Ananthapurathu Veedu - That's the spirit

Naga. The man behind many thrillers in small screen, has recreated the magic on big screen with 'Ananthapurathu Veedu'. At a time when films are made in a grand budget with actors hopping from one country to another to dance for songs and huge sets were erected where the hero bashes goons, Naga has rendered a tale that is woven inside an old house.

Director Shankar's ‘S Pictures’ has produced the film, which again is away from clichéd commercials keeping the reputation of the production house intact. The movie may sound like a scary one, but is a jolly fun ride for it talks about value, relationships and sacrifice within a family.

With just a handful of characters, Naga has penned a script that is engaging in most parts. But the lacunae are it goes lengthy towards the latter part with needless several portions, which fail to garner the attention of the audience.

Bala (Nandaa), comes to his ancestral village Ananthapuram with his wife Revathy (Chaya Singh) and four-year-old kid Anandh (Aryan). Bala's parents had an unnatural death killed in an accident.

Many unexplained incidents happen in the house which frightens the family. The little one feels the unnatural occurrence in the house first. Meanwhile there is a twist to the tale. The reason for Bala and his family taking refuge in the ancestral home is revealed.

Eventually the unnatural activities are nothing but that of spirits of Bala's parents who shower love and affection on the trio. Eventually they sort out all troubles for Bala and all ends well.

Naga has chosen an apt star cast who deliver what is required for the movie. Nandaa, who played a baddie in his last ('Eeram'), has played a doting husband and a caring father. Chaya Singh as his claustrophobic wife fits the role well. Watch out for young Master Aryan, who is right there impressing one and all. The rest of the cast including Kalairani as servant maid, Krishna and Ganesh Babu are adequate.

The movie has just a couple of songs by Ramesh Krishna. His background score compliments the good work of Arunmani Pazhani on camera.

Though the length is a problem in the movie, it can be overlooked for Naga's sincere approach to render a horror flick in a stylish manner without frightening the masses. All said, Naga deserves credit for giving a clean entertainer.

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Madrasapattinam Movie Review

Young filmmaker Vijay, who has stepped out of filmmaker Priyadharshan’s school, has made his mentor proud. If ‘Siraichalai’ was considered a master pierce from Priyan, his protégé has proved with ‘Madrasapattinam’ that he is equally skilled.

The movie is set in the 1940s when the Britishers were about to leave the Indian soil. The crux of the film is about an innocent and valorous Tamil youth falling in love with the daughter of the English Governor.

The troubles and turmoil that their romance face and what transpired between the young White girl and the Tamil youth on the day of Indian independence have been dealt clearly and crisply with a touch of political background, laced with patriotism.

Though shades of ‘Titanic’ could not be avoided in this period film, it is a sincere and a worthy attempt with the whole cast contributing their might, ably supported by sound technical brilliance behind the screen.

The Madras then has been craftily recreated by art director Selva Kumar. The dhobikhana, the waterways at Buckingham canal, which were used for ferrying, the Central Station and its platforms, trams and the royal Government houses of the British era have been erected close to perfection.

What more, the lens of Nirav Shah has been at its best capturing them well on screen. The lights and shades, the colour tone and the difference in flashback and contemporary on screen hog all limelight thanks to the cinematographer. His work is one of the assets of the film.

Manohar Verma’s stunts are pulsating and racy. Especially the chase at the Central Station is astounding. Antony’s editing as usual peps up the proceedings, though he could have trimmed a little in the second half. However his scissors seems to have woked with a purpose.

But the scene-stealer is young G V Prakash Kumar. He has come up trumps with the songs that reflect the time. What more, the background score is apt for the movie. At places, he reminds one of maestro Ilayaraja. He has shown a lot of promise and ‘Madrasapattinam’ is sure to take him places. The sorrow of a woman missing her lover has been brought out well by Prakash’s background score.

The movie begins more like Titanic as an old English woman (Emy Jackson) almost at her death bed in London, wants to come down to Chennai in search of a young man Parithi (Arya) whom she last saw on 15 August, 1947.

Almost 60 years from then, she is clueless as she has just a picture of Parithi, which was taken then. The search begins. There are scenes where she recalls her past. It is revealed that Parithi was a valorous dhobi in ‘Madrasapattinam’. He revolts against the British officials for they plan to construct a golf course in their dhobikhana.

Comes Emi, daughter of Madras Presidency Governor, and she develops an affinity towards Parithi. She is friendly and helpful. Sequence of events leaves romance blossoming between them. Parithi calls her affectionately as Duraiamma.

Even as they face trouble from the angry White officials, comes 15 August 1947 which brings freedom to India. Duraiamma is now forced to go back to England. Parithi runs from pillar to post and fights to hold his sweetheart’s hands. But he couldn’t achieve his mission. Cut to present, Duraiamma is back in search of Parithi. Did she realise her mission forms the climax.

Arya excels in his role. He fits the role to T. Be it an angry youth voicing against the Whites or a romantic youngster running around to save his beloved, he is right there giving his best. Emy Jackson walks away with aplomb. Her spontaneous expressions are the highlight. For a foreigner to give right emotions in a Tamil film is no easy task. But she does the impossible with ease.

Cochin Haneefa’s one-liners are rib-tickling. The rest of the cast including Nasser, Balasingh, M S Baskar, Balaji, Kishore and Jeeva are adequate. English man Jack James as a greedy British cop is an apt choice.

Vijay has shown immense maturity in taking up such a difficult theme and working it out well with right entertaining and engrossing elements. His nose for minute details is worth mentioning. His adept screenplay and catchy screenplay work out right magic.

Produced by Kalpathy Brothers’ AGS Entertainment and presented by Udhayanidhi Stalin’s Red Gaint Movies, ‘Madrasapattinam’ is a movie to cherish for movie-buffs. Away from the madding crowd of commercial clichés, it is a film that would send positive vibes among those who love meaningful films.

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Raavanan Movie Review

Mani Ratnam returns to spread magic (or a blunder, as this review progresses) with his ‘Raavanan’ after a splendid show in the form of ‘Guru’. Well lets be positive to some extent now, his team is world class, with Santosh Sivan behind the lens, Srikar Prasad on the editor’s table and A R Rahman handling the music and besides that the stellar star cast! The movie looked like a bouquet of flowers but only the fragrance seemed to fade!  

'Raavanan' is cinematic brilliance. Watch the movie without expectations and watch it for what it has to offer rather than searching for what you want! It is a celluloid adaptation of ‘Ramayana’ written by sage Valmiki (and interestingly, no name is displayed for ‘the story’ when the titles are showed.) with modern publicity techniques that will attract the audience. Let’s get to the analysis part and wrap this review up as soon as possible, because the movie is just above 2 hours. And about wrapping it soon, anyone among the audience will tell you to get out of the hall as soon as possible once the movie is over!  

Mani Ratnam, the master of creating art on celluloid has possibly over worked to not reach the hype! He is class apart no doubt but his class on screen is visible only in parts. He has delicately portrayed bits and pieces of modern day Ramayana. Well nothing offending here but Ramayana is a story that is imbibed in to our lives from childhood, seems like this movie was shot to associate every scene with the happenings in the holy epic.  

Characterisation and Performances

Suhasini Maniratnam pens the dialogues of the movie. Her dialogues are intelligent, credible and most importantly, conveying information. Characters and their strengths are informed through these wonderful dialogues. The homework seems to have been done well. Mani Ratnam has sketched his characters amazingly. Every character has a purpose and every actor behind the character has been rightly cast. . Leave alone the fact he was inspired from Ramayana but here in this, the Raavanan is the hero. The title role is played by Vikram (like you didn’t know). He is Veera alias Veeraiah. A tribal leader who’s fighting for their rights. He is strong, genuine and loyal to his tribe. Even other characteristics of his are mentioned through an enquiry scene where the police talk to the tribals to find out what kind of a person this Veera is. Vikram’s performance is simply electric. 

The next in line is Prithvi Raj, who’s the dynamic Superintendent of Police. He is oozing with confidence as an actor and his chemistry with Aishwarya Rai Bachchan is good enough on screen. He makes it quite obvious as being the Rama in this story. So you know the strings attached.  

Aishwarya Rai Bachchan’s characterization is simple. She is a loving wife who has been abducted (did we leak the story now?) and her expressions from thereon are simply amazing. She is beautiful on screen (sure is) and has come out with a noticeably extraordinary performance. Only a certain part of the credit goes to her, the rest goes to Mani for getting the best out of her.  

The other supporting characters like Karthik( apparently Hanuman) as a forest officer, Prabhu as Vikram’s older brother, Munna as Vikram’s younger brother and others are impressively handled characters. The director has made sure all the characters receive the deserved importance. Mani Ratnam is the master unarguably; he has made sure the actors have their presence felt on screen.  

At this predicament of the review, Priya Mani as Vikram’s step sister has done a commendable job. Her character as a bold sister to the strong brother is much appreciable. Her performance will definitely be applauded and as she’s playing the same role in the Hindi version, she has made an excellent start in her Bollywood journey. 

