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

Movie : Sethupathi
Directed by : S. U. Arun Kumar
Produced by : Shan Sutharsan
Written by : S. U. Arunkumar
Starring : Vijay Sethupathi, Remya Nambeesan
Music by : Nivas K. Prasanna
Cinematography : Dinesh Krishnan
Edited by : A. Sreekar Prasad
Production company : Vansan Movies
Release dates : 19 February 2016
Country : India
Language : Tamil

Vijay Sethupathi has it all written throughout ‘Sethupathi’ and it completely travels on his strong performance. There is a sort of excitement and sluggishness on pars when we watch this film. Right in the first frame, we are introduced what we are about to witness in the next couple of hours. Sethupathi is a honest cop, who has a stubbornness and softness towards the profession and when it comes to family, he is a kiddo of innocence. He doesn’t miss to show his emotional attachment to wife (Ramya Nambeesan) and children. He never shows up his anger towards his fellow juniors at work, though he would hilariously attack them with witty lines. But his focus and anger is all towards finding the right justice against the ones who mercilessly killed a honest police officer.

The first half naturally has its impact of engrossing moments, where you don’t feel the stress anywhere. There are racy moments and you’re sure to enjoy them up, though a sense of Déjà vu strikes up now and then. Arun Kumar has convincingly imprinted the family quotients in a soft tone and in the very next sequences; we would find the seriousness with investigation prevailing up. But what turns out to be a slight disappointment is that Arun continually keeps repeating the pattern in second half as well. He could have completely avoided more family elements during the second hour, which could have kept the narration intact.

Vijay Sethupathi is a method actor, who could easily manage to take a cakewalk with any roles, he essays. This film is no exception as it gains him best laurels as a mass hero. He does what the usual mass heroes have done, but with discipline and perfection. You don’t see him flying across the airs, bashing down the baddies and shout out the punch dialogues, but he literally plays according to the situation. Ramya Nambeesan is a perfect cast for this role, but the disappointment comes in the form of baddies and his group. They don’t fit in well for the characterisation and someone like Prakash Raj could have added up more intensity.

Musical score by Nivas K Prasanna is pleasingly good, where he offers a mix of genres. The mass number by Anirudh fits well to the impact and couple of melodies are commendable indeed. Editing by Sreekar Prasad is simply best on transition that proceeds up the narration in style.

If director Arun Kumar had avoided too many family portions in the second half and replaced the baddies with more powerful actors, Sethupathi would have been more impactful.

For now, it holds a mass appeal from Sethupathi and although the story looks time worn, it proves to be a worth watchable show.

Verdict: Vijay Sethupathi strongly appeals with mass heroisms. 



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

Movie : Miruthan
Directed by : Shakti Soundar Rajan
Produced by : S. Michael Rayappan, M. Seraphin
Starring : Jayam Ravi, Lakshmi Menon
Music by : D. Imman
Cinematography : S. Venkatesh
Edited by : K. J. Venkat Ramanan
Production company : Global Infotainment
Distributed by : Ayngaran International
Release dates : 19 February 2016
Country : India
Language :Tamil

Miruthan Review in Tamil

Definitely, one of the most prominent things you could notice about filmmaker Sakthi Soundar Raja is that he attempts to make unique stories with unique genres. It’s a specialty that we have noticed in him from his first couple of movies ‘Naanayam’ and ‘Naaigal Jaakirathai’. With ‘Miruthan’, he reintroduces the genre of ‘Zombies’ nearly 28 years after ‘Naalaiya Manithan’ and ‘Athisaya Manithan’. Miruthan features Jayam Ravi, Lakshmi Menon and Kaali Venkat in lead roles with others in the cast including RNR Manohar, Amit, Baby Anikha and Sriman with D Imman composing music….

Set in the backdrops of Ooty, we find a poisonous chemical has leaked out and there begins the virus to spread out, where humans start biting each other transforming into Zombies. Karthik (Jayam Ravi), a traffic police along with his colleague (Kaali Venkat) embark on a journey to Coimbatore along with a beautiful girl (Lakshmi Menon), with whom he has been in love with, but she is engaged with someone. Karthik’s younger sister (Baby Anikha) is also travelling with the crew along with Lakshmi Menon’s father (RNR Manohar), a politician and couple of doctors.

Now the biggest question is whether these people would survive the Zombie attack or succumb to the fate.

First and foremost, the film deserves the best credits of appreciations for spearheading with a bold genre that isn’t a commonality in the industry. The filmmaker has tried to narrate the story in a much convincing manner with a running length not more than 106 minutes. This indeed acts as a strong element in keeping us adhered, especially during the first half and might be the second hour turn out to be little stuck with more violence and gun shots. But keeping it just to 45 minutes eclipses the flaws. Certain dialogues slightly sound amateurish and unwanted, including the hilarious lines from RNR Manohar and Kaali Venkat. But director balances between the serious and hilarious elements equally.

