Jilla Review from Times of India!!

Movie Review: It looks like Vijay has realized that he can be in mass masala films that are not only entertaining to his fan base but also to every segment in the audience. He did this earlier with films like Ghilli, Pokkiri and Thuppakki, and does it now with Jilla. This time, he shares the glory with Mohanlal, who plays his godfather in the film. The plot revolves around Sivan (Mohanlal), a don in Madurai, who brings up Sakthi (Vijay), whose father died for him, as his own son. The two are a formidable force in the city but circumstances force Sivan to ask Sakthi to become a cop. But when an accident results in the death of several innocents, Sakthi wants his father to turn over a new leaf. But the older man is not in the mood to heed his advice, and soon, the two are on opposing sides.

As far as commercial films are concerned, Jilla is definitely assured filmmaking. Neason understands that the conflict between Sivan and Sakthi is what powers his film and sets up the initial clash between these two characters very well. Sakthi's realizes the error of his ways after a horrible blast, which happens because of Sivan's decision. The scenes following this blast are quite horrific for this kind of film but they are so effective in making us understand why someone as loyal as Sakthi will shift sides and decides to take on the person who is his father figure. The confrontation scene is very well shot and the dialogues too are punchy in this scene. Vijay and Mohanlal are very good here. Vijay utters Sakthi's lines in a nonchalant way (Unakkaga enaku pidikadha khakhi potu police aanen illa, enakkaga nee ippo nallavana maaru) while Mohanlal treats Sivan's lines with seriousness, and so we get to see where each character stands — the son only wants his father to change but the latter will not give an inch from his position and is even ready to banish him from the house. When the intermission point arrives, we eagerly anticipate what might come next.

Neason also keeps Sivan's character in the grey area — he never has any remorse for the blast, he even brokers for a pharma company which is banned everywhere in the world; he is so egoistic that he wants to put Sakthi in place at any cost. Which is why, we feel cheated when the director decides to bring in another antagonist who wants to bring down the father-son duo. Thankfully, our disappointment doesn't last long as this character poses a formidable challenge to Sakthi and that keeps this segment engaging. He even has a minor victory when he manages to kill a character close to Sakthi and Sivan.

The lighter portions too are done with confidence. Neason understands the irony of a guy who hates the khakhi falling in love with a woman who is a cop, and treats the romance in a playful manner. He even approaches the scene in which Sivan urges Sakthi to become a cop in a similar vein. A godfather asking his son to do something he hates is heavy duty drama material but the director sidesteps this by going for a good-humoured tone, and just to not make it appear too frivolous, makes Sakthi tell his mom that he will do anything to not see his dad tearing up again. He also manages to get away with the implausible scenario of a don's hireling becoming a cop.

The main issue with Jilla is that it is overlong. Neason, probably in an effort to make it a wholesome entertainer, keeps packing in scenes oblivious to the running time. So, we have an unwarranted sub-plot involving Sakthi's sister and forcefully fitted songs which only make the film lengthy. Also, his tendency to cut to a childhood moment every time he wants to make an emotional statement becomes gratuitous after a point — the film itself begins with Sakthi as a boy; when Sakthi is injured, he recalls a moment when Sivan rushed to him when he injured himself as a boy; when his brother talks about growing up holding Sakthi's hands, he cuts to a montage of two boys holding hands.  

Rating:***1/2
http://timesofindia.indiatimes.com/jilla/movie-review/28650403.cms 

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Thalaimuraigal Review from Rediff!!

After more than four decades in the film industry, ace filmmaker Balu Mahendra, who has given us some memorable films in Veedu, Sandhya Ragam and Moondram Pirai, makes his acting debut in Thalaimuraigal. He has also written, directed, edited and wielded the camera for the film.

This is the first time that the 74-year-old director, who started his career as a cinematographer, has shot a film in the digital format with a still camera, the Canon 5D DSLR. Thalaimuraigal is produced by M Sasikumar`s company, Film Productions, and he also makes a cameo appearance in the film.

The film stars Ramya Shankar, Vinodhini, S Sashi and Master Karthick. Ilaiyaraaja has composed the music for the film. The story opens with a phone call to Dr Siva (Sashi) from his childhood friend Govind, who informs him that his estranged father is recovering from a massive stroke.

It is 12 years since Siva has last seen his father Subbu (Balu Mahendra). Siva was thrown out of the house by his orthodox father for marrying a Christian girl, Stella (Ramya Shankar).

Though deeply upset at the news, Siva is in a dilemma as he is not sure that his father will accept him back. Stella, however, convinces him to go and Siva makes the journey to his village to see his ailing father. Subbu is rude and overbearing initially, but he cannot hide the joy and pride at seeing his son, a successful doctor.

Stella, who is very keen to give their son Aditya (Master Karthick) an opportunity to know his grandfather, also joins him after a couple of days.
At the very first glimpse of his grandson, Subbu is overjoyed, and all the anger and hatred just seem to melt away. Even the contempt for his Christian daughter-in-law vanishes.

