Uttama Villain

Kaaki Sattai

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

Kaaki Sattai is an Tamil Movie Featuring SivaKarthikeyan, Sridivya, Prabhu, Manobala. Kaaki Sattai is directed by R.S.Durai Senthil Kumar and Produced by Actor Dhanush‘s Wunderbar Films

Cops have fought against terrorisms, drug peddlers, serial killers, rapists et al and now it’s a new pattern of illegal organ trafficking. Not long back in time, we had Gautham Vasudev Menon’s Yennai Arindhaal starring Ajith Kumar and Arun Vijay in lead roles dealing with same issues, but in limited episodes, but Durai Senthil Kumar focalises the complete plot with this backdrop. Let’s not get into the stuffs of who made first? Who wrote first? End of the day, it’s how engaging the film has been delivered.

Underestimations have become a normalcy in the life of a police constable Mathimaaran (Sivakarthikeyan). He often envisages of his very own persona as a cop officer shattering down the baddies, but in reality does nothing. When his senior officer (Prabhu) urges him the need to bring an appalling case that would change the history, Mathimaaran comes across one such gruesome activities of bigwigs who are involved in the illegal trafficking of organs from North Indian labours who get employed through agencies for blue collar jobs.

In spite of a usual story based on cop locking horns with anti-socialites isn’t something new, but it’s obviously the screenplay that should or supposed to keep the audiences engaged. Durai Senthil Kumar adds some interesting elements of commercial panoramas that easily gains our favour during the first half. There is a plethora of humour, witty lines in the usual panache of Sivakarthikeyan and his sidekicks offering the best to tickle up funny bones. But somewhere in the middle, we tend to feel what the story is. Although, few characterizations are established in the very beginning of the drama, it takes nearly a hour to bring open the conflicts. We tend to believe that there’s going to be more raciness in the second hour and of course, it has to. It travels with some enhancement, but the power that it should carry goes slightly missing. There are some distractions via Manobala, who is completely unnecessary for the situation. Durai Senthil Kumar seems to be self-confused on how to take forward the story. Should it be humorous or serious? This completely ruins the plot and treatment. Almost all the brilliant acts of the protagonist against the baddies seem outdated. We have seen many mass heroes adapting the similar techniques and this seems to be little vague. And we find the logic easily missed out in many places that make things fallible. If these things were neatly noticed and sorted out on the script papers, Kaaki Sattai would have been more appealing in many places.

The appreciable part on the technical front is Anirudh’s fabulous background score and songs that brings up more enhancements to the visual elements. Cinematography is good and appreciable.

Sivakarthikeyan matures to the next level of performance. Might be, it’s just a normal entertainer, which might not bring such offbeat acting, but he has breathed more life and soul into the role he has performed. Be it the hilarious scenes or the emotional ones, he brings out the best from him. Even his dancing skills are improvised and his action scenes are groovy. Sri Divya looks beautiful and her role seems to be travelling throughout the film, but it could have be at its best. Vijay Raaz as the baddie is cool, smart and villainous with his performance. With more dialogues rendered in English, he does it with more casualness. Yog Japee has his role short and crisp. Nagi Needu is convincing. Imman Annachi is funny throughout the drama.

Had the screenplay was sharpened with more raciness in the second half and few old-pattern scenes were avoided, Kaaki Sattai would be a real great film to watch for. As of now, it’s a commercial entertainer that you can watch up for time-pass.

Verdict: A cop’s rage for justice.

Tamizhukku En Ondrai Azhuthavum

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

A thriller comes with character succumbing to baffled situations and finally a sigh of relief to walk out of theatres. Undoubtedly, unavoidable formulae that have been passed through the continental films except few exceptions like Zero Dark Thirty et al… But ‘Tamizhukku En Ondrai Azhuthavum’ belongs to a much commercial genre, say for instance, the one on the lines of ‘Cellular’ that was later remade in several Indian versions. This is a film, where you might find the logic missing in few places and yet cannot feel it to be a hurdle. Of course, a film like ‘Cellular’, where an ordinary science teacher (Kim Basinger) looks red hot in black attires with a Porsche car parked outside her bungalow. Ah! The logic strikes aren’t and yet there wasn’t a single question about it. Apparently, TEOA is a time pass flick with some thrilling moments that is based on a different concept that wasn’t explored before.

The film traverses through the day of four unusual characters – a flat promoter (Attakathi Dinesh), an unemployed scientist (Nakul), A call taxi driver (Ethir Neechal Sathish) and a terrorist ready to execute bombing in Chennai (Thuppaki fame Asif). A solar flare created through the sun radiations creates a havoc in mobile network shutting it down for some time. With the young lovers separated, the scientist trying to find solution, a call taxi driver unknowingly carrying the bomb and a terrorist waiting for the signal to click for the bombs to be operated through mobile phones. So many confrontations with situations and unfolds next is quite thrilling one.

