Kirumi

Kirumi

Directed by : Anucharan
Produced by : K Jayaram, L Prithiviraj, M Jayaraman, S Rajendran
Written by : M. Manikandan, Anucharan
Starring : Reshmi Menon, Kathir, Charle, Vanitha Thennavan
Music by : Krishna Kumar
Cinematography : Arul Vincent
Edited by : Anucharan
Production company : JPR Films
Release dates : September 24, 2015
Country : India
Language : Tamil

Crime thrillers have been rarest of its kind, when it comes to Tamil cinema and apparently, when some maverick filmmakers try to implement their ideas, it gradually shifts to gangsters, but debutant Anu Charan picks up an unusual theme, but something really pragmatic of what we have been witnessing in our daily lives across the lanes we pass through. The film features Kathir of Madha Yaanai Koottam fame and Reshmi Menon in lead roles with David Solomon, Charlie and Thenvannan in important characters.

Kathir plays an ordinary youngster across the neighbourhood of North Chennai. Happily married to a beautiful wife (Reshmi Menon) and blessed with a child, he still has the ‘playboy’ enlivened in him. Charlie plays his well wisher and tries to get him a job that will help his family remain on the safer side against financial crisis. Kathir is favoured by a police officer (David Solomon) and soon he becomes acquainted with the petty jobs of seizing vehicles and accompanying cops as FOP (Friend of Police). When things are going smooth, things take a drastic change that almost threatens his life and closer ones.

The film holds a plot that seems so simpler by the initial moments, but gradually takes on a good pace with a climax that might or may not impress you. It’s merely because, the director tries to capture the audiences with a too realistic approach that’s practical, but again when you come to theatres, it’s commercial treatment that wins your favours. The first half has light moments and we’re introduced to the actual premise with a gruesome twist that comes through intermission.

Over the performances, it’s appreciable time for everyone in the star-cast. Kathir has shown some improvement towards his role and has matured with his acting skills when compared to his previous movie. On the other end, Reshmi Menon might look too young for the role of wife and mother a child, but she decorously carries it. Charlie after a long time gets a scope to perform and his portions are convincingly told. David Solomon had so far appeared in only small roles, but gets to score some best characterisation here blended with good, bad and ugly.

The musical score by K gets brownie points with the background score and songs aren’t actually well delivered. Cinematography is good in places with effective pictorial.

The film lacks some substantiality in the first half and moments during second half are gripping though, with a climax that could have been altered or properly told to make sure audiences from every group could understand it.

Verdict: Gripping in few parts.

Maya

Maya

Movie : Maya
Directed by : Ashwin Saravanan
Produced by : Potential Studios
Written by : Ashwin Saravanan
Starring : Nayanthara, Aari, Amzath Khan, Lakshmi Priyaa Chandramouli, Robo Shankar, Mime Gopi
Music by : Ron Ethan Yohaan
Cinematography : Sathyan Sooryan
Edited by : T. S. Suresh
Production company : Potential Studios
Distributed by : Sri Thenandal Films
Release dates : September 17, 2015
Country : India
Language : Tamil, Telugu

The horror tales are exceedingly getting beyond the limits and Tamil films buffs have been tremendously seeing it every Fridays. It’s been a long queue and it continues to proceed to come in plenty and so what would make Maya remain a different one. Debut filmmaker Ashwin makes an impulsive attempt to showcase a different dimension of horror film. It’s a modern day tale that embraces a different style of storytelling that begins on a complex note and later with things interwoven have a convincing spell.

The film tells the story in two different parallel lines – One is about Nayantara, a mother who is desolated from her husband from some personal reasons and is taking care of her child with own earnings. She is looking out for a perfect break in acting and is consistently attending the auditions. Then there is Aari working as a cartoonish and caricature specialist at a renowned Tamil magazine. He is seen of course, working on a supernatural story called ‘Maya’, which is published on weekly basis in the magazine. How these tales get interwoven and offer a surprise by the end forms the basic premise of this film.

Rushing through a vivid analysis, director Ashwin deserves special appreciations for a special treatment. For the first half, you might be wondering why are few portions alone narrated in black and white portions and others in colour is a good treatment. But the first half is studded with sluggish moments and there is lack of pace. But sooner in the post-intermission sequences, we are taken straight into the plot and there are some good surprises. Nayantara delivers a stupendous performance with her body language and expressions. She looks depressed throughout the film and the solution she gets during the final portion is something more convincing. Aari doesn’t get anything special in terms of role, but manages to pull things perfectly with his performance in the role. Mime Gopi, Lakshmi Priya and Robot Shankar have their prominences equally shared and they are groovy.