Subbu is now just an old man trying to understand his grandson, who does not speak a word of Tamil. Unfortunately, Subbu not only does not understand English, but even hates the language.

Is there a common meeting ground? Can they break the strong barriers of caste, religion and language and find love and respect for each other? All this is revealed with a lot of sensitivity and simplicity in the second half of the film.
Balu Mahendra’s effortless performance in Thalaimuraigai proves that acting is yet another skill to be added to his already long list of accomplishments.
He plays an angry father, who eventually comes to regret his orthodox beliefs; his perception of caste and language differences are changed by his grandson and daughter-in-law.

Despite all the differences, the underlying love and pride between the father, son and grandson is brought out beautifully. Master Karthick plays the bright and intelligent grandson, whose curiosity and earnestness will definitely make you smile. All the others too, have excelled in their respective roles.

There are no songs to mar the narration and the background score by Ilaiyaraaja remains inconspicuous, subtly bringing out the depth and intensity of the film, while enhancing the natural sounds of the singing birds and the flowing water. Balu Mahendra is a master of cinematography and his love for shooting in natural light is evident throughout the film.

Director Balu Mahendra's Thalaimuraigal is a heartwarming tale of a grandfather coming to terms with his own conservative values and beliefs, while at the same time instilling in his grandson, a sense of pride and appreciation in his language and culture.

Rating:***1/2

http://www.rediff.com/movies/report/review-thalaimuraigal-is-brilliant-south/20131223.htm

Ezhu Sundara Rathrikal Reviews from Rediff!

Everything goes wrong in the first 30 minutes of Malayalam film Ezhu Sundara Rathrikal, and the people involved in it try their best to salvage the situation. Finally, everything gets untangled in the last 15 minutes and the audience goes home happy. There are a few guffaws, a couple of heartaches and one or two action sequences punctuating the narrative. This description is suffice to summarise Lal Jose's Ezhu Sundara Rathrikal, with his actor friend Dileep in the lead. Aby (Dileep), a hotshot ad-maker, decides to finally get married. He has a painful history, where the girl he had loved left him just days before their wedding.

After getting intoxicated in his own bachelor’s party, Aby decides to invite his old flame Sini (Rima Kallingal). When he reaches there, she is alone and both boast about their respective life partners. Sini is married to a boxer called Tyson Alex (Murali Gopy) and Aby is engaged to one of his models Ann (Parvathy Nambiar).

Their meeting results in complications that compel them to meet again and again. How they do it dodging their partners and their large circle of common friends before the hell breaks loose, is what the film is all about.So, this is the story of seven beautiful nights from the day of the bachelor’s party to the day of the wedding, penned by James Albert (who had first scripted Classmates for the director). The narrative goes back and forth every now and then.

Tyson Alex is presented as an uncouth person, who seriously is a threat to Sini as she tells Aby once that their relationship exists only because they have a child. The rest of the ensemble cast that includes Harisree Asokan, Tini Tom, Vijayraghavan, Sreejith Ravi and others provide comic relief at a sporadic interval. Parvathy Nambiar, who makes her debut in this film, has an angelic smile that makes up for any deficiencies in her performance.

Rima Kallingal, who has to look distressed in her post marriage scenes, is good as nothing much is demanded of her. Dileep has to have two distinct looks as a young photographer (which he does with a wig of shoulder length hair and stubble) and his age today as a matured ad-maker. Wishing for any other distinction in his character would be asking for too much. Ezhu Sundara Rathrikal may have been an attempt to look at the fickleness of relationships in today’s times in a humourous way but it does not have the desired effect.

Rating:**

http://www.rediff.com/movies/report/review-ezhu-sundara-rathrikal-falls-flat/20131223.htm

Madha Yaanai Koottam Review from Rediff!!

Popular music director G V Prakash Kumar's maiden production, Madha Yaanai Koottam, is directed by Vikram Sukumaran, former assistant of the legendary Balu Mahendra.

JSK Film Corporation has acquired the distribution rights of the film. The film features newcomer Kathir and Oviya in the lead roles supported by Viji Chandrasekhar, Vela Ramamoorthy, P Gopalakrishnan and others.
Madha Yaanai Koottam, when translated means ‘Group of mad elephants’. The characters of the film do exactly what a herd of mad elephants would do, go on a senseless rampage destroying everything in sight for no apparent reason.

The film opens with a death scene and every 15 minutes there is another death.

Jayakodi Thevar is unfortunately the man whose death is being celebrated in a grand manner with loud music, dancing, fire crackers, and a continuous supply of drinks and food.  As a eulogy, the artists sing about the greatness of the dead man and the film shifts into a flashback.

Jayakodi Thevar has two wives and is currently staying with his second wife and their son Paarthi (Kathir) and daughter.

