Thoongaavanam aka Thoongavanam

Thoongaavanam aka Thoongavanam

Movie : Thoongaavanam
Directed by : Rajesh M Selva
Produced by : S. Chandrahasan
Written by : Roshinthan Selvamani Nagarajan
Based on : Sleepless Night by Frederic Jardin
Starring : Kamal Hassan, Trisha, Prakash Raj, Kishore, Asha Sarath
Music by : Mohamaad Ghibran
Cinematography : Sanu Varughese
Edited by : Vijay Shankar
Production company : Raaj Kamal Films International
Running time : 98 minutes
Country : India
Language : Tamil, Telugu

Kamal Haasan has always been someone who has been constantly sticking to the unparalleled lines of cinemas. Be it an offbeat movie or something more to deal with exceptional genres, he makes sure of encompassing something more with his unique traits. Based on the famous French film ‘Sleepless Night’, the film is an edge-seated thriller that happens over a night time inside a Pub.

The story starts with Kamal Haasan and Yugi Sethu, cops at Narcotic Control Bureau shooting down couple of drug peddlers. Immediately, Kamal Haasan gets hooked up with an unimaginable situation, where the Drug Lord (Prakash Raj) kidnaps his son and demands him to give back the snatched drugs. Meanwhile Kishore and Trisha from investigation team follow up Kamal Haasan to the pub and rest is a thrilling edge-seated drama happening at full pace.

The makers have openly accepted the fact that the film is a remake of French movie ‘Sleepless Night’ and the screenplay by Kamal Haasan happens to be the strongest point of attraction here. The film’s screenplay and running length are crisp and more matured. 10 minutes into the movie and we are taken straight into the plot, where the actual seriousness commences. The strong characterisations and wonderful performance by the actors make it more convincing. The first half has a fast-paced momentum and after intermission, there are some sluggish moments. Nevertheless, towards the climax, the pace is back to the right level and then it gets a perfect ending.

Kamal Haasan doesn’t need an analysis to be marked upon his performance. He is a genius and his performance is always ne plus ultra. Trisha has attempted something different completely in contrast to her previous movies. Her performance is brilliant. Prakash Raj expresses his astounding spell yet again with his slang and mannerisms. Sampath is extraordinary and Kishore is neat and apt for the role of what he has done. Although, the film is an edge-seated thriller, it holds substantial prominence for emotions and some humour as well.

Director Rajesh has made a commendable debut with this film and his detailing is exceedingly exceptional. The background score by Ghibran becomes one of the highlighting traits and the promo song we hear during the final credits is just awesome.

On the whole, Thoonga Vanam is a film that brings together some of the most prominent power houses of Tamil film industry and it is something really surpassing over the usual paradigms of Tamil cinema.

Verdict: Brilliantly crafted thriller

 

Vedhalam aka Vedalam

Vedhalam aka Vedalam

Movie : Vedhalam
Directed by : Siva
Produced by : A. M. Rathnam, S. Aishwarya
Written by : Siva
Starring : Ajith Kumar, Shruthi Hassan, Lakshmi Menon, Ashwin Kakumanu
Music by : Anirudh Ravichander
Cinematography : Vetri
Edited by : Ruben
Production company : Shri Sai Raam Creations
Release dates : 11 November 2015
Running time : 161 minutes
Country : India
Language : Tamil

Entertainers and festivals have always been acknowledged as the closest synonyms, especially when a film from A-league superstar arrives, it takes more scope to offer the enthrallment. Following the good success of Veeram, director Siva and Ajith Kumar are back with their second outing titled ‘Vedalam’, the duo Siva-Ajith is back again with the film ‘Vedalam’ that stars Shruthi Haasan and Lakshmi Menon in female lead with a huge bunch of star-cast including Rahul Dev, Kabir, Ashwin, Soori, Thambi Ramaiah, Lollu Sabha Swaminathan and many others.

The film opens with a normal scenario of Ganesh (Ajith Kumar) and his younger sister (Lakshmi Menon) coming to Kolkata. Ganesh gets a job under travel agency to drive cab and during this point, the police department of Kolkata requests all the drivers to inform them if they come across the suspected criminals. On an occasion, Ganesh comes across couple of such miscreants involved in the smuggling and girl trafficking and informs police about them. In turn, the baddies hit Ganesh badly in their place and that’s where the true identity of Ganesh is revealed with mind blasting twists and turns unveiling what’s the real connection between Ganesh, his sister and these roughnecks.