Technically, we have to appreciate the entire team in the crew for extending best efforts. Sound designers have done a marvelous job and editing by Suresh is superb. The cinematography with atmospheric impact offers additional chills in many places. Musical score by Ron is one of the most highlighting traits that peps up the emotional attributes in this movie.

As a story and plot, Maya is really a different and great effort. While it looks like the makers have tried to project and present the film in a Hollywood pattern, it would have been nice if either the running length was trimmed from 140 minutes to 100 minutes, which would have made it more engrossing.

Verdict: Really different and surprising, but lengthy

Maya Movie Review

 

Trisha Illana Nayanthara

Trisha Illana Nayanthara

Movie : Trisha Illana Nayanthara
Directed by : Adhik Ravichandran
Produced by : C. J. Jayakumar
Starring : G. V. Prakash Kumar, Anandhi, Manisha Yadav, Simran, VTV Ganesh
Music by : G. V. Prakash Kumar
Cinematography : Richard M. Nathan
Edited by : Anthony L. Ruben
Production company : Cameo Films India
Distributed by : Studio Green
Release dates : 17 September 2015
Country : India
Language : Tamil

Music director turned actor GV Prakash’s latest outing Trisha illana Nayantara is completely dedicated to those adolescent buddies who yearn for their hormonal feed. The film is directed by debutant Adhik Ravichander with Anandhi of Kayal fame and Manisha Yadav performing female lead characters.

The film has an onionskin plot of how it tells that a guy needn’t be worried if a girl leaves him. There are plenty outside and the guy can go ahead and pick his choice. GV Prakash, Anandhi and Manisha are playing the main characters in this drama, which also features VTV Ganesh in an important role and Simran appears in a cameo.

GV Prakash made a commendable debut with the film Darling, where he had some scope to exhibit his performance, though it was somewhere amateur. But this time, it’s too much overdose of double entendres, steamy sequences and everything that was seen in movies before a decade like Thullavadho Ilamai and Boys. GV Prakash has to learn something on his expressions and he can do well with some challenging scripts. Anandhi made her debut with the film ‘Kayal’ and see how innocuous she was. Over here, she transforms herself completely into a different avatar. She is sure to woo the hearts of many youngsters in the film industry. On the other hand, Manisha Yadav spices up the oomph factor with her cheeky lines. Not to miss the most bold and blatant dialogues by this missy. VTV Ganesh is yet another stud to this film that brings more double entendres.

Technically, the songs by GV Prakash are good and apart from showcasing his musical spell, he has improvised a grade higher in his dancing skills as well.

The film has elements that can be enjoyed by the youth cohorts relentlessly as there would be more claps and whistles. It looks like few filmmakers have an idea that posing up with such scripts would surely engage the teen audiences and he has partially succeeded, but if someone can ask if they would be able to watch it along with their families, then it’s a huge question mark.

Adhik showcases a sample of guys and guys with these cheeky and hormonal victims, but it might lead to a wrong assumption.

Verdict: Might be okay with teenagers…

Trisha Illana Nayanthara Review

Strawberry

Strawberry

From Pa Vijay, he has now graduated into Ppppaaa Vijay, so to speak, as the lyricist, who ventured into actor with ‘Gnabagangal‘ and ‘Ilaignan‘, successfully establishes himself as director in ‘Strawberry’.

At a time when many of our filmmakers are making fun of spirits with eerie comedies, Vijay has made a serious, rather touching, attempt in this genre. And he also conveys an apt message which is need of the hour.

The basic knot of the story is an infamous incident which shocked us a few years ago– when a school going child lost her life due to lack of adequate safety measures in the bus.

Vijay has added elements which are needed to make a movie and presented us as ‘Strawberry’. But he has not diluted the basic idea and sticks to it, at least in most parts.

A taxi driver (Vijay) experiences paranormal activities, as a spirit wants to establish contact with him. It belongs to a child, who died in an accident due to the negligence of authorities.

Even as the child’s parents (Samuthirakani and Devayani) are in inconsolable grief, the spirit wants to take revenge on those responsbile between her untimely death. How it happens?

The child Yuvina Parthavi delivers a solid performance, as her character forms the backbone of the movie. Samuthirakani and Devayani, veterans they are, prove why are they called so.

While Pa Vijay emerges successful as writer, director and producer, he still needs to improve his acting skills. So is heroine Avani Modi, who could focus on bringing out more emotions.

Robo Shankar, Thambi Ramaiah and Imman Annachi are there to tickle the funy bone, while Joe Malluri has done his part well.

Taj Noor’s background score adds to the mood of the movie, and his songs are okay. Cinematographer Maara Varman comes up in flying colours with unusual angles for an eerie plot.