The older wife also has a son and daughter, but is living under the protection of her brother. She wants nothing to do with her husband as she feels he has betrayed her.

The enmity between the older wife’s brothers and his children and Paarthi is the crux of the story.

The minute the former hear about Jayakodi’s death, they carry his body out of Paarthi’s house stating that only the older wife has rights to the body.  They don’t allow Paarthi, his mother or sister to join in the rituals.

Paarthi, who initially remains passive, is forced by circumstances to join in this stupid, mindless fight, where there is absolutely no regard for life.

The first half of the film reveals the various rituals followed after death, in great detail. We also get to know about an interesting custom called seimurai, where the relatives have to buy new clothes and even gold jewellery for the surviving members of the family.

The second half is the usual revenge saga, which is totally unimaginative and boring. Oviya plays Kathir’s love interest and has absolutely nothing to do in the film.  Kathir seems to walk around like Vishal and though he does have the height and built to carry off the role, his face looks too innocent and guileless to express the intense hatred and anger. All the other characters, however, have been chosen well: menacing lungi-clad tough guys, with the ever present aruva in their hands and of course the authentic dialect of Theni.

The songs and background score by N R Raghunanthan and cinematography by Ragul Dharuman, who has skilfully captured the mood and setting of the film is definitely a plus.
Director Vikram Sukumaran’s Madha Yaanai Koottam deals with many emotions: hatred, vengeance, betrayal, fear. But pride and anger seems to take precedence and the film eventually ends in a mad rampage of revenge, brutally slaughtering everything in sight.

Rating:**

http://www.rediff.com/movies/report/review-madha-yaanai-koottam-shows-senseless-violence-south/20131226.htm

Veeram Review from Rediff!!

After the huge success of Aarambam, expectations were sky-high for the Ajith starrer Veeram. Directed by Siva, who gave the commercially successful Siruthai in 2011, the film is produced by Vijaya Productions, the prestigious banner of the late producer B. Nagi Reddy.
Set in a rural backdrop, Veeram is a slow-paced family drama that revolves around Vinayagam (Ajith) and his four brothers Vidharth, Bala, Munish and Suhail Chandhok. All of them are known to be extremely violent and get into fights at the slightest provocation.
Vinayagam has brought up his brothers single-handed and is determined to stay unmarried as he fears that bringing a woman into the house will disrupt the family and cause a rift among the brothers.
The brothers, however, have other plans.  Two of them are already in love and believe that the only way to make Vinayagam approve would be to make him fall in love, too.
On a mission to find an ideal match for their brother, they zero in on Kopperundevi (Tamannaah), who is part of a group that restores old statues in temples.
Along with Santhanam, who is their lawyer and friend, they devise several plans to bring Vinayagam and Kopperundevi together. After a few hiccups, the two do fall in love, but now there is a decided twist in the story.
Will it be Vinayagam’s violent past that destroys his chance at happiness or will Kopperundevi and her family’s past come to haunt them? All this in the second half that seems to be just as slow as the first.
The film seems to pick up momentum only during the action sequences. 
Ajith sports a different look in the second half, reminding us a little of the good old boy-next-door Ajith of Vaali and Villain.
After Billa, Ajith seems to have acquired this all-powerful indestructible image that seems to have struck a chord with the audience, and all his directors seem to be bending over backwards to nurture this image.
Though his dark glasses, black T-shirts and expensive suits have been replaced by a snow-white dhoti and shirt, he still maintains his larger-than-life persona in Veeram and effortlessly destroys the enemy with his power-packed punches and equally powerful dialogues, guaranteed to send his fans into a mad frenzy.
Tamannaah is totally unsuited to this sad, saree-clad boring character and has little to do in the film.
Santhanam lacks his usual spark, but Thambi Ramaiya in the second half provides some laughs. 
There are no terrifying villains in the movie either; their sole aim seems to be getting bashed up by Ajith.  The action sequences choreographed by Silva, however, do deserve some credit.
The song Nalavannu Solvanga has become quite popular, but otherwise there is nothing remarkable about Devi Sri Prasad’s music in Veeram.
Though there is no denying that the super cool, ultra stylish Ajith can carry off any movie on his broad and powerful shoulders, there is nothing remarkable about Siva’s Veeram. 
With an ordinary story line, an average screenplay and characters that are all overshadowed by one man, the film seems like an ode to Ajith and should be dedicated to all his fans.

Rating:**1/2

http://www.rediff.com/movies/review/review-veeram-is-a-treat-for-ajith-fans-south/20140110.htm

5-Star Rating for Dedh Ishqiya Review by Raja Sen!

Raja Sen feels Dedh Ishqiya is a genuinely smart film.

Public recitation is as fine an art as poetry itself, and -- like in a magic trick -- so much depends on the reveal, on teasing the audience into expecting a certain completion to the thought, a certain rhyme, and then to deny them that (but with a flourish.)