Technicalysis

Technically speaking, Editor Srikar Prasad has sharp scissors. The screenplay in the first half, though nothing has been conveyed and is an utter waste of film reels, his editing is near precision. Stunts and bomb work by Peter Heines and Shyam Kaushal deserve appreciation and so is art director Sameer’s work, given the fact that most of the movie was shot in and around water. The tribal village, the police camp, a bridge and a marriage set were simply amazing and he would be one technician to make note of. The fight on the bridge just before the climax is an edge-of-the-seat scene that has been well shot and well directed.

But there is one man who will be applauded for his work (perhaps the only respite in the movie) is Santosh Sivan and his camera work! Mani’s movies always have natural lighting and Santosh has used it to good effect. Green pastures, water falls, rivers, trees, and all that nature can offer in a forest are radiantly shown. Hats off Santosh, you’ve done a splendid job! 

Winding up this section, A R Rahman’s music is classy. His tribal beats merge with the movie’s theme. His rerecording could have been better but nevertheless, a great show! Hard work from cast and crew is evident in the movie, given that the movie was shot under incessant rain, blood sucking leeches etc, but what does it count for? 

The Minuses

The list of minuses is being reduced with a lot of deliberation. Mani Ratnam has pictured beautiful movies in the past. ‘Raavanan’ was termed his magnum opus, etc but sorry it didn’t seem like one. The screenplay was a let down with only few scenes showing his directing supremacy. He has done another ‘Roja’ with only Aishwarya replacing Arvind Swamy and a few minor alterations. The movie was lost somewhere. May be because the first half was a major let down and the second half carried a lot to show (or burden) the audience.  

IndiaGlitz Verdict

‘Raavanan’ is for those who appreciate quality cinema ingredients. Director’s touch, camera, art, etc are prominent yet something is missing. Don’t look for the plot; it is quite obvious (from the trailers). Watch it for Mani Ratnam’s direction expertise, Vikram’s performance, Aishwarya’s beauty and the beautiful locations!  This was branded Mani’s best movie by a few but on second thought, the master’s best is yet to come.

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Maanja Velu - Man with a mission

The success of 'Malai Malai' has propelled the trio Arun Vijay, director A Venkatesh and producers Feather Touch Entertainments to come together for 'Maanja Velu', which is again a commercial mass masala entertainer with enough thrills and spills.

The movie, inspired by Telugu blockbuster 'Lakshyam', is racy from the word go thanks to bubbly Arun Vijay. Giving him good company is yesteryear hero Karthik.

The man who is credited with many hits in 1980s and early 1990s, makes a strong comeback in 'Maanja Velu'. Playing an honest and upright cop, Karthik is impressive not just in stunt sequences but also in comedy.

The whole movie occurs in Tiruchirapallai, where Maanja Velu (Arun Vijay) runs a canteen in the college where he studied. There are a group of people (Santhanam, 'Lollu Sabha' Manohar, Ganja Karuppu and Shakeela) in the canteen bringing the roof down with humour. Anjali (Dhanshika), a student of the college, plays a cat and mouse game with Velu before they both fall in love.

Subash Chandra Bose (Karthik) is Velu's brother and an honest police officer. Their father is a journalist (Vijayakumar) and theirs is a happy family.

Enters Umapathy (Vagai Chandrasekhar), a dreaded influential man in the city. He adopts all greedy ways to usurp others wealth. Bose is after him.

Meanwhile, Umapathy swindles money from a chit fund firm to the tune of Rs 100 crore which Bose is forced to investigate. Bose finishes off Umapathy's men one after another in encounter. But Umapathy hatches a conspiracy and bumps him off.

Velu keeps the death of Bose a secret and launches a crusade to finish Umapathy. The rest of the film is how Velu takes revenge on the baddie.

Arun Vijay has taken off from where he left in 'Malai Malai'. He is right there delivering his best. Be it comedy, action or romance. Action comes naturally to him. His body language and dialogue delivery deserve a mention.

Dhanshika fulfills the role of a heroine, appearing in skimpy costumes for songs. Vagai Chandrasekhar plays a baddie perhaps for the first time. He menaces evil in his eyes and looks apt choice for the role.

Vijayakumar, Ilavarasu among others form part of the cast. The comedy by Santhanam, Ganja Karuppu and team, specially imitating scenes from films like 'Naadodigal', is a laughathon.

Veteran actor Prabhu does a cameo, which does have a positive impact on screen. But the scene-stealer is Karthik. The veteran has done a commendable job and announced his re-entry with a bang.

Mani Sharma's tunes are pacy and racy while Venkatesh's camera is cool. Another highlight of the film is Kanal Kannan's stunts. A Venkatesh, known for his commercial cocktails, has not disappointed fans this time too. A perfect one for those who love masala flicks.

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Kanagavel Kakka Movie Review

After a few mediocre outings in the recent past, Karan seems to have gone the 'mass route' this time. 'Kanagavel Kaakka', directed by debutant Kavinbala, is a movie with a larger theme seemingly inspired by Shankar kind of movies.

Set out to preach a moral that there needs to be a complete overhaul in the judicial system of the country, the movies manages to sustain all interest thanks to noted writer Pa Ragahvan's dialogues. Crisp and sharp-edged, the dialogues especially towards the climax lighten up the proceedings.

A youth affected by greedy motives of a politician is forced to take arms. He launches a crusade against criminals who use the back door of the legal system to get acquitted. Eventually he takes on the politician. This is what the movie is all about.

Vel (Karan), works as a 'dawali' in a court. He comes across various cases, where the rich and influential guilty men escape from the iron-hands of law through money, influence and power.

In disguise, Vel kills them sending a strong message to everyone who bends the rule of law. In the meantime, a futile attempt by Velu to murder Law Minister Ayyanarappan (Kota Sreenivasa Rao) forces cops to investigate the issue.

A series of murders poses problems to them even as Deputy Commissioner of Police Rajendran (Adhitya Menon) is deputed to nab the criminal. There is a flashback which reveals Vel's motives.

A few years ago, Vel's father Muthu Rathina Sabapathy (Avinash), an honest judge is forced to see his wife and daughter killed by Ayyanarappan. But he escapes the punishment. Vel manages to get the job of 'dawali' and takes revenge on him. Did he achieve his mission forms the climax.

Karan is good as an angry young man. Especially towards the climax, he has come out with his best. Haripriya, a debutant, who falls in love with him, fails to impress. Kota Sreenivasa Rao plays a role that is typical of him, as the menacing villain, he is right there playing what he is known for.

Sampath Raj dons the role of a wicked lawyer. Aditya Menon is tailor-made for the cop's role. The rest of the cast includes Avinash, Sabitha Anand, Rajan and Divyadrashini among others.

Vijay Antony as usual comes up with racy tunes. More than his tunes, his re-recording is impressive. Shaji handles cinematography while Suresh Urs's editing makes the movie crisp.

A lengthy latter half and characters which lack the depth are major drawbacks. But Kavinbala consciously chose to go Shankar's route and manages to render a decent work with good support from Karan and Pa Raghavan.

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Kutrappirivu Movie Review

A cop story made with a purpose always attracted audience. And actors who have gone on to don khaki have made it big on silver screen. Combining both is 'Kuttrappirivu', which has made Srikanth and Prithviraj join the long list of heroes who have ventured to police roles.

'Kuttrappirivu', directed by Manmohan, showcases police officers in a different light. Their life style, sacrifice and dedication to excel in their job have been picturised in an elegant manner, though repeated scenes of raw violence frighten the audience.

The director has ensured that the screenplay is racy and crispy. At the same time, one could not avoid the feel that he was inspired heavily by Goutham Vasudev Menon's films like 'Khaakha Khaakha' and 'Vettaiyaadu Vilaiyaadu', which carried a similar theme.

The film, which is the Tamil version of Telugu movie 'Police Police', talks about two cops Ravidass (Srikanth) and Ravikanth (Prithviraj). Their conflicting interests and their missions to achieve big make up the story. The movie boasts of huge star cast that includes Kamalinee Mukherjee, Sanjana, Kadhal Dhandapani among others.

Ravidass is a young and dynamic Assistant Commissionr of Police. A fearless honest cop, he is admired and adored by everyone in the department.

His deputy Ravikanth is extremely opposite to him. He is selfish and greedy. He hires goons and manages to kill ultras and wins accolades from his higher authorities. Also he does a series of murders for personal gains.

Meanwhile a flashback reveals that Ravidass had lost his family due to greedy acts of a senior police officer and hence he takes a vow to come and clean the system and punish evil police officers. He finds out that all is not well with Ravikanth and follows him. They are pitted against each other. Who eventually wins forms the crux.

Srikanth is impressive as a stylish cop. His body language is good. He has managed to give a good performance with stylish outfits. Equally hogging the limelight is Prithviraj. It needs tremendous guts for a frontline actor like a Prithvi to do a negative role. He plays a typical baddie and does come out with one of his best.

Bharani's cinematography is good. The lens has captured the runs and chases’ well. Vishwa's music has a couple of melodies. Produced by Green Apple, 'Kuttrappirivu' is an engrossing movie. But a sense of watching a dubbed movie takes away the sheen.