‘Strawberry’ delivers the intended message, but things could have been made more interesting, as certain scenes lack the much needed fizz. Having said that, there is no denial that ‘Stawberry’ has its moments, it is a decent eerie thriller.

Verdict: Decent thriller with its own plus and minus points

Yatchan

Yatchan

Directed by : Vishnu Vardhan
Produced by : Siddharth Roy Kapur,Vishnuvardhan
Written by : Subha (Story & Dialogue)
Screenplay by : Vishnu Vardhan, Subha
Starring : Arya, Kreshna, Kishore
Music by : Yuvan Shankar Raja
Cinematography : Om Prakash
Edited by : Sreekar Prasad
Production company : Vishnuvardhan Pictures
Distributed by : UTV Motion Pictures

Vishnuvardhan is far-famed a smart skill of having simple themes as basic premises and yet he delivers them with perfect quotients. That makes his films quite an enjoyable one and this has been prevalent from his maiden debut Kurumbu.  This time, he adapts a short story written by authors duo Subha and has tried presenting them as a feature film ‘Yatchan’, which is released today. The film, an action comedy features Arya, Krishna, Deepa Sannidhi and Swathi in lead roles with some interesting star-cast of RJ Balaji, Ponvannan, Ajay Rathnam, Thambi Ramaiah and many others.

Two men with different nature and contrastive ideas – Arya and Krishna come across each other urged by situations. Arya is an aimless personality, who by mistake has committed a murder in Tuticorin and has rushed for rescue in Chennai. On the other end, Krishna from Pazhani hills has made his way to Chennai with aspirations to make it big as an actor. His girl friend Swathi has offered him every help out of love. Deepa Sannidhi becomes the major connecting factor of these characters for possessing a gift of ESP.

First and foremost, the film has a simple plot, which could be more engaging when read as a story published in continuity over a magazine. Just imagine, the story begins and something curious happens at the end of two-pages, keeping us so much in eager to know what’s happening next. But when we view this as a film, the same impact goes missing and there are times during the first half, where you don’t see anything happening special. It’s only by the time of intermission, you’re bound to some excitements, but sooner things are back to normalcy.

Arya looks too normal and his performance is effortless, which works out in places. Krishna gives his complete push to make use of this opportunity of scoring brownie points. Swathi looks cute with her looks and her characterisation laced with innocence, silliness and few chirpiness is a sense of attraction. Deepa Sannidhi actually gets a prominent characterisation, but she could have been portrayed in a much convincing manner. You see her suffering from so much of phenomenal power and is wedged between serious situations, but the very next scene is seen shaking legs. RJ Balaji and Thambi Ramaiah are pretty good cherry picks of this show for their comedy is unlimited and keeps savouring us vividly. Ponvannan is good and the one we see in negative role is prodigious.

On the technical front, Yuvan Shankar Raja has exhibited a brilliant task of delivering every song with more elegance. We keep loving the song for the best composing and good picturing by cinematographer Om Prakash. But at times, we find some songs don’t get a proper placement.

If Vishnuvardhan and his writers Subha had made the film packaged with engaging screenplay and something surprising for the audiences as the plot holds such prominence, Yatchan would have been an extraordinary entertainer.

Verdict: Comes with a good plot, but hampered with sluggish screenplay

Savaale Samaali

Savaale Samaali

Director Sathya Siva picked the title of a Rajini film for his maiden venture (‘Kazhugu‘). This time (‘Savale Samali’), he has settled for a Sivaji movie title and has tried to present a comedy flick. Though the intensions and the premise are fine, hardly we get our funny bones tickled while watching ‘Savale Samali’. In fact, this seems to be the ‘savaal’ which we have to ‘samali-fy’.

One good thing about ‘Savale Samali’ is the presence of Bindu Madhavi (who, intentionally or interestingly, the heroine of ‘Kazhugu’ as well). Ashok Selvan, despite his best efforts, fails to be funny. The story revolves around Ashok Selvan, who works in a small time television channel (owned by Karunaas). As their channel fares poor in TRP ratings, they come up with an idea to set things right.

Their plans backfire and they are thrown up challenges after challenges (you have to recall the title here). How they overcome all hurdles and achieve their mission is the crux.After a stunning performance in ‘Thegidi‘, Ashok Selvan fails to impress in ‘Savale Samali’. Bindu Madhavi has little scope to perform, but does her best in whatever space is available.

Jagan‘s one-liners fail to enthuse, while Karunas and others are okay. Technically, the film did not have much to offer, but cinematography is cool and casual.

Making audience laugh is not an easy thing. This gets proved once again in ‘Savale Samali’. But still, the film is far from being unwatchable, and the director should be lauded for that.

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