It is this taunting of the listener that makes shayri so special, the wizards of Urdu repeating their half-lines over and over, forcing those present to fork over applause even before the punch line.

And when that final line falls into place just right, surprisingly and cleverly, the abracadabra moment is one of rapture.

Abhishek Chaubey’s Dedh Ishqiya, true to its fractional title, lives for those half-lines, teasing and wheedling and coaxing its audience so that we fall in love even before the charms of the final act are upon us.

Calling a film "One and a half" instead of "Two" could signal varied intent -- including tributes to Federico Fellini and/or the Naked Gun franchise -- but I’d like to believe Chaubey’s superb sophomore effort shies away from the obvious name because it’d rather be called an equal than a sequel.

Rarely is a Hindi film as mischievously besotted with wordplay, but one look at Chaubey’s co-conspirators confirms that no syllable has been picked accidentally. In this sleight-of-hand tale where gangsters point with iambic-meter before pointing with guns, Chaubey has master wordsmiths Vishal Bhardwaj and Gulzar alongside him, making for a script that balances words as deftly -- and, crucially, with as much nervous energy -- as a knife-juggler with a case of the hiccups.

It’s a marvel.

(It’s also a marvel we may not have been able to understand. Most of us, even those who drop stray Urdu words into conversation, could scarcely navigate the many nuances on offer without the sharp subtitling job. Having the lines present in spirited (and non-literal) translations helps enormously, and it’s a very wise decision to keep the subtitles around even for us Hindi-speaking philistines.)

Set in the fictional town of Mahmudabad, the film sees returning anti-heroes Babban and his dear Khalujaan Iftekhaar back and, as ever, on the run.

The two ignoble opportunists are, in a way, like a very amoral Asterix and Obelix: one shrewdly has his eye on the prize while the other frequently squanders his menhirs in the name of love. Questing thus for inaam and inamorata, the leads -- played by Arshad Warsi and Naseeruddin Shah -- wade through increasingly muddy waters.

Yet is it fair to call these lovable oafs the leads? For this is the tale also of an enchantress, a bonafide beauty whose gorgeousness and fortune brings forth many a suitor from across the land, poetry-lined notebooks in hand.

Because, you see, this winsome widow wants to be charmed by couplets, swept away by sentences, ribbed by rhyme. And thus we have a swayamvara where instead of bows and arrows -- as her sassy handmaiden explains -- a line must be tossed into the air and a challenger must shoot it down with a lyric. The one and only Madhuri Dixit is the suitably unattainable lady in question, with Huma Qureshi as her first mate, so to speak.

Speaking of challengers, however, Dedh Ishqiya may perhaps be the story not of the first-billed impostors or either woman, but of the yearning lover who kidnaps poets to furnish his chance at romance.

A slaphappy politician who is a bully, one suspects, because brooding isn't considered macho enough. A plum role played masterfully by the scene-stealing Vijay Raaz, this gent too is part of the mix, then, putting the ‘verse’ in ‘adversary.’

Voila, what an ensemble.

Unlike the first Ishqiya which was -- even to those like me who loved it -- at best a glorious mess, the plot this time, while rollicking enough, is fiendishly simple. The focus, instead, is on the characters.

And, as mentioned, on what exactly they say.

A fair bit of the film admittedly takes its time staring at Madhuri, and this is no complaint for the legend gleams brighter than we’re used to seeing in our movies nowadays.

She’s old-world, breathtaking and so utterly graceful it’s like someone draped a saree around a Rolls Royce. Her performance -- one that demands small, precise shifts in tone instead of showy histrionics -- is pitched perfectly. And it’s a privilege to see her dance the classics.

The actors are uniformly smashing.

Naseeruddin Shah is great, wistful and dreamy and unashamedly wicked, chewing luxuriantly on the dialogues as if they came wrapped in betel-leaf.

Arshad Warsi has always been instantly loveable, but he equips his character with a flammable fury that makes him very compelling indeed. Huma Qureshi uses her fiercely intelligent eyes to great effect as she keeps things unpredictable, while Manoj Pahwa and Salman Shahid make themselves impressively indispensable with mere scraps of screen-time.

And then there’s Vijay Raaz. Too often do we Hindi cinema audiences unfairly sideline villains and comedians, but here is a gem of a part, a truly meaty role -- the kind of character that, in a Hollywood film, would have been played by Christian Bale or Javier Bardem -- and Raaz sinks his teeth into it magnificently.

A lanky man given a leonine mane, Raaz here looks disconcertingly like the director himself, and it may even be this doppelgangering that sees his character so well-etched.

He performs with an all-knowing weariness so masterfully that he emerges not just a memorable villain, but, like the most memorable villains of all, impossible to root against.

Rating:*****

http://www.rediff.com/movies/review/review-madhuri-dixit-dazzles-with-dedh-ishqiya/20140110.htm 

Sholay 3D review from Bollywood Hungama!