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Kola Kolaya Mundhirikka Movie Review

After touching a serious theme in her maiden venture 'Vallamai Tharayo', director Madhumitha has taken to comedy in 'Kola Kolaya Mundhirikka'. With Crazy Mohan at the helm of affairs (penning the script), Madhumitha has succeeded in achieving her objective- providing fun and laughter.

Comedy is not an easy task and it takes a team to deliver their best to evoke laughter. Crazy Mohan has proved in the past that he with his pen possessing the skills to give flesh and blood to such genre of movies. And 'KKM' is no different.

If half the battle of Madhumitha is won after she managed to have Crazy Mohan in her team, the rest of the race was easily run by her thanks to having the likes of Jayaram, M S Baskar, Delhi Ganesh besides Karthik in the cast. The seasoned artistes understood their characters and played it with consummate ease.

The movie begins in a Zameendar family on a Krishna Jayanthi day. Fate has it that the owners are killed and the rich diamonds in a royal chair go missing. An employee in the Zameen (Delhi Ganesh) knows the whereabouts of the chair.

Meanwhile years pass by. Enters Krish (Karthik Kumar) and Veni (Shikha). They are cons involved in small thefts. Krishna comes to know about the diamonds from Delhi Ganesh and begins his search.

One Veerappan (Anand Raj), who in a way related to the Zameen, goes behind the property with his team. More confusion begins as Police Inspector Mathrubootham (Jayaram) and his aide Vyapuri come in search of details of a Swiss bank account hidden in a chip. What happens when all these men come across each other?

All credits to the star cast of the movie who bring the roof down in laughter. The dialogue delivery by Karthik and his body language is okay. Shikha is impressive. M S Baskar, Delhi Ganesh and Anand Raj are portrayed in a new light on screen. But walking with applause is Jayaram.

Crazy Mohan is at his full flow. His good clean humour is the highlight. The one-liners, which can be enjoyed with family, deserves appreciation. Music by Selva Ganesh is good. On the whole, it is a fun-filled summer ride that is sure to provide laughter.

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Kattradhu Kalavu Movie Review

After an average outing in 'Alibaba', Krishna (brother of director Vishnuvardhan) is out with 'Kattaradhu Kalavu', which is about a conman, who faces stiff challenges in his life once he reforms.

Written and directed by debutant Balaji Devi Prasad, the movie has a pacy screenplay and crisp dialogues. It is a simple film with enough commercial elements to enthuse audience. However a lengthy latter half and scenes defying logic are the movie's eye-sore.

Krishna has come a long way from 'Alibaba'. He is the pillar around whom the whole movie revolves. He flexes his muscles and romances Vijayalakshmi. As a crazy conman, he comes in different get-ups.

Besides, there are enough artistes including Sampath Raj (who does a Prakash Raj), Santhana Bharathi, choreographer Kalyan and V M C Haneefa among others in the cast.

Krishna (Krishna) and Krishnaveni (Vijayalakshmi) come to Rameswaram and get married in the temple. Soon after their wedding, they are chased by a police team led by top cop (Kalyan) from Delhi.

They are given refuge by a flower vendor (Sampath Raj). After reaching his house, they come to know that he is a police officer with the State government. He threatens them to divulge details of their past.

Cut to flashback, it is revealed that Krishna, cheated by a banker (Santhana Bharathi) decides to earn money by cheating people. He comes across Krishnaveni, who wants to become an air-hostess, but could not achieve her ambitions.

Both make money only to realise that they are in love. Meanwhile, they hatch a conspiracy and con a Union Minister (Haneefa) and take away money from him threatening that they have video tapes of his shady dealings.

As a result, a police team from New Delhi and another from the State government are behind them. How the couple manages to escape and achieve their ambition to lead a happy life thereafter is the climax.

Krishna is tailor-made for the role, while Vijayalakshmi is okay. Sampath Raj is the revelation in the film. He does his part well delivering a decent performance. Kalyan disappoints with his one-dimensional output.

Paul J's music is average and the title song in the form of rap is energetic. Neerav Shah's cinematography is the highlight of the movie. His lens captures the spiritual town of Rameswaram well. Produced by 'Pattiyal' Shekar and Chehak Kapoor, the movie promises aplenty as it begins. But delivers them in parts.

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Pensingam Movie Review

‘Pensingam’. Apt to the title the female protagonist of the film roars against social evils and educates people on the need to propagate reformist ideas. Kalaignar’s whipping dialogues hit hard on your conscience. 

Directed Bali Sri Rangam and produced by J Nandini Arts, ‘Pensingam’ is about celebrating womanhood. It glorifies them and gives a whip at female infanticide besides stressing the need to empower them.

For 'Pensingam', Kalaignar has filled his pen with punch and pun. It is there to be seen and heard for all over two hours. The veteran, who wrote many a historical plays and novels, has touched upon a contemporary theme with references to MMS, SMS and video clips going on to say that he is in tune with time.

The star cast includes Uday Kiran, Meera Jasmine, Richard, Vivek and Radha Ravi. It has been a long time one came across such chaste Tamil in a Tamil movie. Thanks to Kalaignar for that.

Surya (Uday Kiran) is a forest officer, who admires his colleague Megala (Meera Jasmine). A do-gooder, he helps her to study IPS coming to know she aspires to become a police officer.

Enters Nagendran (Richard), a Tamil orator. Known for his reformist ideas, his lecture against dowry in a college attracts a student Prabhavathy (Sudharsana Sen). She falls for him and his ideals and marries him.

But post-marriage, she comes to know of his real side that Nagendran he is behind Prabhavathy's wealth. Efforts by Surya to set things right end in a soup. Prabhavathy is murdered and the blame falls on Surya.

A gang of baddies against Surya helps Nagendran. Enter Megala, who is now an IPS officer, and tries to bring to book the real culprit. The rest is how she accomplishes it.

Cameos by J K Ritheesh and Ramba add pep. Deva's music is to the mark and the song 'Aaha ...Vennaiyil Ezhuvathu..' (Penned by Kalaignar) takes us back to the black and white era in a colourful way.

All the star casts including Meera Jasmine, Uday Kiran, Richard, Vivek have a part to play. But somehow Kalaignar walks away with all honours with his fiery dialogues especially in the climax at the court hall.

'Pensingam' has its sore points too. An item number featuring Larencce Raghavendra and Lakshmi Rai and the abrupt end to a thriller are some. But thanks to Kalaignar’s blazing dialogues, the movie is entertaining.

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Kalavani Movie Review

‘Cool’ could be the right choice to describe ‘Kalavani’ in one word. Hardly the fact that the movie is directed by a debutant and there are no big stars in it would strike you, as you would be so glued to the film right from scene one.

In other words, ‘Kalavani’, directed by fresher Sargunam (a former associate of ‘Kireedam’ fame Vijay) is a light hearted film that comes across as a whiff of fresh air, throwing light on the sense and sensibility of human relationships.

The story is nothing new. It is about a boy and a girl from two different villages which are at loggerheads for years. Not just that, the girl has an elder brother too, who poses hurdles to the affair, a regular thing in most of the movies made in these parts.

But the treatment the director has given to the script and the way he narrated the story win all accolades. Aptly helping him is cinematography by Om Prakash and music by S S Kumaran (of ‘Poo’ fame), not to forget the support given by producer Nazir to make such a different venture.

Arikki (Vimal), a good for nothing youth, is pampered by his mother (Saranya), with his father (Ilavarasu) working in Dubai sending money for their survival. Arikki is the one who also does some harmless minor heists and makes marriage proposals to every girl he meets.

But things change when he falls for Maheswari (Oviya), a girl from a nearby village whose terms with Arikki’s place is not worth mentioning. The feud between the two villages is further fueled when one of Arikki’s friends crosses swords with Ilango (Thirumurugan), Maheswari’s brother.

How Arikki successfully crosses all hurdles and ties the knot to Maheswari is the rest of the story, which is told in a lively and unconventional way that could even make you to roll over the floor laughing.

For Vimal, it is an extension of his ‘Pasanga’ act and he does it with ease. Oviya fits well to the role of a village belle. The experience of Saranya and Ilavarasu is visible on screen while debutant Thirumurugan marks his presence. Ganja Karuppu as Panchayathu tickles the funny bone.

If you are ready to forget some loopholes which you rarely come across and game for a fun-filled ride, ‘Kalavani’ could be a wise choice to spend some quality time. For films like ‘Kalavani’ is not a regular happening in Tamil cinema.

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Kalavani Movie Review

‘Cool’ could be the right choice to describe ‘Kalavani’ in one word. Hardly the fact that the movie is directed by a debutant and there are no big stars in it would strike you, as you would be so glued to the film right from scene one.

In other words, ‘Kalavani’, directed by fresher Sargunam (a former associate of ‘Kireedam’ fame Vijay) is a light hearted film that comes across as a whiff of fresh air, throwing light on the sense and sensibility of human relationships.

The story is nothing new. It is about a boy and a girl from two different villages which are at loggerheads for years. Not just that, the girl has an elder brother too, who poses hurdles to the affair, a regular thing in most of the movies made in these parts.

But the treatment the director has given to the script and the way he narrated the story win all accolades. Aptly helping him is cinematography by Om Prakash and music by S S Kumaran (of ‘Poo’ fame), not to forget the support given by producer Nazir to make such a different venture.