Musical score by D Imman is incredibly at its best that adds more powerful elevation to the script. The film’s cinematography is top-notch indeed.

There is nothing much to speak about flaws and even the minute ones gets overshadowed with the best works of technical department and stark characterisations. Miruthan definitely deserves a watch for the newfangled concept and would surely be loved by the kids out there.

Verdict: A stark, stylish and taut thriller with emotional realms in places.

Jil Jung Juk

Jil Jung Juk

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

Sometimes, a different attempt surely deserves better verdicts, but what turns out to be a hampering factor is that the treatment and how it is done makes the difference. Jil Jung Juk, right from the announcement of title, first look and the fascinating fact that there is no heroine in the movie kept us engrossed and definitely, what the final output is deserves special acclamations.

Special tons of appreciations to Siddarth, who could put forth a daring attempt to produce and act in a movie that doesn’t feature any heroines… It’s a very wafer thin plot that involves a fantasy backdrop laced with adventure and action.

We are commuted to the world in 2020, where we find a reigning drug lord named Deva declining from his powerful status. He has the last deal to be done – smuggle up the cocaine to a top league customer that could gain him money. He hands over the job to three youngsters with unique characters – Siddarth, Sananth and Avinash, where a car painted pink with narcotic drugs has to be delivered on time. Sooner, things turn out to be bizarre, where the car gets devastated and now the three lives are at stake.

Apparently, as cited above, what keeps us likeable towards the film is the concept that Deeraj and Siddarth have boldly picked up. A sort of inspiration from various Hollywood movies in terms of narration and technical vistas and yet is works out to a decent extent. But the problem occurs slightly with the screenplay. Such racy paced thrillers should keep itself limited with duration around less than 2 hours. The first half gets racy in places with enjoyable moments and as you keep expecting what’s gonna happen next, although the screenplay in second half is pretty good, there seems to be a sort of dragging in places.

Getting on with the performances, everyone in the film has rendered a stupendous acting. Siddarth is so much matured with his acting and others in the cast including Avinash and Sananth too deliver a promising performance. Radharavi and the one playing the characterisation of Deva are best. Although Nasser appears only in one particular scene, he simply lets up the show and not to miss the hilarious moment with RJ Balaji as well.

Background score by Vishal Chandrasekhar is magnificent and is really breathtaking in places, especially during the climax portions. The unique vintage tone offered by cinematographer is always stunning.

On the whole, if Jil Jung Juk had obtained a better treatment of screenplay, especially in second hour, it could have been much enjoyable.

Verdict: Interesting and enthralling in places, but lacks pace in moments



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

Tea stalls have almost become the iconic emblems of Indian country, especially towards the down south territories of Tamil Nadu. Every tea stall records the lives of unique individuals and stories and that’s how Anjala is themed upon. The film is directed by Thangam Saravanan and is produced by action choreographer Dhilip Subbarayan with Auraa Cinemas releasing it.

The film traverses through the episodes of Anjala Tea stall, which is owned b Pasupathy. During the narration, we get to see that his very own grandfather (again played by Pasupathy), who was the main reason behind the origin of town during the pre-independence period with his little hub of refreshing the passerby people down there. Now with the contemporary times, we get to see that Vimal and his friends are having a great time out there. He falls in love with Nandita, who gets at the Anjala bus stop and there are lots of characters having a close connection with the tea stall. The film travels through the ups and down that the tea shop faces.

Vimal, Nandita and Pasupathy – All these three actors have something in commonality and that’s their exertion of naturalistic performance towards any roles they essay. They’re pretty rare ones, who could easily deliver a promising show with more elegance irrespective of their characterisations. Especially, when it comes to rural based movies, Pasupathy, Vimal and Nandita make their best spell and this one isn’t an exception. Thangam Saravanan has tried to register some lively moments in the film during the first half and on the flip side, the second hour has some sluggish incidents, which lowers down the momentum. But somehow, it will not be felt amongst the village side audiences.

On the technical front, cinematography deserves special mention for the tone and colours used. Musical score by Gopi Sundar doesn’t fit into the nativity of this movie. Not to blame the reigning music director of Malayalam industry, but his background score and song composing for Tamil rural nativity doesn’t befittingly get well. The flashback sequences are very well shot and the entire technical team deserves special mention along with Pasupathy.