What can one convey or enlighten about a film that has the word 'Classic' written all over it? One of the most appreciated and admired movies... also, one of the most discussed and analyzed movies ever, SHOLAY, directed by one of the finest storytellers of India [Ramesh Sippy], now unveils in a new avatar -- 3D. Watching the film in 3D is truly an experience. And for those who haven't watched the original version, all I'd say is, watch it pronto, for you cannot replicate a film like SHOLAY. Ever.

The 3D version of this all-time classic should work for two reasons: One, the simplicity on display, when one compares it with the recent releases that are infested with VFX. Two, the invigorating and revitalizing drama [writers: Salim-Javed] that leaves you awestruck, even though you may have lost count of the number of times you've watched this incredible entertainer. The icing on the cake are the well-defined characters -- Thakur, Jai, Veeru, Basanti, Radha and of course, Gabbar. 

Not many are aware that SHOLAY did not take off the way it should, when it first released in theatres. Gradually, a few weeks later, SHOLAY attracted audiences in hordes and ran for more than five years non-stop at Mumbai's Minerva theatre, besides celebrating Golden Jubilee and Silver Jubilee in several cities and towns then. Furthermore, the film set new records across the country, immortalizing the characters, the songs and the dialogue... just everything associated with the film. 

Having grown up on SHOLAY and the masala films of yore, the 3D version of the film helps you relive the moments associated with it. Especially the evergreen, iconic dialogues delivered by Gabbar and Thakur. Sample these…

[Delivered by Gabbar] 
'Tera kya hoga, Kaaliya?'
'Jo darr gaya, samjho marr gaya'
'Holi kab hai, kab hai Holi?'
'Bahut yaarana lagta hai'
'Kitne aadmi thhe?'
'Yeh dushmani bahut mehengi padegi Thakur, bahut mehengi'
'Yeh haath humko de-de, Thakur'

[Delivered by Thakur] 
'Jao, jaake kehdo Gabbar se, Ramgarh-walo ne paagal kutton ke saamne roti daalna bandh kar diya hain'
'Yeh haath nahin, phaansi ka phanda hain, Gabbar'
In fact, the dialogues -- memorable all -- reverberate even after almost four decades. 

With 3D, every pivotal character stands out [quite literally!] in the film. A special mention ought to be made of the train sequence, the climax scene where Amitabh Bachchan blows the bridge with the last bullet and when the goons chase Basanti, who is on her tonga…

The music of SHOLAY is timeless, much like the dialogues. Even though the songs have been heard/watched over and over again, the 3D effects add sheen to the same. The music by R.D. Burman is easily amongst his best, in my opinion. 'Yeh Dosti Hum Nahin Todenge', 'Jab Tak Hain Jaan', 'Mehbooba' and 'Holi Ke Din' are simply inimitable. Also, the contribution by DoP [Dwarka Divecha] is simply invaluable. I'd also like to mention the immense contribution by the team that brought this much-loved classic in 3D. 

SHOLAY was truly the biggest film of its times and having stars like Dharmendra, Sanjeev Kumar, Amitabh Bachchan, Hema Malini, Jaya Bhaduri and Amjad Khan in a frame was magical. Also, who can ever forget the supporting cast -- A.K. Hangal, Satyen Kappu, Asrani, Sachin, Viju Khote, Mac Mohan, Jagdeep, Leela Mishra, Iftekhar... Every performance was beyond perfect! 

On the whole, there are films and there is SHOLAY. Frankly, it would be sacrilegious to miss this classic. Watch it. Now.

Rating:*****

http://www.bollywoodhungama.com/moviemicro/criticreview/id/514744

Dedh Ishqiya Review from Bollywood Hungama!

It's a well-established trend to have a franchise or a sequel as a meritorious follow up to a triumphant prequel. The year 2013 ended on a high, with the third installment of the lucrative DHOOM franchise rewriting the record books. Now, in the second week of 2014, a sequel to the immensely likable ISHQIYA [2010] is out to woo the spectators -- DEDH ISHQIYA. But unlike most franchises/sequels, which have an urban backdrop, DEDH ISHQIYA, much like its predecessor, is set in the hinterland, has an unassuming, homespun feel and an old-world charm to it. But let me make one thing clear: Cosmetically, the two films may be in the same space, but the stories are in sharp contrast to one another.
 
Abhishek Chaubey created an out of the ordinary world in his directorial debut ISHQIYA. The tale of a love-lorn and ruthless woman Krishna [portrayed by Vidya Balan], who uses Khalujaan and Babban to settle scores, caught the attention of cineastes for varied reasons. Besides a differing plot and an enthralling screenplay, that film had wit, conspiracy and romance that was so unconventional and individualistic on the Hindi screen then. DEDH ISHQIYA continues the escapades of Khalujaan and Babban, but the duo has the extremely desirable, sophisticated, but a secretive woman [Begum Para] and her confidant [Muniya] for company. In addition, while the first part was a love triangle, with both Khalujaan and Babban falling in love with Krishna, DEDH ISHQIYA has two love stories running concurrently. 