Arikki (Vimal), a good for nothing youth, is pampered by his mother (Saranya), with his father (Ilavarasu) working in Dubai sending money for their survival. Arikki is the one who also does some harmless minor heists and makes marriage proposals to every girl he meets.

But things change when he falls for Maheswari (Oviya), a girl from a nearby village whose terms with Arikki’s place is not worth mentioning. The feud between the two villages is further fueled when one of Arikki’s friends crosses swords with Ilango (Thirumurugan), Maheswari’s brother.

How Arikki successfully crosses all hurdles and ties the knot to Maheswari is the rest of the story, which is told in a lively and unconventional way that could even make you to roll over the floor laughing.

For Vimal, it is an extension of his ‘Pasanga’ act and he does it with ease. Oviya fits well to the role of a village belle. The experience of Saranya and Ilavarasu is visible on screen while debutant Thirumurugan marks his presence. Ganja Karuppu as Panchayathu tickles the funny bone.

If you are ready to forget some loopholes which you rarely come across and game for a fun-filled ride, ‘Kalavani’ could be a wise choice to spend some quality time. For films like ‘Kalavani’ is not a regular happening in Tamil cinema.

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Milaga Movie Review

Two types of Madurai based movies are currently being made in Tamil cinema. One is the bunch that attempts to portray the life lived in the temple town and other set is loaded with commercial elements adding more masala to the place which already has many flavours.

While the likes of 'Subramaniapuram' and 'Mayandi Kudumbathar', add value to the former, films like 'Ghilli' and 'Thimiru' stand testimony to the latter. 'Milaga', a film by Ravi Maria with popular Bollywood cinematographer Natraj as hero, is a mixture of both variants.

However, Ravi Maria is only partially successful in striking a perfect balance. Despite being racy, the film somehow fails to work big time, thanks to predictable scenes, especially in the second half. Attempts to establish Nataraj as a mass hero too mars the flow.

Coming to the story part, it is the one we have already seen in umpteen number of movies- How a one-man army hero defeats all the evil elements and joins hands with his ladylove for a happily every after life.

Azhagar (Nataraj) is a happy go lucky youngster, who looks after his family's red chilly business (justifying the title 'milaga'), in Madurai. But his main job is to be with his friends- roaming, singing and fighting for them all the time (justifying the sub title- 'Maduraikaara payaluga natupukkaga usuraiyum kuduppaiynga...').

When things are going cool, trouble starts to enter Azhagar's life in the form of three powerful brothers in the temple town, when he tries to save a girl Thenmozhi (Poongodi of 'Mayandi Kudumbathar' fame) at one point of time.

The rest is all about how our hero teaches a lesson to the baddies with his own brainy and brawny ways, which is told in a clichéd way, and with Nataraj going the whole hog to establish himself as a macho man who can do anything and everything.

Nataraj is okay as a Madurai youth and his hard work is visible on screen. But for his super hero attempts, the cinematographer passes muster as the protagonist too. Poongodi repeats her ‘Mayandi Kudumbathar’ act while Singam Puli & Co reminds us ‘Naadodigal’ and ‘Subramaniapuram’. Suja, the other heroine, scores well.

Music by Sabesh-Murali is average with hardly any tune sticking to our heart while coming out of the theatre. On the whole, ‘Milaga’ would have been spicier, had Ravi Maria ensured that the latter half coped up with the first half.

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Veluthu Kattu Movie Review

SA Chandrasekaran, who is known for action-packed revolutionary themes, has ventured to produce a film with a newcomer Senapathy Magan wielding the megaphone in 'Veluthu Kattu'.

The movie has shades of usual SAC films all through and a storyline that is as old as the hill. A spoilt youth who reforms in life for the sake of his love is what the film is all about. Senapathy Magan has tried to make the venture commercially viable with item numbers, comedies and twists, which are enjoyable only in parts.

The script lacks punch and conviction at many places. The movie boasts of several characters with events unfolding at an uneasy pace during the second half. The melodramatic latter part of the movie reminds one of Vikraman.

Kathir (Kathir) and Arukani (Arundhathi) are childhood friends, who are very close. Since their school days, they are fascinated towards each other and resolve to marry once they become adults.

Kathir grows up to become a ruffian but his love for Arukani grows strong. When there is strong protests for their marriage, Arukani throws a challenge at him. She takes promise from him that he would go to Chennai and come back rich earning money through honest ways and she would wait for him till then. Kathir comes to Chennai and fulfills her desire. But he gets a shocker when he returns to his native place.

The whole film is centered on two principal characters played by newcomers Kathir and Arundhathi. They have tried to liven up to the proceedings with their performance complimented by a host of new faces. Kathir looks fresh but at places reminds Karthi of 'Paruthiveeran'. Arundhathi has a major role to play especially in the second part.

Music is by Bharani with a couple of hummable tunes, while cinematography is bright and good. Produced by S A Chandrasekaran, the movie by Senapathy Magan could have been much better had he concentrated on the script and trimmed it an interesting way.

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Ambasamuthiram Ambani Movie Review

It is no easy task for a comedian to do a lead act and come up with a convincing performance. Karunaas, who managed to do the impossible in 'Dindigul Sarathy', has recreated the magic this time by taking the path laid by actor-director K Bhagyaraj.

At a time when big budget flicks and mindless masalas rule the roost in Kollywood, filmmaker Ramnath has opted to go otherwise. 'Ambasamuthiram Ambani' is about a youth who aspires to come up in life. The travails and the sequence of events that happen in his life in achieving the mission forms the crux.

Karunaas should be complimented for choosing a good storyline and he fits the story well. What is interesting is the gripping screenplay and the events unfolding with greater conviction. There is a touch of humour in every scene and Ramnath deserves all credits for sustaining the interest all through.

There are shades of Bhagyaraj films like 'Andha 7 Naatkal' in this movie. But the theme makes the difference. Hardwork will always be rewarded in life. This is what the director in the company of Karunaas has tried hard to drive home.

Karunaas shoulders the major responsibility of not just playing the lead role but as a music composer too. The background score adds pep to the whole film, which at places resembles a melo-drama. But a convincing performance by all including small characters sustains the momentum.

Dhandapani (Karunaas) dreams of becoming a rich industrialist one day. He works honestly to achieve is mission. He does all menial jobs and strives hard to excel in life. He with his aide goes around dreaming big. He comes to Chennai from Ambasamuthiram with big dreams to become one like Ambani.

He meets his 'God Father' Ayyanar (Kotta Srinivasa Rao) and with his savings buys a shop in a shopping complex that the latter is constructing. But Ayyanar's sudden death gives him a rude shock. Meanwhile there is romance is his life in the form of Navneet Kaur.

Dhandapani is against romance for he feels it may hamper his mission to become an industrialist. But he is forced to marry her. Eventually all his efforts bears fruit and the movies ends up stating loud that honesty and dedication in any profession will reap rich rewards.

Karunaas is good in the lead role. Especially towards the climax, he evokes tears in the eyes of audience with his engrossing show. Navneet Kaur, who started her career opposite Vijayakanth in 'Arasangam', delivers her best.

Watch out for young Shankar. He as Karunaas aide provides necessary twists and spills in the script. Kotta Srinivasa Rao, Delhi Ganesh and Cochin Haneefa does play their part well.

Produced by Karunaas himself on behalf of his Ken Media, the highlight of the movie is that it is simple and refreshing. The pace at which it progresses gives it sheen. Though it may resemble a tele-serial at many places, yet the conviction and the purpose of the film come to its rescue.

In spite of minor flaws, 'Ambasamuthiram Ambani' is a movie to cherish for the audience, who wants to see a film that is away from run-of- the-mill stuff.

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Ananthapurathu Veedu Movie Review

Naga. The man behind many thrillers in small screen, has recreated the magic on big screen with 'Ananthapurathu Veedu'. At a time when films are made in a grand budget with actors hopping from one country to another to dance for songs and huge sets were erected where the hero bashes goons, Naga has rendered a tale that is woven inside an old house.

Director Shankar's ‘S Pictures’ has produced the film, which again is away from clichéd commercials keeping the reputation of the production house intact. The movie may sound like a scary one, but is a jolly fun ride for it talks about value, relationships and sacrifice within a family.

With just a handful of characters, Naga has penned a script that is engaging in most parts. But the lacunae are it goes lengthy towards the latter part with needless several portions, which fail to garner the attention of the audience.

Bala (Nandaa), comes to his ancestral village Ananthapuram with his wife Revathy (Chaya Singh) and four-year-old kid Anandh (Aryan). Bala's parents had an unnatural death killed in an accident.

Many unexplained incidents happen in the house which frightens the family. The little one feels the unnatural occurrence in the house first. Meanwhile there is a twist to the tale. The reason for Bala and his family taking refuge in the ancestral home is revealed.

Eventually the unnatural activities are nothing but that of spirits of Bala's parents who shower love and affection on the trio. Eventually they sort out all troubles for Bala and all ends well.