The first prominent feature that adds more highlighting traits to the film is Ajith Kumar’s screen presence… His different dimensions as innocent Ganesh and unbelievably contrast Vedalam turns the theatres in tremendous response. The first half of this film has some sluggish moments and sometimes, the comedic portions by Soori and Shruthi Haasan aren’t really impressive, though it might gain the favour of B and C centre. But the actual speed picks up intensely by the 40 minutes, where there is more power-packed performance by Ajith Kumar. The second half completely gets over the most tremendous impact of Ajith, especially the intermission block and the penultimate to climax portion are massively outstanding. Shruthi Haasan doesn’t get a proper mileage in this movie and her role is just limited to minimal prominence. Lakshmi Menon is finely best with her performance and she has to thank Siruthai Siva for sketching her characterisation with so much of emotions and elegance. Rahul Dev plays a perfect baddie and his final conversations with Ajith by climax are really stylish with some humorous touch. Kabir gets a substantial role and he sticks perfectly to it. Soori, Naan Kadavul Rajendran, Lollu Sabha Swaminathan, Bala Saravanan and Kovai Sarala have nothing much to do more with the script.

Background score by Anirudh is encompassing with colossal tracks, especially for the action sequences and couple of songs – Veera Vinayaka and Aaluma Doluma are specially made for Ajith fans. If you’re looking up for some features on the flip side, there isn’t much, except few comedy portions involving Soori and Shruthi Haasan in the first half.

Overall, Vedalam stands out to be a wholesome entertainer for family audiences and mass film buffs as well with right mix of action, comedy and family sentiments.

Verdict: Good show for family and mass groups

 

Om Shanthi Om

Om Shanthi Om

Directed by : Surya Prabaakar
Produced by : P. Arumai Chandran
Written by : D. Surya Prabhakar, Sankar Kumar (dialogue)
Starring : Srikanth, Neelam Upadhyaya, Baiju
Music by : Vijay Ebenezer
Cinematography : Bhaskaran K.M
Edited by : Vivek Harshan
Production company : 8 Point Entertainment
Release dates : October 30, 2015

Time and again, Tamil cinema has been witnessing lots of horror movies with a mix of comedy, fantasy and romance as well. This one comes in a different style, much alike Suriya-Venkat Prabhu’s Massu Engira Maasilamani, which dealt with the same style of theme. Srikanth and Neelam are playing lead roles in this movie, which stars Naan Kadavul fame Rajendran in important character.

The film opens a bus accident somewhere on the way between Pazhani and Trichy and with no connection, the story travels to six months later, we get to see Srikanth as a happy go lucky chap with no worries. A good job, pay and quite a luxurious life and of course, he falls in love with a beautiful girl (Neelam), who later falls for him. When things are happening with peace and serenity, Srikanth comes across few people who start following him. What do they want from him or has he got anything connected with their lives?

First and foremost we need to appreciate director Surya Prabhakar for offer a decent tale set in the backdrops of horror. Usually horror stories are meant to be more gory with violence and revenge, but this one is a feel-good one that might resemble American TV series American Whisperers in certain way, but not to the maximum.

If you’re looking up for the flip side, we have already seen lots of horror movies and this one arriving late in time doesn’t surprise us vividly. You would easily predict the twists before they are offered on the screens. The running length is yet another problem, where director should hav easily understood that such genres should be presented in 90-100 minutes. Few sequences and songs, especially in the second half should have been trimmed.

When it comes to performance, Srikanth tries to make up for the best results and has accomplished to a certain degree. But we feel, he is capable of offering something more than this. He is always at his best. Neelam looks beautiful and gorgeous in songs, but her performance could be better as well. Aadukalam Naren delivers decent performances as before. But the actual showstopper is Naan Kadavul Rajendran who scores more than Srikanth and others in the cast.

Musical score by Vijay Ebenezer is appreciable and cinematography in songs is best, although some of the songs are misfits to the screenplay.

Overall, Om Shanthi Om is a good attempt, but with yet more engaging screenplay, it could have drawn us into the theatres.

