the tale connects them all by fate much before they met. What is the connecting factor and how they’re going to take revenge forms crux of the story.

Let us put in simple way, if you’re not looking out for a perfect logic, Hari’s Poojai is your cup of coffee. His fast-paced narration eclipses some of the drawbacks of illogical quotients and revealing them actually, especially the climax would be a spoiler. The first half moves with subtle pace and nearly for the first 20 minutes, there is little sluggishness in the tale. But sooner, after the rescue of Sathyaraj by Vishal, the drama picks up the momentum and from then onwards Hari manages to keep everyone engrossed. The intermission action sequences is almost like a climax and it gives an easy scenario to conclude how the climax is going to be. The clash between the hero and villain directly was something we had seen in Singam II itself and Hari employs the same methodology here as well. Although the climax is easily predictable, the raciness in the script keeps us so much adhered. There are certain scenes that are little outdated. Look out for the scene where Sathyaraj meets Vishal and says, ‘Engada Irundha Ithana Naala?’ which is somewhat closer to Vijayakumar speaking with Suriya in Singam.

The major plus is the ensemble star-cast that gives you the mixed feeling of emotions, fun and entertainment. Vishal’s action sequences is yet again larger than life role, but the scenes of emotions and romance works out some good results. But it would have been nice if he had concentrated on some hilarious quotients as well. Director Hari has to make sure that his protagonists are presented with humorous elements as well from his next projects, which is only need of focus. Shruthi Haasan looks little odd for the characterisation she has played. But she has done her best in some of the scenes like following the baddie’s henchman and tracing him is a good one. But her dancing is little mediocre and she really needs some improvisation in voice modulation. Of course, she is fantastic singer, but when it comes to rendering dialogues, she has to look up for some abrupt decisions, whether to dub with her voice or someone else.

Musical score by Yuvan Shankar Raja is so much disappointing and he keeps his fans hopes dashed over and again. In few places, he gets well with background score, especially for the ones that involves Sathyaraj. The comedy scenes comprising of Soori, Black Pandi are okay, but the ‘Banana’ double entendre comedy is really pathetic and really needs a deletion if Hari wants family audiences to watch this film.

Filled with some emotions, heavy load of action sequences, some romance and few humour, Poojai is yet another usual package from Hari, but the elements like strong characterisations makes it worth watching.

Verdict: Passable entertainer engaging in parts.

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