Naga has chosen an apt star cast who deliver what is required for the movie. Nandaa, who played a baddie in his last ('Eeram'), has played a doting husband and a caring father. Chaya Singh as his claustrophobic wife fits the role well. Watch out for young Master Aryan, who is right there impressing one and all. The rest of the cast including Kalairani as servant maid, Krishna and Ganesh Babu are adequate.

The movie has just a couple of songs by Ramesh Krishna. His background score compliments the good work of Arunmani Pazhani on camera.

Though the length is a problem in the movie, it can be overlooked for Naga's sincere approach to render a horror flick in a stylish manner without frightening the masses. All said, Naga deserves credit for giving a clean entertainer.

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Bumm Bumm Bole - Irani kebab mein Indian haddi?

 What is it all about?

Dear Priyan, what have you done? Milli delicious irani kebab ki recipe aap ne isme kyun Indian haddi dalne di. Joota karne laga chur chur aur audience ho gayi isse duur (away). Got it……….forget it. In simple English, Priyadarshan after being exhausted by the continuing 'De Dana Dan' and 'Bhagam Bhag', tries to revisit the 'Kanchivaram' terrain by adapting the familiar Iranian cinematic masterpiece 'Children OF Heaven' by Majid Majidi. Alas, the veteran this time losses considerable charm.

The Story…….of course

Adds the unwanted 'terrorist' element to this otherwise sweet, uplifting story of Majid Majidi 'Children of Heaven' which was nominated for 1997 Oscars in the best foreign film language film category. Khogiram (Atul Kulkarni), his wife (Rituparna Sengupta) and their kids Pinu (Darsheel Safary) and Rimzim (Ziya Vastani) belong to a terrorist-dominated region. Khogiram and Ritu have a hand-to-mouth income and can barely manage things. The kids are affected by this as well. They go to a respectable school as it is Khogiram's ambition to give them the educational opportunities he missed. But the financial crunch makes it difficult for kids to match the standards of the school. They don't have enough money for uniform or shoes.

What to look out for?

The moments between the kids are lovely but not original. The sister played by Ziyah Vastani is the best part of this flick. The girl is damn cute and acts beautifully; she is a bundle of talent. Darsheel is fine and a brand puller if not the crowd puller but the girl attracts maximum attention.

The child actors create winningly serious-minded characters nevertheless and the adults contribute valuable support where Atul Kulkarni excels. Camerawork is excellent. Sulabha Deshpande is competent.

At least it's good to see Priyadarshan interest in trying something uplifting in Hindi.

What not?

Tries to please everybody in the huge Indian audience and adds unnecessary elements like 'Terrorism' to this sweet little idea which pleases no one but its brand promoters who shamelessly ruin, murder this flick which if the makers would have want to could have been a uplifting, beautiful experience which speaks in volume about faith, honesty and supports the adage 'Do Your Thing Everything Else Will Follow'.

Alas, Priyadarshan who has the reputation of a smart story teller shockingly goofs up in vital departments. The story is supposed to be based in Assam but we hear Bengali somewhere. And the costumes appear to be rented from Kashmir.

Aamir smartly put the plucky yet vulnerable children on a quest thingies to a desire effect and mind you he was also inspired from the same maker 'Majid Majidi' who has handsomely used the child psyches to tell his story making it acceptable worldwide. Casting a child to tell a story can be useful if done right and can be disastrous if not done accordingly.

Rituparno doesn't get much scope.

Conclusion: The sum effect of this Bollywood adaptation of the Irani masterpiece is a tedious affair which evaporates the charming beautiful intention of the original in its quest to please all and everyone. Wait for its worldwide premier on the small screen.

Rating **

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Admissions Open - Why, what for and for whom

What is it all about?

The 2nd follow-up of the '3 Idiots' tradition comes with a warning. Censor board decides the age limit of viewing and this flick demands a warning sign on anyone who buys the ticket similar to those we see on cigarette packets and booze bottles.

The Story……of course

Professor Tariq Siddiqi (Anupam Kher) is disappointed with the orthodox education system and hopes to start a college, which lets students chase their dreams. Arjun (Ankur Khanna) is an under-achieving student who doesn't believe in the grading system. He feels his creativity and individuality are stifled by the current education system.

Since they posses the same perception towards our stereotype education system, they decide to go against to it and form an abstract pattern of education system to encourage the failure students of our society.

What to look out for?

You must be kidding. Well that boy Ankur Khanna shows promise.

What Not?

Another on the education system but with a slight difference, it supports the 'gurukool' tradition, where students learn the course according to their caliber. It's a wonder whether the makers of this flick had followed this tradition while making this flick and selected the right candidate suitable for the right department. The writer helmer does a complete hara-kiri and tests the audience patience in this flick which has nothing absolutely nothing to offer.

The thought is mind blowing and any maker if serious would have made a decent film out of it but K.D. Satyam effort is so amateurish that you feel pity for everyone associated with this misadventure. Which institute will offer courses on seduction, bhaigiri, and all that crap, usually no government will authorize such idiocy and guess what after one year students from this departed are successful in their field of bhaigiri, godman. What the makers wants to show?

What was a seasoned actor like Anupam Kher doing in this film? Musically blah! Ashish Vidyarthi disappoints. Pramod Moutho and Sudesh Berry are wasted as the whole enterprise is a big waste.

Conclusion: Don't even think

Rating *

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Kites - Winds on Hrithik’s powerful performance

 What is it all about?

The much hyped Hrithik Roshan starrer with a Mexican bala Barbara Mori as his co-star, a decent helmer like Anurag Basu and a reputed banner like Rakesh Roshan's Filmkraft which has given quality entertainers in past turns out as a major disappointment.

'Kites' is an all time low empty luxury vehicle from its producer 'Rakesh Roshan', director 'Anurag Basu', Writer… sorry writers Akash Khurana, Anurag Basu and Robin Bhatt, that pushes the envelope in terms of just how much flashy packaging an audience will buy when there's absolutely nada inside.

The Story……of course

Shot in Los Angeles, Las Vegas and Santa Fe, 'Kites' is an unconvincing love story about an Indian man's affair with a Latin woman and their predicament as they don't understand each other's language, 'Kites' is about their misadventure.

The story starts in a harsh terrain of the Mexican desert where a mortally wounded man Jai (Hrtithik) is left to die in the heat of the scorching sun. Once a street smart, carefree young guy, he is now a wanted man.

As death looms, the only thing that keeps him alive is the quest to find the love of his life, Natasha (Barbara Mori) - a woman betrothed to another man. Jay and Natasha fell in love despite language and cultural barriers and embark on a crazy boring trip.

What to look out for?

Hrithik Roshan is sensational and gives his most matured performance till date.

Cinematography by Ayananka Bose is jaw dropping and Anurag's shot taking is commendable.

What Not?

'Kites' cuts its own strings by a weak story, zero chemistry, no melody, no romance, and tries to fly with the winds of hype, good but unconvincing stunts and a sensational Hrithik Roshan who has just missed a great opportunity to introduce himself pleasantly to Hollywood. What a waste.

Anurag's limitations as an helmer and a writer gets exposed with this flick and the movie ensures that Anurag sensibilities are limited to a certain sect where he can please his audience with some videsh influence in films like 'Gangster' and 'Life in a Metro' but when it comes to please the videshis and the desi together, he runs out of ideas and lacks   proper understanding of the term called 'mass appeal' and the audience pulse.

Which once again cement the view that shot taking is not film making.

Coming to the film which starts superbly and has an interesting concept of two lovers flying together but heir fate lies in the hands of others and in the end they are denied is spoiled by the makers who in their dream to make this fly high on international skies. The makers commit following blinders:

A) The characterizations is poor and its hard to connect with the two lead pairs Hrithik and Barabara who start loving each other but on what grounds is hard to believe. And its never gets explained in the film what makes them attracted towards each other when they can't understand their language…… Is it lust that brings them together or what?

B) A love story can still survive even if the reason of attraction is not convincing provided the pair oozes on screen chemistry, warmth when they come together…. Alas, the chemistry between the Hrithik and Barbara who are torn between paisa and pyaar is thanda and in minus degree celsius. A blink of your eye and Barbara in bikini is gone.

C) Even if the attraction is not convincing and the pair is not delicious on screen and you are trying to woo the international audience, still some taste can be provided if the music is melodious, song dance, naach gaan is the only identity Bollywood has had to lakhs of cinegoers worldwide and mind you I'm not talking of experts. Even over here the movie scores a zero. Even worse, previously the music director Rajesh Roshan has given his best for this banner. The helmer Anurag Basu previous flicks have scored major plus in music.

D) Even after all this known departments fail and you run out of cards then still you can rely on some quality action to punch your films prospects, which are there but again it doesn't seem to be the way it should be…… I mean not required, its not a chase movie.

E) And finally, the last nail in the coffin is provided by the language…. Sorry languages in the movie, people speak English, Hindi, and Spanish in the film where Spanish spoken by Barbara is subtitled in English whereas the English interaction are not subtitled and audience scratch their heads to recollect where and when was Hindi spoken in this Bollywood film.

The movie has some childish errors which are hard to digest like the editor Akiv Ali turns blind eye to repetitive shots. Kangana is reduced to minimum. A wounded tormented Hrithik on quest for his lost love in Mexican desert doesn't shave but manages to change his clothes. From Mexican attire to jeans…..??, etc, etc. All this make this 130 minutes misadventure numbing and it's more than such a frail conceit can sustain.

