Lingaa

Lingaa

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

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

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