ISHQIYA was sharp, spicy and volatile, with impulsive characters and a storyline taking a somersault every few minutes. DEDH ISHQIYA is no different. It transports you to a diverse world, but like the first part, this one focuses on love and deceit as well. Also, it's far more complex this time around... and the truth hits you like a ton of bricks! 

Begum Para [Madhuri Dixit-Nene] of Mahmudabad is hosting a festival of poetry and music in her mansion. The country's best poets are in town. Khalujaan [Naseeruddin Shah], posing as the Nawab of Chandpur, is participating as a poet in the festival. He is not there merely to show off his poetic wares, but to impress the widowed Begum who, as the grapevine suggests, is scouting for a husband -- preferably a poet. 

Babban [Arshad Warsi] arrives in Mahmudabad to take Khalujaan back to their old life, but his plans alter the moment he sets his eyes on Begum's maid and confidant Muniya [Huma Qureshi], a brash and sexy young woman. Muniya too has plans of her own. She leaves the palace every now and then in a disguise to meet gangsters in dark alleys. The palace is rife with intrigue... 

Unlike the promos of the first part, which communicated quite a bit about the film, the promos of DEDH ISHQIYA maintain the element of mystery around the characters and its plot. Sure, one is familiar with Khalujaan and Babban, but the new characters that Abhishek Chaubey introduces us to in DEDH ISHQIYA -- Begum Para and Muniya specifically -- are shrouded in secrecy/ambiguity. While ISHQIYA was earthy and rustic, one gets to witness an alternate universe in DEDH ISHQIYA. There's a lot of poetry, music and color this time around. At the same time, there are layers to the story that baffle you. Garnished with chaste Urdu and peppered with unconventional humor and simmering sexuality, the characters indulge in a treacherous game yet again. This time, it's even more dicey and perilous. 

Abhishek Chaubey deserves colossal admiration for taking the story forward by retaining some characters and adding several new ones. The screenplay is capricious and unpredictable, imparting a flavor that's distinct and one you most certainly haven't experienced heretofore. Also, a section of the audience may find the chaste Urdu a tad strenuous to comprehend [although the sub-titles make it quite effortless to decipher], but come on, when you have a film based in Punjab or a South Indian state, the essence of that sector has to come to the forefront, right? 

The music [Vishal Bhardwaj] is a sore point and one misses winsome tracks like 'Dil To Bachcha Hain Ji' and 'Ibne Batuta' from ISHQIYA. This film deserved an entrancing score, also because the emphasis is on poetry this time. Dialogue, also penned by Vishal Bhardwaj, are the mainstay and the backbone of the enterprise. The lines are loaded with wit and the usage of Urdu is prudently juxtaposed in several sequences. The DoP captures the old-world charm wonderfully well and the visuals are absolutely stunning. 

Expectedly, Naseeruddin Shah is supremely efficient as Khalujaan. Getting into the skin of the character, the actor gives it all to the film, delivering a performance that's sure to be recalled amongst his premium works. Matching Naseer is Madhuri Dixit-Nene, a powerhouse of talent. Cast in an unconventional role, it's a colossal leap for the actress who has several power-packed performances in her repertoire. She also deserves kudos for opting for an unconventional, avant-garde character, which will only win her tremendous admiration and honour in times to come. Arshad Warsi is in terrific form yet again. The actor, a spontaneous performer, wows you with his brilliant act. In fact, Naseer and Arshad are a delight to watch in several sequences, with both complimenting each other from commencement to conclusion. Huma Qureshi is fantastic and if one were to say so, catches you with complete surprise. Her sequences with Naseer, Madhuri and Arshad reiterate that she can stand on her feet, despite being pitted against top notch actors. Yet another performance that stays with you is that of Vijay Raaz. One of the finest talents around, I am sure, DEDH ISHQIYA will make the film fraternity realize that you cannot ignore him for long. Salman Shahid is top notch in a cameo. Ravi Gosain does a decent job. Manoj Pahwa registers a solid impact.

On the whole, DEDH ISHQIYA is a worthy follow up to the widely admired ISHQIYA. Powerful writing, superb direction and outstanding performances make DEDH ISHQIYA a must watch. Just don't miss it!

Rating:****

http://www.bollywoodhungama.com/moviemicro/criticreview/id/547314

Yaarian Reviews from Bollywood Hungama!

Divya Khosla Kumar is no stranger to the entertainment industry. Besides directing several videos, she has also acted in a big-budget film starring A-list actors [AB TUMHARE HAWALE WATAN SATHIYO]. So when Divya -- the wife of the head honcho of T-Series [Bhushan Kumar] -- decided to make a feature-film, everyone expected her to start with top of the line stars/creme-de-la-creme in her maiden venture. Instead, she chose to cast rank newcomers in principal roles -- a move that raised eyebrows.