Conclusion: 'Good looks can deceive', go at your own risk.

Rating **

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Raajneeti - Watch it for Ranbir, Ajay & Katrina

 What is it all about? 

Prakash Jha mixes the elements of the greatest epic in the world the 'Mahabharata' with the mighty superior on screen drama 'The God Father' and gives us a studiously sincere film in which the human drama increasingly gets lost in the political twist and turns though its lead by a convincing cast where Ranbir Kapoor holds the key and it lacks the involving sweep of Jha's previous political yarns like 'Apaharan' (2005) and 'Gangaajal' (2003).

But still it's a recommended watch for its strong and superior quality acting by the principle cast. 

The Story……of course 

Bhaskar Sanyal (Naseruddin Shah), the fire-brand leftist leader, is feared for his single-handed ability to challenge the most powerful of leaders. Until one private mistake of his hurtled him into a self-imposed exile.

Cut to the present day. Prithvi (Arjun Rampal) is the heir to a powerful political legacy and impatient to seize the top position. But his cousin, Veerendra (Manoj Bajpayee), proves his biggest political opponent. He's a man who believes he was born to rule and who will now stop at absolutely nothing to claw his way back to the top.  

Cornered by family and political colleagues, Veerendra plays a new game: He picks up Sooraj (Ajay Devgn), a youngster with anger in his heart and leadership on his mind. Sooraj doesn't know the secret behind his identity, which, of course, is revealed much, much later.  

Prithvi's brother Samar (Ranbir Kapoor) is an 'outsider', with no political aspirations, but he gets sucked into the battle-ravaged arena of family rivalry. Only to turn into a master of the craft of political warfare. Indu (Katrina Kaif), daughter of a wealthy industrialist, is also caught in this web. Last but not the least, there's Brij Gopal (Nana Patekar), who plays the role of mentor and guide to Prithvi and Samar as the battle gets bloodier by the day. 

What to look out for?

The movie has some great pluses where it impressively moves with intensity in the opening reels with fine assistance from its music score.

Each and every performance is noteworthy but Ranbir Kapoor holds the screen excellently and is destined to go places, he is well supported by Manoj Bajpai, Ajay Devgn who always has something special for Jha and of course Arjun Rampal who is very effective indeed and is a welcome surprise. Nana adds maturity to his role, Katrina is a revelation, the girl just transforms herself from the glam doll to desi mode with ease and improves her Hindi dictation as well. Rest of the cast that includes Dayashanker Pandey, Chetan Pandit, Darshan Jariwala, Shruti Seth, Kiran Karmarkar and Vinay Apte and Nikhila Trikha, as Arjun and Ranbir's mother add valuable support.

Sachin Kumar Krishnan's textured photography, stressing the interiors of Madhya Pradesh convincingly conjures up the mood. Art by Jayant Deshmukh and costuming by Priyanka Mundada looks equally natural. Editing by Santosh Mandal is sharp.

Jha shot takings are brilliant, and helms the film like a master. 

What Not?

Completely fictional with very loose resemblance to characters from Mahabharata like Ajay is Karna, Manoj Bajpai Duryodhan, Nana as Lord Krishna and Nikhila Tirkha as Kunti, the absorbing first half suddenly post interval moves away from contempt parallels and starts to take on the gangster lane. With conspiracy and everything happening for state elections, issues are sidelined and personal enmity and rivalry takes over where the characters are fighting to settle their personal scores… making it difficult for the audience to draw identifications.

The climax is ridiculous where the script writers allowing the main characters who are shown as smart, cunning politicians taking guns to settle scores.

Jha paints 'Raajneeti' on a much bigger canvas then his previous films and assembles a mammoth cast and that's really commendable but the characters get lost in the plot-heavy predictable script.

The length is also a drawback...

A senior actor like Naseer is wasted. 

Conclusion: The movie has tremendous curiosity attached to it, thanks to its promotions and the actors excel while the writers don't. Watch it for Ranbir, his growth as an actor and performances by other principal cast as well.

Rating ***

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Ek Second - Jo Zindagi Badal De - Victim of its own cleverness

What is it all about?

Partho Gosh whose stories are centered around women and who has given us hits like '100 Days', 'Agnishakshi' and 'Daalal' now chooses Gwyneth Paltrow's starrer 'Sliding Doors' as his next churner starring his favorites Jackie and Manisha.

'Ek Second Jo Zindagi Badal De' uses parallel time-lines to explore the different paths that a woman's life might take as we see the role fate plays on Rashi by played by Manisha.

Interesting idea but the movie is marred by feeble screenplay and sleepy narration.

The Story……. Of course

'Ek Second Jo Zindagi Badal De' tells the story of a couple - Moammar Rana, an author and Manisha Koirala, his beloved. Moammar two times Manisha with Nikita Anand, who is his first girlfriend and she suffers from depression disorder. What happens when Manisha misses a train by a fraction of a second? Two stories - the first involving Moammar, Manisha and Nikita and the second involving Jackie, Manisha and Roza - run concurrently thereafter.

What to look for?

Manisha coming after a hiatus still looks pretty but lines are visible now on her face. But she is engaging as the two Rashis. Nikita Anand is impressive as the fatal attraction. Pakistani actor Moammar Rana, is decent. Roza looks hot but her acting and expressions are ice cold. Suniel Singh is funny.

Shot well, the lenses of Damodar Naidu and Kumud Verma makes the movie look like a postcard from Malaysia.

Music by Sawan Kumar, Arvinder Singh and Anand Raj Anand is okay.

What Not?

The screenplay doesn't hold you after the interesting start.  The narration is sleepy. Jackie looks completely not interested.

Conclusion: Go if you must.

Rating: **

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Raavan - Brilliant Shots, Excellent Acts

What is it all about?

Master helmer Mani Ratnam again proves his technical brilliance in this modern take of 'Ramayana' and dares to be different.

No make up for Aishwarya; Abhishek in different colour shades on his face, the movie is shot in difficult and different locations and is a visual treat.

With this film, Mani with Big Pictures ventures into the entire Indian screen with its Hindi, Tamil and Telugu versions.

Unlike most mainstream filmmakers, Mani Ratnam doesn't try to include something for everyone, 'Raavan' is for those who wants to see something 'hatke' and it has no similarities to Subhash Ghai's 'Khalnayak' or 'Hero' as rumored earlier.

This modern take of 'Ramayana' is more of debate on the evil in you, held on stage made in a jungle and it deliver handsome things over here and also polishes the Bachchan couple as powerhouse performers.

The Story…of course

The take on Ramayana has Dev (Vikram) as Ram an encounter specialist happily married to with Ragini (Aishwarya Rai Bachchan) as Sita a spunky classical dancer who is as unconventional as him. Vikram gets transferred to Lal Maati, a small town in India (which part a question mark). A town where the world of law is not the police, but Beera (Abhishek Bachchan) as Ravan a tribal who has, over the years, shifted the power equation of the place from the ruling to the have-nots of the area.

Dev knows that the key to bringing order to any place is not to vanquish the big fish; in this case - Beera. In one stroke Dev manages to rip open Beera's world and set in motion a change of event which will claim lives. Beera, injured but enraged, hits back, starting a battle that draws Dev, Beera and Ragini into the jungle. The forest becomes the battleground. The battle between good and evil, between Dev and Beera, between Ram and Raavan.

What to look out for?

The movie starts with Beera taking a dive in the river, policeman getting killed burnt and Beera playing drums and kidnapping Ragini within seconds, cinematographer Santosh Sivan gets in to the mode and delivers what Mani ordered.

This first half Mani wants to show us the madness of this character Beera which may sound weird to some as he laughs, makes faces and smoothly tries in building the negative, hating shades of his character where the southern edge to the picture is clearly evident.

The movie tries to balance character with visual spectacle.

Visually the movie is a treat. Shooting the film at tough locales was not easy and Santosh Sivan with V. Manikandan had done an exceptional job in 'Raavan.'.

Rahman's music is more rhythmic then melodious but adds tempo to the proceedings.

The dialogues between Aish and Abhishek especially during the climax speak love and nothing else and are well written.

Abhishek's role in 'Raavan' is more of madness then the intellect of Guru or the innocence of Lallan Singh in 'Yuva' but his performance is powerful as it relies mainly on the madness.

Aishwarya is top class in her role and she delivers it with panache. Vikram as Ram is excellent in whatever scope he gets. Nikhil Dwivedi impresses a lot. Ravi Kishen is superb, Negi adds valuable support and Priyamani is top rate.

The second half manages to create sympathy towards Raavan and that's Mani and Renzil's biggest achievement as the writer and the helmer wanted this to be.

Post interval portions triggers the debate on good and evil where the women is torn between and that's where the movie rises from common intellect.

Smartly edited by Sreekar Prasad, the action sequence are awesome choreographed by Shyam Kaushal especially the bridge fight between Abhishek and Vikram.

Production values are mind-blowing

What Not?