Verdict: Moderate effort with some emotional moments

Om Shanthi Om Movie Review in Tamil

Naanum Rowdydhaan

Naanum Rowdydhaan

Movie : Naanum Rowdydhaan
Directed by : Vignesh Shivan
Produced by : Dhanush
Written by : Vignesh Shivan
Starring : Vijay Sethupathi, Nayanthara
Music by : Anirudh Ravichander
Cinematography : George C. Williams
Edited by : Sreekar Prasad
Production company : Wunderbar Films
Distributed by : Lyca Productions
Country : India
Language : Tamil

How do you ennoble this film? Black Comedy or Romantic Comedy? That’s a close call as it indicates a metaphorical labels like what if        Sundar C writes screenplay for a Anurag Kashyap film.  That’s a panache of what we find here in the Naanum Rowdy Dhaan. Before few years, there was Vishal Bharadwaj’s Kaminey that turned Bollywood in ultimate craze. It had such a dark theme in the backdrops, but we see it so entertaining with narration laced with humour. Vignesh Shivan has matured a lot with his distinctive narration and the technical brilliance by George C William’s cinematography, Sreekar Prasad’s editing and Anirudh’s songs are more commendable. And bringing for the best of all great attributes, it’s the spellbinding performance by Vijay Sethupathi and Nayantara, especially the latter bestowing the audiences with something beyond their expectations and perceptions.

A funny handsome guy in the backdrops of Pondicherry named Pandi aka Pondy (Vijay Sethupathi) differs in ideas from his mother (Radhika Sarathkumar). He wants to become a Rowdy and prove his prowess towards the town of his origin. His acquaintances that include RJ Balaji offer him the best support and things take a turn when Pandi comes across a beautiful girl Kadambari (Nayantara). It sooner becomes a tale of vengeance, retaliation and more emotions, but guess what? everything iced with heavy ingredients of humour.

A girl possessed or sometimes psychotic! Well, these roles could be considered as the best proficient work for any actress, but what could be a speculative task for them is to perform a hilarious role impeccably. Such is the instance of Nayantara’s characterisation in this film. Definitely, she spells the best emotions when needed and her relentless dialogue delivers instantly evokes laughter.

Perhaps, a long hiatus, where we saw Vijay Sethupathi amusing us vividly with witty lines and hilarious encounters as in Idharkuthane Aasai Pattai Balakumara… He comes into a much commercially fun-filled zone, where his fans are involved in the unlimited laughter-riot. Even the most emotional sequences are delivered at an ease. The ensemble star-cast is yet another huge attraction in this movie. Parthiepan brings up a hilarious spell with his antagonistic characterisation… Mansoor Ali Khan, Radhika Saarthkuamr and RJ Balaji offer hilarious episodes. While everyone’s characterisations are very well portrayed, Vignesh could have given a completion to RJ Balaji as well by the end.

Musical score by Anirudh had garnered immense response much prior to the film’s release and with the beautiful visuals by George C Williams, they get more embellished. Sreekar Prasad is far-famed for ultimate transitions in his editing and in accordance to his cuts, the screenplay looks engrossing with best transitions.

If you’re looking up for anything on the flip side, we would suggest it’s a film that is worth watching, especially for the ones who need jovial and fun-loving film.

Verdict: You can’t stop falling in love with this ‘Romantic Rowdy’.

10 Endrathukulla

10 Endrathukulla

Movie : 10 Endrathukulla
Directed by : Vijay Milton
Produced by : AR Murugadoss
Written by : Vijay Milton
Starring : Vikram, Samantha, Pasupathy, Jackie Shroff, Ramdoss, Sampoornesh Babu
Music by : D. Imman, Anoop Seelin (BGM)
Cinematography : Bhaskaran K.M
Edited by : Sreekar Prasad
Production company : A.R Murugadoss Productions
Distributed by : Fox Star Studios
Release dates : 21 October 2015
Running time : 144 minutes
Country : India
Language : Tamil
Budget : 400 million

Fast-paced thriller with high-voltage sequences was the assurance we got to experience through the theatrical trailer of this film. Car chases, breathtaking action sequences and lots more with kisses in fill-ins made our expectations pretty groovy. With a remarkable film like Goli Soda, Vijay Milton shoots up his next attempt as a biggie ’10 Endrathukulla’ starring Vikram and Samantha in lead roles with Pasupathy, Abhimanyu Singh and Rahul Dev in important roles.