Post the super-success of STUDENT OF THE YEAR, helmed by Karan Johar and AASHIQUI-2, helmed by Mohit Suri, which was a game changer, several studios as well as reputed raconteurs are executing qualitative projects with fresh faces. YAARIYAN, which marks the directorial debut of Divya Khosla Kumar, stands out from films of its ilk. Reason: While the principal cast boasts of freshers, the making, opulence and splendor is at par with any mega-budget film attempted in Bollywood. The question that crosses your mind is, is YAARIYAN equally big in terms of content? Let's evaluate...

First, the plot! The film starts with the college principal [Gulshan Grover] summoning five students, handing them the responsibility of saving the college campus from a foreign hotelier who intends making a resort. The deal is that in order to save the college, the Indian students should outdo their Australian counterparts in the test of physical and mental abilities. While there are the expected ups, downs and betrayals, what triumphs in the end is friendship, as the title suggests. 

I genuinely believe that the teenage years are the best phase of your life. When one is well ensconced in the dreamy world. When life is yet to throw challenges towards you... Divya Khosla Kumar attempts to encapsulate that period through the lead characters of her movie. In fact, it won't be erroneous to state that YAARIYAN attempts to pay tribute to that phase of an individual's life. 

Evidently, Divya Khosla Kumar seems to be an ardent fan of movies such as JO JEETA WOHI SIKANDAR, KUCH KUCH HOTA HAI, JAANE TU... YA JAANE NA, 3 IDIOTS and STUDENT OF THE YEAR, since there are faint echoes of such acclaimed films in her maiden endeavor. Of course, the premise of YAARIYAN is dissimilar and so are the character sketches.

The first half of YAARIYAN has its moments of fun, although the narrative tends to go astray at times. If one were to pinpoint the deficiencies, the romance between the professors appears forced in the narrative. Also, Himansh's cousin being attacked by members of the Australian team lacks conviction. The humor/liveliness also dries up after a point and one feels that the first half -- which commenced with lively and funny moments -- could've been succinct by at least 10/15 minutes. 

However, the writing gets consistent in the post-interval portions. The mountain biking race as also the rock climbing contest is the mainstay of the film. They are brilliantly executed! Prior to that, the tender moments shared by the lead pair works decently well too. Divya also gets the intensity in the emotional sequences spot on. Additionally, the dazzling locales and magnificent cinematography translate into a truly good looking film. 

Divya deserves kudos for accepting the challenge of directing freshers in her debut film. The best of storytellers are not afraid of taking risks and Divya seems to be one of those. Her handling of the humorous moments as well as the emotional ones with maturity confirms the fact that she knows the craft well. But one does feel that the writing could've been sharp edged at places. One of the USPs of the film is -- no prizes for guessing this one! -- the musical score, which has the word 'Chartbuster' written all over it. In fact, every track has caught on big time with listeners, especially 'Baarish' [soulful], 'Sunny Sunny' [a rage with partygoers], 'ABCD' [foot-tapping], 'Allah Waariyan' [melodic] and 'Meri Maa' [makes you moist-eyed]. Cinematography is top notch, with the DoP [Sameer Arya] capturing the spectacular locales with flourish. The opening and end credits are also innovative and catch your eye! 

Now to the performances! Agree, the beginners don't set the screen ablaze at the very start itself, but the performances grow on you gradually. Himansh Kohli is earnest and endearing. He has the makings of a fine actor. Rakul Preet looks beautiful and acts confidently. The way she emotes with her eyes is commendable. Nicole Faria, Dev Sharma, Shreyas Pardiwalla, Serah Singh and Vikas Verma are appropriate in their respective parts. Evelyn Sharma looks gorgeous and does a fine job.

Gulshan Grover is wonderfully restrained. Deepti Naval and Smita Jaykar are perfect.

On the whole, YAARIYAN has a gripping second half, smash hit musical score and the youthful romance that should lure and entice its target audience -- the youth. A treat for youngsters and young at heart!

Rating:****

http://www.bollywoodhungama.com/moviemicro/criticreview/id/566831 

Oru Indian Pranayakatha Review from TOI.

Story: The film is about the life of a young political leader and his association with a woman who comes unexpectedly into his life.

Oru Indian Pranayakatha oozes with fond recollections from some of the earlier accomplishments of Sathyan Anthikad. It narrates the tale of a youth who chooses politics as his career. His acts and motives - all driven by ambition - are drenched in sarcasm, something highly redolent of Sandesham.
 
The transformation of Sidharthan (Fahadh), the young political leader is then triggered by his association with a woman, who is smarter and more sensible than the lead male characters in Anthikad's films. Amala Paul plays a Canadian citizen of Malayali origin named Irene Gardiner. 