Govinda is filthy; the comparison to characters from Ramayana may not be digestible to some as Govinda is shown as an alcoholic and his character is inspired from Hanuman.

The movie may become enemy of its own intelligence in the Hindi speaking belt as here Raavan is considered to be evil.

The story moves only in the second half, though a lot is heard about Beera's unlawful practices but the viewer is hardly made privy to them otherwise the emotional impact would have been much better.

Conclusion: 'Raavan' is for those who wanna different taste of Bollywood, this visual treat may not be at par with Mani's previous flicks but it certainly has its stamp marked over it backed by excellent performance and technicalities the movie is recommended for a big screen watch.

Rating ***

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Mr. Singh Mrs. Mehta - Strong Idea Feeble Execution

What is it all about?

It is a film about marital infidelity and romance. 

The story…of course  

It looks like a take off on Vinod Pande's 'Ek Baar Phir' and Yash Chopra's 'Silsila'. Naved Aslam and Aruna Shields play the roles of Mr. Singh and Mrs. Neera Singh. Prashant Narayanan is Mr. Ashwin Mehta and Lucy Hassan is Mrs. Mehta. Mr. Singh is having an affair with Mrs. Mehta. Mrs. Singh is devastated when she comes to know about her husband's infidelity. Mr. Mehta feels more sorry for her than himself. He is a struggling painter. He is dependent on his wife. She had married him as she has faith in his future. Mrs. Singh asks Mr. Mehta to confront his wife. He says, "She will admit the affair and I won't be able to tolerate it." The aggrieved parties Mrs. Singh and Mr. Mehta find comfort in each other's arms. They become real lovers. Mr. Mehta paints Mrs. Singh in the nude in Titanic style. His exhibition is a hit. 

What to look out for? 

The new dimension in the theme of infidelity and romance, how the tale of 'Ek Baar Phir' and 'Silsila' is taken forward. A more searching look in the affairs of the heart in modern times. Music is good. It is nice to hear well written and composed ghazals. 

What not? 

Performances. Though the title is 'Mr. Singh Mrs Mehta', the lead roles are played by Mr. Mehta (Prashant Narayanan) and Mrs. Singh (Aruna Shields). Both fail to impress. The hot scenes between them also fail to titillate. Narration is too slow in the first half. 

Conclusion: It's a brave attempt failing to make its mark due to poor direction and performances. 

Rating **

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Krantiveer - The Revolution - Purana frame Nayi Tasveer

What is it all about? Rata riti hota hai……… Rata meri jaan rata rat a rat, rattling hai mahan rata rat ta rat. Change the world by shouting and breaking the audience parda in the ears that's what Mehul Kumar the erstwhile entertainer feels. Now he wants his daughter to carry the message of change which our dear Nana did superbly in 1994. The problem is, during 1994 the character of Nana was identifiable in that era of yell-o-yore when Nana ruled with his unique strength of adding his zing, color, flavor to those slogan cinemas like Krantiveer, Tiranga, Yeshwant etc. But this sequel Krantiveer hams and hams right from start till the end. Nana was playful, comic, and serious but this wannabe Bollywood kumari is unbelievably only serious. The Story……Of course Roshni (Jahan Bloch) has inherited not only the courage and sting of her legendary father (Nana Patekar) but also the spirited lingo and the indomitable style. Like him, she too wants to rid the nation of its corpus of corrupt, over-the-hill netas who have no idea - and no desire - of clean governance. She joins a TV channel and becomes a firebrand investigative journalist who is hell bent on exposing any and every scam. And now you don't need to be an Einstein to guess what happens next. What to look out for? The movie is able to strike one message that youngsters should come forward and take charge of this suffering country otherwise sadly; the movie is mediocre in every department. What Not? The girl is yelling right from the word go and we don't know why is she so serious while reading the news also. The treatment is old fashioned that won't go with today's audience who wants things to be in undertone. The drama, the sting operations, the sleazy politicians, the item song, the greedy head honcho, the mandir masjjd and the transfer of footage from the 26/11 attacks fail to make any impact. Conclusion: Go if you must. Rating *

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I Hate Luv Storys - Happily Bubble

What is it all about?

Candy floss days are here again, 'IHLS' is happy bubble but cliché where Imran and Sonam come into their own as confident young performers bringing the candy gloss days back.

The Story… Of course

'I hate luv storys' is the maxim Jay (Imran) lives by. But as an assistant director to Veer (Sameer Soni), the most famous romantic filmmaker of Indian Film Industry, Jay has little option but to live with larger than life, glossy, cinematic love on an everyday basis. Things only get worse when he is made to work under the new production designer on the film... Simran (Sonam), with whom he shares the strangest first encounter!

Simran loves luv storys; So much so that even her life has begun to resemble one. With her ideal job and the perfect boyfriend, Raj (Sammer Dattani), she lives a blissful, dreamy life; one that is rudely interrupted by Jay's cynicism.

The turmoil's of Jay and Simran's life is ironically interwoven with the Luv Story that they are working on... But will Jay and Simran ever find their own Luv Story…? Keep guessing.

What To Look Out For?

Well after those 'Raajneeti' bloodshed and the 'ten heads' now it's the time to feel good…

Dharam production with UTV again visits the popcorn stalls with 'I Hate Luv Stories' this goody goody feel good has its grades in the freshness in the Jodi of Imran and Sonam where Imran excels from 'Jaane Tu Ya Jaane Na' with his eye brows, smiles, yeah he can't dance but covers with his spontaneity. Sonam is a revelation, the lass looks beautiful and delivers and sweet performance.

The chemistry is cute and that's the major highlight of this romancer which is minus in its story but manages to score by some good humour – the take on Karan Johar, SLB (Sanjay Leela Bhansali) and their romantic cinema. Nice dialogues, decent score by Vishal Shekhar and Salim-Sulaiman's background. Well captured by T. Ayananka Bose's lense, Manish Malhotra's styling all is in and happening.

Good acting from the support cast where Samir Soni is brilliant. Dattani is decent, Kavin Dave as Imran's friend is excellent. Aamir Ali impresses. Bruna Abdullah looks delicious.

The dialogue, scenarios and emotions on display in 'IHLS' are as close to any typical rom com could get.

It may not be the greatest love story ever told, but it might be the one with the most heart.

First timer Punit impresses with his first attempt as a helmer but fails in the story part.

What Not?

Its very predictable, right from the first frame you know what will happen in the end.

The idea on paper of a young art director and an assistant director having diverse opinion on love and relationships falling in love during the making of a love story has tremendous cinematic opportunities to explore, where layers after layers could have been added to this reel imitating real story of love, but the push and pull of box office requirements made the writer to stick to the tested norms where he managed to make a little spoof on today's top romance tellers of Bollywood. It becomes difficult to hold interest when you have a paper thin plot and as a result in the end the movie drags.

Remarks: All said and done, 'IHLS' is still a narrator of love to your valentine if you don't mind the cliché tale and don't want to do anything to release the arrested mindset of today's helmers who need bail.

Rating ***

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Milenge Milenge - Sweet chemistry, well performed

 What is it all about?

Kash ye agar 2006 hota toh ye picture semi hit toh jarror hota. But the 'timing' of the almighty and the thing called destiny cannot be explained. Satish Kaushik this time for Boney Kapoor gets inspired from the 2001 Hollywood rom com 'Serendipity' starring John Cussak and Kate Beckinsale.

'Milenge Milenge'
is a romantic bauble set in Bangkok, Delhi, this love story ignores physical attractiveness and runs on spiritual lanes of wish fulfillment, destiny, totally devoted to the notion that there is one special someone out there for everyone is sweet in its first half but the overtime in the second and hurried forced approach does the villainy in this rom com.

The Story…of course

Immy (Shahid Kapoor) and Priya (Kareena Kapoor) meet at a youth festival in Bangkok. Priya is a romantic at heart and expects her life partner to be a teetotaler, a guy who doesn't smoke and also, who doesn't lie. Immy is totally opposite of what Priya wants from her life partner. Their world collides when Immy lays his hands on Priya's personal diary and learns of her likes and dislikes. He poses as her dream mate by giving her a totally different picture of himself.

While preparing to return to Delhi, Priya discovers the copy of her diary in Immy's room. She realizes that Immy has made a fool of her and decides to confront him. In the meantime, Immy confides in his friends that although he has cheated Priya, he is truly in love with her. But Priya appears in front of him and all hell breaks loose. She decides to end the relationship.

Immy tries to regain her trust by telling her that they are destined to be together. Priya decides that if it is destined that they be together, then they will find each other in Delhi again, although both do not know each other's whereabouts in Delhi. Three years later, Immy returns from abroad, while Priya is now settled in Mumbai. Immy is engaged to a family friend's daughter (Aarti Chhabria), while Priya has also moved on in life. She is in a relationship with a pop singer.

Both of them are about to be married, but after all these years, they still have this nagging feeling that the other was his/her true love. Of course, fate conspires to bring them back together (after several near misses) as they simultaneously undertake one last attempt to find one another just before they get married to someone else.

What to look out for?

The sentiments at the heart of the picture are highly romantic, the first half is engaging though Shahid and Kareena very younger the way they looked during 'Yuva' but their chemistry is still so sweet on screen. It's a typical Bollywood rom com and the movie opens with a cute meeting when the boy sees his dream lover sleeping like an angel on a full moon night.

