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



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.



It’s been a wait for nearly 6 months that had put the ardent Ilayathalapathy Vijay fans on strong hold towards it. Lots of excitements, lots of controversies, lots of promotions and finally the film is out on this festive occasion of Diwali. Adding more hype to this film was the collaboration of Vijay and AR Murugadoss who are coming together for the second time following the grand success of Thuppakki.

Here’s a short and crisp review on Kaththi, the film that is produced at a whopping budget by Lyca Productions and has witnessed a grand release across the world on this festive occasion of Diwali.

Tamil cinema has seen a lot of films based on the mistaken identities with identical looks. Sometimes mistaken or intentional plan by either protagonist or antagonist to make smart plans and of course, Vijay himself had been a part of similar film like ‘Azhagiya Tamizh Magan’. Set in backdrops of Kolkata prison, we see Kathiresan eloping from the bars and make his way to Chennai. His intentions are simple – insist his friend (Satish) to create a fake passport and get settled in Bangkok for a while. Meanwhile, he is floored by a beautiful girl Ankitha (Samantha), who he meets during his boarding flight and decides to cancel the trip. Eventually on the same night, he sees someone cruelly shot by strangers and discovers that he is Jeevanandham (again played by Vijay) and is identical in looks. Instantly, he decides to pose as Jeevanandham and get the other one in clutches behind prison. What unfolds next is a series of unexpected twists and turns, where Kathiresan is urged by situations to take up a great task to accomplish for the sake of thousands of innocents.

Vijay as Kathiresan and Jeevanandham has done a fabulous job. On analyzing these characterizations, it’s Kathiresan who gets a great scope to emote in different situations. Be his furiousness or the emotional outburst, he spells the best. But in contrast, Jeevanandham doesn’t get a much scope to perform and is seen silent throughout the flick. Being showcased as a communist, he never gets any situation to express his potentials in that role, except a dialogue that says, ‘Communism is having enough Idlis till it fills your stomach and the rest is for others.’ Samantha doesn’t strain herself and even her characterisation is so bleak. She just repeats the same old mannerisms and expressions. Neil Nitin Mukesh, the newbie from Bollywood stuns you with his looks and dubbing in own voice is extraordinary. Ethir Neechal fame Satish is really disappointing with his comedy portions.

Musical score by Anirudh is just average and the songs are not properly placed in the screenplay. The background score is just mediocre and cinematography by George C Williams is just okay, since he has used so much of grading and artificial filters.

The first half is little sluggish and the second half has some interesting moments, but the screenplay turns to be slow paced. With such a good theme in hand, AR Murugadoss could have yet more worked finely on the script.

Verdict: Good one overall, but not powerful as Murugadoss promised.

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