To start off, the film has its own treatment of keeping the audiences engaged, but it doesn’t happen at completeness. The first half is filled with unwanted drama that really sends you into the zone of boredom. You don’t tend to get connected with the film. It’s almost an hour for the actual story to commence and you turn restless by then. Thanks to director Ramprakash’s creative stuffs of employing something more with the scientific terms and methods by Nakul. What makes us so excited is the petty thief who accompanies the terrorist to bomb. He turns to be the actual hero in the final sequence, while others have nothing to do with it. In fact, the lead characters – Attakathi Dinesh and Nakul are unaware about the bombing plans. The director should have tried adding them to this conflict, which would have made it more appealing.

Technically, it’s cinematography by Deepak Kumar Padhy that becomes a major highlight as we see Chennai in a different light. The top angle views, though some of them are shot by helicam, they have the best visuals. It’s been a long time, Thaman had come up with a splendiferous background score and just a couple of songs make the screenplay engaging in places. The characterizations like Manobala, the cell company owner, Oorvasi, Tea shop owner and a media person simply filling frame could have been avoided. In the name of humour, they keep irking us.

But overall, Tamizhukku En Ondrai Azhuthavum is a refreshing experience at end, although, there are some unwanted inclusions like too-much of talkative character and director wasting time to establish the actual plot.

Verdict: Different concept and moderate execution.

Anegan

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

Cast: Dhanush, Amyra Dastur, Aishwarya Devan, Karthik, Ashish Vidyarthi, Atul Kulkarni, Mukesh Tiwari and Thalaivasal Vijay
Director : K.V. Anand
Producer : Kalpathi S Aghoram, Kalpathi S Suresh, Kalpathi S Ganesh
Music Director : Harris Jayaraj

What happens when the characters producing video games are imbibed to fantasies? KV Anand’s knack to blend his commercial entertainers with socially disturbing themes has won him good appreciations. Sometimes, themes sound good, but what if the content fails to impress you. Traversing through the fantasies and realities, Anegan brings a story of romantic couple (Dhanush & Amyra Dastur) whose lives have tragically ended in different eras. Will their present lives have the game of fate disappointed with a happy ending?

If you’re assuming this film to be a hackneyed story of reincarnation where the alienated couple in previous avatar has their chance to reunite, then you’re somewhere right, but not exactly. KV Anand along with his writers Subha seems to have picked up a theme that is so intriguing, where the high professionals of white collar status are treated as ‘Frog trapped in cold water and then heated up’ mode. That’s a perfect sense of intelligence, we must really appreciate. The characterization he has sketched the right casting deserves the perfect doze of appreciations. Dhanush as Murugappa, Kaali and Ashwin (the role of king is really vague in its characterization as such happens in a dream song sequence) expresses the best emotions of his love. His role as Murugappa, a Tamil guy in Burmese colony (1962) utters innocence and as Kaali, he leaves the theatres studded with applause. His performance is so much spontaneous in this segment indeed. Well, his portions involving Ashwin aren’t completely stunning as KV Anand could have enhanced it in a better way. Amyra Dastur is best on her part and her screen presence is so natural. She adapts herself easily to all the three roles (again, the fourth one doesn’t need delineation as it’s all about a dream song sequence). Navarasa Nayagan Karthik is cool and he overshadows even the lead actors in many places, however KV could have looked out for some other actor for the younger version of Karthik in flashback sequences. Aashish Vidyarthi is perfect. Mukesh Tiwari in a role of suspense till the end is appreciable.

‘Danga Maari’, this single track was more than enough to draw more crowds to the theatres and of course, there is an irresistible celebration in theatres with this song. Unfortunately, not all the songs have those moments neither melodiously captivating. Cinematography by Om Prakash offers some enriching visuals.

To balance the plus and minus of this film accordingly, ‘Anegan’ has the brilliant flashes as such of different and unique concept, well-played actors and cinematography. On the flip side, a screenplay laced with boring moments, a flimsy story-telling loaded with amateurish logic’s (Don’t miss the final act of climax and you’ll surely accept our verdict) make ‘Anegan’, a too ordinary film.

Verdict: Good performance and brilliant theme spoiled by fallible writing.

Yennai Arindhaal

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

Perhaps, a speculative one from Ajith Kumar and it looks like he has banked all his hopes on Gautham Vasudev Menon rather than script. It is so much illustrious with the basic plot that significantly focuses on a man’s different dimension and his encounters with few characters. Ajith Kumar has stepped out of his comfort zone that comprises of a stereotypical package of walk ups, triggering up bullets and giving profile looks. He settles down as a character and rigidly doesn’t entertain unwanted mass heroism anywhere. An ample evidence goes well with the first shot of his introduction.

Sathya Dev (Ajith Kumar) has been a honest cop with an inspiring intention that popped up due to a drastic tragedy that shook his life terribly. The complete film is about his mission to curb down a serious issue and his sudden reach out towards Then Mozhi (Anushka Shetty) creates a puzzling thought and even surprises Victor (Arun Vijay), who comes to kill her. What unfolds next is a series of episodes that unwinds the true identity of Sathya Dev forms crux of the story.