The first half is engaging, Satish Kaushik handles those scenes effectively especially the debate on anti smoking is finely done. You start believing that like 'Wanted' Boney might get luck again.  Himesh Reshammiya's musical score is quite good. "Kuch To Baaki Hai" and the title track are good compositions. Technically decent. The movie has its share of fun. Shahid looks boyish and does a fine job. Kareena is fantastic. As said earlier the chemistry is cute. Delnaaz Paul and Sarfaraz Khan impress. Kirron Kher excels in a brief role.

What not?

Its dated look is its biggest villain. Anybody can see the promo and say that the lead pair looks so young. Camera doesn't lie. The second half is disappointing, Satish Kaushik make the lovers running here and there finding their where abouts but doesn't make the audience understand and feel their love. Aarti Chabaria, Himani Shivpuri is wasted. Strangely Satish Kaushik fails to create impact in his cameo and Satish Shah hardly amuses. Himani Shivpuri is wasted.

Conclusion:

In spite of having ex flame Shahid and Kareena as lovers on screen, the passe look uninspiring, unromantic second half is its biggest drawback. Watch it if you must.

Rating **

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Udaan - Edgy but asks questions…?

What is it all about?

Well the timing is perfect for such a film to hit the screen when our channels are kept busy by the naxals. Helmer Ananth Narayan Mahadevan breaks his own 'suspense' mould and 'thrills' us with a topical film like 'Red Alert' in association with the skillful pen of Aruna Raje to give us a well-crafted but in no way earth-shaking entry in the helmer's oeuvre.

But certainly it's a commendable job by both the helmer and the writer who make sure that they don't end up raising the red lantern and shows us the plight from the eyes of an unbiased common man who is only bothered about his roti, kapada and makan.

The Story….Of course

Aruna Raje pens this one and remarkably maintains the balance by walking between without taking any sides and tells us a story of Narsimha (Suniel Shetty) a cook who desperately needs money to fund the education of his children. One day while delivering food to a band of Naxals holed up in a forest, is forced to join them, when the cops follow him and stage an encounter.

He suddenly finds himself in the midst of Naxalites, From being a mere cook to actually training in weapons to being involved in shootouts and kidnapping, Narsimha finds himself in the thick of life he had never bargained for. A confrontation with the group leaders turns his life upside down; he is now on the run from both law and the militants.

What to look out for?

The unwanted use/misuse of a simpleton in politicization of India's violent grassroot movement and the question whether these killings are justified comes up effectively. The helmer Ananth and writer Raje keep it simple and real where Ananth adopts a relatively cool photographic look and distanced shooting style. Finely supported by K. Rajkumar's first rate cinematography. Action scenes by Allan Amin are genuine. The movie is shot in difficult locations in dense forest and it's an achievement. The movie belongs to Suniel Shetty who delivers his best till date.

Ananth has unveiled a talent that was waiting to be explored for quite for so long. De-glam Sameera Reddy is very impressive. Ashish Vidyarthi coming after a long time is excellent. Gulshan Grover, Bhagyashree, Makrand Deshpande, Zakir Hussain, Aditya Lakhia, Sunil Sinha and Ehsaan Khan are competent. Vinod Khanna is superb. Naseeruddin Shah in just one scene shows the difference between a genius and regulars. The major achievement of the flick is making the audience also see the movement from the other side of the fence. Where the debate between a revolutionary and a terrorist goes further.

What Not?

It has its share of flaws which cannot be ignored like two fire brand performers like Seema Biswas and Ayesha Dhandekar coming together in a movie based on naxals and they are just not offered much to do is really strange. The climax is bizarre which almost threatens the films otherwise fine impact.

Conclusion:

Red Alert is a thrilling, thinking, Bollywood for the torch bearers of meaningful cinema, paisa vasool walas may not find things going their way but it certainly a finely crafted, written and acted cinema.

Rating ***&1/2

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Udaan - Edgy but asks questions…?

 

What is it all about?

Anurag Kashyap's cinema is radical, it defines norms but the question is how far can one Go? Its not 'unbelievable' that some people don't 'believe', but a good cinema always tells two sides of a story. Anurag pens 'Udaan' with Vikramaditya Motwane and also gives him the chance to helm the film where the story is told in only one angle from the boys point of view and further it doesn't explain the era, means in which year, period, decade the incident took place is absent. If done so, the questions which will follow might not have come up.

The Story…….of course

Rohan (Rajat Barmecha) is thrown out from his high profile boarding school with his bunch of friends after they are caught watching a C-grade smut film , off campus. Rohan is forced to return his dad (Ronit Roy) a factory owner of a small industrial town of Jamshedpur and finds himself closeted with an authoritarian father and a younger half brother who he didn't even know existed. Forced to work in his father's steel factory and study engineering against his wishes, he tries to forge his own life out of his given circumstances and pursue his dream of being a writer.

What to look out for?

An entirely performance based film shot in docu – drama style. The move has some biter sweet moments like the first encounter of Rohan with his step brother, when his sloshed father asks him, 'sex kiya kya', the morning workout and race where the father always wins, the sequence in hospital when Rohan takes care of his step brother and starts loving him, the confrontation between the brothers, the scene when the future of Rohan is discussed in a family dinner are major highlits of this flick where first timer Vikramaditya excels.

Technically sound and fine production values, 'Udaan' boasts of  some great acting by Ronit Roy who plays the arrogant father to perfection. Ram Kapoor as his brother excels. The two kids, Rajat Barmecha and Aayan Boradia, are simply superb. Rajat gets into the skin of the character with such ease that he looks like a seasoned performer. Aayan, the step brother is cute.

What not?

The principal character of Rohan is not very much focused and he is not a thinker, that's the major flaw of this film apart from its alien period where the son of a factory owner even in small town in Jharkhand talks to his friends in Mumbai from STD booth. This makes the film feel outdated which may not connect with tdys youth. No internet, no mobile…. The father wants his son to stand on his feet first then he can pursue his dream that's fair enough. Rohan doesn't thinks, he is ruled by his emotions, he doesn't like his dad but steals his money and car for a booze night outs. Hostels are not for spoil brats; it provides quality education and brings discipline also. In one scene Rohan asks his father to keep a cook where he replies that you earn and have whatever you want.

But here Anurag goes further and tries to show the father a villain and threatens the film. The end is illogical.

Conclusion: 'Udaan' is edgy, well performed drama which could have been much better an uplifting. A 'dekho' for those who wanna see something different but nothing worth 'Cannes'.

Rating ***

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Lamhaa - Mixes Facts with Fiction

What is it all about?

Disappointing, when a national award winning maker like Rahul Dholakia who made the sensitive 'Parzania' tackles the burning issue like 'Kashmir', you expect something unknown, untold will be revealed in a stark and sensible manner. But what is this…… 'Lamha' mixes fact with fiction…. Means it takes a real life situation & tries to churn a thriller from this.. Then why the tagline which reads "The untold story of Kashmir'?

Rahul in his 'Lamha' tries to repeat the same story of Kashmir which everybody knows from print and satellite media. Lamha' swings between facts and fiction and lands no where, it goes over the head of common audience in trying to get involved in the complicated situation of the valley and then suddenly get into the thriller mode and hence slips from the laps of the connoisseurs of quality cinema.

The Story …….of course

Without telling something unknown, Lamha is a story of an intelligence officer played by Sanjay Dutt, who is sent to the Valley on a special mission. He must investigate the secret on-goings and unveils a sinister plot that threatens to derail the ongoing elections in the troubled state which has been grappling with terror and violence for the past three decades.

Sanjay assumes the identity of Gul Jehangir. The same day that he lands in the valley, Haji (Anupam Kher), a top separatist leader, survives a blast. Is there a connection between the blast and the operation?

To solve this conundrum, Vikram teams up with Aziza (Bipasha Basu), Haji's young, aggressive and outspoken protégé. The intensity of their beliefs and their will to survive against all odds creates a special bond between them. They embark together on a journey to uncover the truth.

What to look out for?

The DOP James does a splendid job in showing us the heaven on this earth, the movie has been shot in actual locations and it's a treat for your eyes, editing is sharp and technicalities are brilliant with superb production values.

The movie does has one superb moment where the director shows a child playing with bullets in a manner marbles are played.

The sequence where Bipasha is attacked by the women workers of her own separatist women party is awesome. Kunal Kapoor is okay. Anupam Kher is the actor that is able to get into the skin of the character and does a great job.

Jyoti Dogra, Murli Sharma, Shernaz Patel, Rajesh Khera, Yuri Suri, Vishwajeet Pradhan, Asif Basra, Denzil Smith and Ehsaan Khan do justice to their roles.

What Not?

Failing to impress anyone, Lamha is a waste of talents. A lot was expected from Rahul but he disappoints, no one expects the filmmaker to give solutions and it should have stick to being realistic but alas. And on top of that actors like Sanjay Dutt look out of place and disinterested. Bipasha doesn't look like a Kashmiri though she tries really hard.

Conclusion: Go if you really must
Rating **

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