Group of innocents belonging to outer caste are mercilessly massacred in Uttarakhand… Somewhere in the deepest locations of North India, we see a herculean goon with few henchmen mercilessly chopping off hands and abducting girls. Down the south in Tamil Nadu, there is a funny broker (Pasupathy) who deals with smuggling through cars. Then there is a fantabulous drive with no name (Chiyaan Vikram) who would easily accomplish with any tasks. A beautiful girl Shakeela (Samantha) becomes the prey of kidnappers in North India and Pasupathy becomes the dealer. Coincidentally, she is up there in the car driven by Vikram and rest is about how all these characters across different parts of the country and the shocking massacre incidents are connected.

The very opening shot of the film reveals that there is something more intriguing in this movie, something more enough than commercial aspects. In fact, when the twist of surprise comes through the second half by 25 minutes prior to the climax is something more enthralling. Chiyaan Vikram has done a great job with his stunts and performance. He can ardently thank cinematographer, stunt choreographer and editor for having made car chases and action sequences more stunning. Samantha as a cherubic girl tries to give her best and revealing more on her could be a spoiler. Pasupathy on his part does what is required from his characterisation in the film. Abhimanyu Singh and Rahul Dev could have been very well utilised, but didn’t get a good scope.

Except the song ‘Vrooom’, D Imman fails to deliver a neat commendable song. Cinematography and Editing have been extraordinarily presented. Especially, the action sequences and even the small detailing shots like crows on the wires, some minute cuteness and other stuffs have been exquisitely shot.

On the flip side, the running length should have been trimmed. It should have been actually around 120 minutes, which could have made it more appealing and racy indeed.

Verdict: Time pass entertainer… Could have been trimmed but…

10 எண்றதுக்குள்ள விமர்சனம்

Oru Naal Koothu

Oru Naal Koothu

Following Pannaiyarum Padminiyum and Orange Mittai, Justin Prabhakaran has composed music for Oru Naal Koothu, which is directed by debutant Nelson Venkatesan and produced by J Selvakumar of Kenanya Films.

Maangalyamae

Vocals: Richard, Dr. Narayanan, Sharmila, Priya Prakash, Gnana Anthony Daasan and M.C. Vickey

Lyrics: Madan Karky

It’s a marriage song and who doesn’t love it. Over the years, in spite of who the composer is or what the film is, the songs have been a heart and soul for many listeners. Justin Prabhakaran likely joins the league of offering something more blissful in this genre. There are lots of singers and you must listen to this song for great moments.

Adiyae Azhagae

Vocals: Sean Roldan and Padmalatha

Sean Roldan of Vaayai Moodi Pesavum and Mundasupatti had rendered voice for ‘Aagayam’ from Madras that earned him decorous reception. He has now crooned this number with brilliance and perfect rendition. Padmalatha gives the best energy into the track and instrumentals during interludes are awe-inspiring.

Patta Padunga Ji

Vocals: Karthick, Padmalatha, Nelson Venkatesan and Veera

Nelson Venkatesan, director of this film has a good track journey in the world of Radio and this film is based on such theme at Radio Station. The song is about fun-filled composing based on the work life at Radio Station and maybe, the visuals would make this song complete.

Yaeli Yaeli

Singers: Sathya Prakash and Shwetha Mohan

Sathya Prakash just leaves us so much spellbound over his inspiringly convincing voice. The composing is so melodious done with mind instrumentals and Shwetha Mohan causes the best and beauteous moments with her rendition. It’s a classic love song that has to be promoted to a greater magnitude, which will indeed help for the film’s additional attraction.

Eppo Varuvaaro

Singer: Haricharan

The song holds dual significance. One that symbolizes a devotee’s for deity of Krishna and then it brings forth an emotional call of a woman waiting for her beloved. What we love about this song is Justin Prabhakaran reduces the instrumentals to best mildness and gives more clarity to Haricharan who could easily intonate any devotional song with best emotional feeling.

On the whole, Oru Naal Koothu brings some best tracks for the music lovers and there are different genres of music, which make it more pleasant. Justin Prabhakaran is definitely a musi director to watch out for.

Verdict: Pleasingly dulcet and more melodious.

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