A deliberate factor! Gautham Vasudev Menon stubbornly sticks to the same prototyped formula of his narrative panache. It’s a cop story and something too close striking similarities with his yesteryear flicks like Kaakha Kaakha and Vettaiyaadu Vilaiyaadu. A cop’s sincerity tested by the trials and tribulations and the losses he incurs with retaliation at end. In all likelihood, the protagonist Sathya Dev abruptly steps into the same shoes, but the treatment turns to be slightly unparalleled with the brilliant delineation of characterizations. Though not a remake, it rigidly fits the zone of Departed, Taking of Pelham 123, Al Pacino-Robert Di Nero starrer ‘Heat’. Well these flicks doesn’t have anything to strike the similarities with plots, but the way lead actors, both protagonists and antagonists were portrayed. Ajith Kumar and Arun Vijay have their piece of stunning toast throughout the film, especially during the penultimate and climax sequences. Trisha becomes an apt epitome of how heroines in spite of appearing in shorter duration can create a great impact throughout the film. Anushka Shetty is a victim in the plot and there is nothing much for her to perform. Arun Vijay becomes the absolute stunner throughout the film, particularly during the last 25 minutes of this film, where the theatres are spangled with applause. Vivek might not be appearing to tickle the funny bones throughout, but gets his role sketched well.

Musically, Harris Jayaraj throws up some stunning music in the backdrops and his songs are exquisitely impressive with exotic visuals offered by Dan Mc Arthur.

If you are precisely looking up for some attributes on the flip side, the first half with slow moments with dragging screenplay could have been avoided. Gautham Menon’s same pattern is rewritten again and there is nothing new about it. Nevertheless, it’s the colossal performance of actors, especially Ajith Kumar and Arun Vijay that evokes the best response. Although, romance and action become the intriguing part of this film, the chronicled chapters of Ajith Kumar and his daughter girl are nicely captured, sometimes moistening the eyes.

Overall, ‘Yennai Arindhaal’ could be comprising a time-worn story, but a gripping narration during second half with some promising performances from the actors amalgamated with stellar technical aspects make it worth watchable.

Verdict: Appealing performance, but stereotypical plot

Kayal

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

Prabhu Solomon doesn’t miss to focalise on the depth of emotional relationships and his previous films Mynaa and Kumki have been the mere illustrations. With Kayal, he tries to complete the Love trilogy and let us see how far he has excelled with his attempts…

Synopsis

Socrates (Chandran) and Aaron (Vincent) are two freewheeling guys who have no worries in life. They earn by sweat and blood for particular months and they spend happily travelling for rest of the year. When they arrive in Kanyakumari, Socrates falls in love with Kayal (Anandhi) at first sight and she later develops a soft heart for him as well. They’re are alienated by situations and when they decide to join their lives together, the terrible Tsunami strikes playing havoc on their peaceful dreams. Will the nature play a spoilsport and let them united forms crux of the story.

Performance

Prabhu Solomon tries to exert his complete energy drawing emotions and has done it surpassingly in his previous movies through the characters. However here, we are little disappointed as the lead actors are always seen shedding tears. Anandhi has topped the league of star-cast giving a stunning performance. Her innocuous looks and naturalistic performance scores brownie points for her. Debutant Chandran gets a promising debut, but his characterisation could have been very well etched. Vincent as the close pal of Chandran tries giving his hand to humour. Others in the cast have tried to spell their best, but there is something that lacks in their characterisations. Nothing to blame on the actors, but Prabhu Solomon could have executed it in a neat manner.

Plus

Technical team deserves tons of appreciations. The cinematography, art department and D Imman’s musical score are the greatest pillars that relentlessly try to offer substantiality to the script, even at weakest links. The performance by Anandhi as Kayal deserves the best appreciations and marks our words! She’ll have her name listed in many nominations of the coming year. The performance of an old man is so realistic and such things pep up the film.

Minus

The film’s duration isn’t lengthy, but Prabhu Solomon fails to deliver a gripping narration throughout the show. Basically, this is almost like a short film that involves falling in love, separation and a surprising climax, but the method of storytelling is so bleak and flimsy. Especially, the second hour gets too sluggish and unwanted pathos could have been avoided. The film’s major portion is shot in the backdrops of Kanyakumari and we don’t see any characters rendering dialogues with the regional slang. How come an old woman who has raised Kayal from her childhood will casually ask her to go in search of a boy in Coimbatore? The relationship quotient hasn’t been very well depicted in this film and Prabhu Solomon should have scrupulously taken care of it. Prabhu Solomon had appraised his CG works and water simulation factors for Tsunami portions, but they look so amateurish in many places.

Kayal is musically exceptional with some best performances from Anandhi or else it’s a story of pathos and few engaging moments and a climax that separates from Prabhu Solomon’s previous films.

Verdict: Stops halfway to level of Kumki and Mynaa