On the whole, Anjala will be surely a decent show across the down south territories as there could be emotional connect with the movie. The audiences who don’t rely on reviews and critical analysis would definitely love it and when it comes to Multiplex theatres, there wouldn’t top opening, but might get well with the viral publicity.

Verdict: Emotional in few places, but screenplay could have been better

Bangalore Naatkal

Bangalore Naatkal

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

Bangalore Days had swept everyone off the feet with its beautiful treatment of script, characterisations, screen presence of prominent actors and entertainment packages. The original version directed by Anjali Menon starring Dulquer Salman, Nivin Pauly, Parvathy, Nazriya Nazim, Isha Talwar and Nithya Menon in lead roles. The remake version brings Arya, Rana Daggubati, Parvathy, Bobby Simha, Sri Divya, Samantha and Rai Laxmi in lead roles. The remake version comes from moviemaker Bommarillu Bhaskar and is produced by PVP Cinemas.

The film is about 3 cousins – Arya, Sri Divya and Bobby Simha, who have been carrying a beautiful dream of putting up in Bangalore from their childhood. Coincidentally, as they grow up, they have their reasons of getting into the city as Sri Divya enters wedlock with Rana Daggubati, Arya finds a job down there as a mechanic at racing club and Bobby Simha as a software engineer at top software company. The complete film is about their own episodes happening there, finding love and getting closer to each other.

It’s a vivid analysis for this film as there is a pretty good large bunch of actors. Everyone has their equal portion extended out with equal prominence. Arya has been sketched as a stubborn guy, who doesn’t believe in firmness of life. He goes as a nomadic way and doesn’t want to settle anywhere. Sri Divya as an innocuous girl gets to make a decent spell. Bobby Simha on his part gets to perform a hilarious role after long time and manages to steal the show. Rana Daggubati maintains the impact what is required for the role. Samantha appears only in the flashback and manages to have their realms too. Parvathy is the greatest showstopper, where she pulls of an excellent performance. Raai Laxmi doesn’t get a good scope. Prakash Raj is perfect. Saranya Ponvannan is quite naturalistic and hilarious in her role.

On the technical front, background score by Gopi Sundar enlivens the script in many places .The emotional contexts are very well elevated through his BGM. Cinematography by Guhan is top-notch and editing has been neatly done.

The first half proceeds with lively projection and by the second hour, the momentum slightly drops and duration seems to be little lengthy.

Bangalore Naatkal is a film tailor made for the multiplex audiences and it might not be a favourite cup of coffee for the audiences across rural and sub-urban. But again, when it comes to multiplex audiences, everyone has seen the original version with the subtitles and this could be a slight hampering mode for the remake.

Verdict: Sangfroid entertainer with lengthy second half




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

Engraving an impactful drama with raw and rough dramatic narration, Visaranai glimpses into the real life inspirations authored in the novel ‘Lock Up’, penned by Auto Chandran.

The film picks some of the intriguing episodes in the auto driver’s life and has fictionally pictured with creative writing. Filmmaker Vetrimaaran has been always carried a strong profound affinity for some unconventional movies, which was so much evident with National award winning film ‘Aadukalam’ and his production ventures with Dhanush in the past including ‘Kaaka Muttai’.

The film’s drama involves a bunch of youngsters, who have left Tamil Nadu to Andhra Pradesh for their livelihood. In terms of commercial elements, there are few romantic episodes involving Attakathi Dinesh and Kayal fame Anandhi, which has been included as a flashback, not upsetting or hampering the screenplay anywhere.

The first half has been crafted with an intensity of seriousness. We aren’t moved anywhere with our attention away from the screens….. Although the running length of the complete show is limited of approximately lesser than couple of hours, but we are taken through a course of lots of dramatic moments, which are quite engrossing. In fact, there are rarity in films, where while reviewing or analysing, you speak about everything including the technical and narrative details, but not anything on the plot. Because the film ‘Visaranai’ has such a brilliance of reality sketched up in every sequence. The last 20 minutes of this film it gives an experience that you almost gained in Mel Gibson’s Apocalypto.

Getting on with the performance, Attakathi Dinesh has simply lived into the role that has been offered to him. He is someone, who could easily give a decent stroke through his performance in roles that was embedded with innocence. Kayal Anandhi doesn’t get more scope, but is on her best in portions offered to her. The ultimate showstoppers are Kishore and Samuthirakani. These versatile actors have their own realms spread out. Especially the performance of Samuthirakani in the second half deserves so much of appreciations.

Just as Yuvan Shankar Raja had created a massive attempt with background score in Aaranya Kaandam, GV Prakash too makes an impressive show here. The film has no songs, but it could eventually make up for the best on background score in enhancing the screenplay.

Verdict: Surpassing drama of bitter reality and strong performances

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