In a film that treads at a studied pace with hardly any eventful situations, the good-natured moments belong to Fahadh. His insouciant charm blends with an earthy humour. Fahad is unabashed while bringing out the inflated ego of an aspiring young politician and his associated cockiness. His indulgence in self-debasement is hearty and his open exposition of ignorance is ridiculously funny.

Amala Paul is more mature while dealing with emotional outbursts. She unassumingly lets Fahadh devour the fun whenever they share comic situations, something that works well for her as she seems perfectly in control. The plot is more or less confined to him, his foiled ambitions as a politician, his romance, his feelings for a woman who brings about a slow shift in his life. It is this apparent simplicity that makes the film at once engaging and more often banal. 

The joviality happens naturally, the mush is forced and jarring. There is not even a faint attempt at doing away with stereotypes although there are glimpses of promise at certain moments which never really crystallize into a heart-warmer of a film.

Rating:***
 
http://timesofindia.indiatimes.com/entertainment/malayalam/movies/movie-reviews/Oru-Indian-Pranayakatha/movie-review/27751337.cms

Ezhu Sundara Rathrikal Review from Times of India!!

Story: The film moves around relationships of four individuals that get intertwined resulting in complexities that affect their lives.

Lal Jose dabbles in a maze of relationships in Ezhu Sundara Rathrikal. It's about people who are waiting to get married and those who are already married. The film leaves links inter-connecting all those involved in it. The result is a narrative that goes slightly out of control after the initial good-natured humour which Dileep brings to the table.

Aby (Dileep) is an ad-maker waiting to get married to Ann (Parvathy). His old flame Rima Kallingal returns to the city where he lives and their encounter sets off a series of events bordering on confusions, misunderstandings, sense of guilt and the pain of loss.

Lal Jose intently tries to hold the complexities with a sense of triviality. He does away with tears and piano at times of grave emotional crises and would instead squeeze in cartoonish sequences. The light-hearted treatment works to an extent, but not for long as the narrative is crippled by a sluggishness that results from a poorly conceived script.

There is a mad rush towards the end assembling a jumble of events to materialize a set of twists just to put things in order. In spite of all its earnestness, the attempt fails pushing the movie to levels of mediocrity. Dileep holds on to his casual, ticklish humour which salvages the film to a certain extent.

Rating:***

http://timesofindia.indiatimes.com/entertainment/malayalam/movies/movie-reviews/Ezhu-Sundara-Rathrikal/movie-review/27751741.cms

Thalaimuraigal Reviews from Times of India!

Synopsis: A haughty old man, who is estranged from his son for over 12 years, starts looking at life in a different perspective when his grandson comes to stay with him. 

Movie Review: For retired Tamil teacher Subbu (Balu Mahendra), it is his religion, caste and language that are close to his heart. For 12 years, he has not been on speaking terms with his son Sivaraman (Sashi Kumar), a doctor, who married Stella ( Ramya Shankar), a Christian girl and an orphan, against his wishes. But when Sivaraman hears that his father had suffered a stroke, he goes to his village at the insistence of Stella, who wants their son Aditya ( Master Karthick) to get to know his grandfather.

This is the set up of Balu Mahendra's Thalaimuraigal, a drama on human relationships that puts across the one question that matters in the end — 'who am I?' Midway into the film, Aditya gives a photograph of himself to his asks his grandfather if he could say who the person in the photograph is. The old man replies that it is just a piece of paper and questions the kid who he really is. Subbu delivers this line in a haughty manner, probably expecting his grandson to acknowledge his lineage (in the form of religion and caste) but even he doesn't realize the profoundness in his question. In a later scene, the village's pastor asks the boy if he is a Hindu or Christian, and the kid says that he is Aditya, and only then we realize how the boy has come to terms with his self.

It is this kind of understatement that sets Thalaimuraigal apart from current films. The scenes mostly come across as moments captured from the life of the film's characters rather than as part of a narrative. The director shoots the film with minimal fuss — the shots are held longer than in present-day films, and the camera often stays at rest, capturing everything in its frame. Ilaiyaraaja's background score too features large stretches of silences that feel alien to the insistent sounds in commercial films. Even the emotional scenes are not underscored with stirring music and it is left to us to imbibe the emotions from the performances. And this simplicity is reflected even in the scenes showing the bonding of grandfather and grandson. The kid doesn't know Tamil (Stella is from Bangalore and she converses with her husband mainly in English) and the old man isn't used to English. He begins teaching the boy Tamil and we see shots of them learning from each other at various locations and at various times, and they build up a rapport over time.

It is only in the pre-interval scene that there is a sense of urgency — a lady comes to Subbu and pleads with him to save her son who has been bitten by a snake — and the scene feels quite cinematic but this is probably because it is in our habit to expect a twist during at the interval point.

The only problem with the film is that it resolves many of the characters' issues quite conveniently. It redeems Subbu when he starts bonding with his grandson but never quite acknowledges his patriarchal mindset that dashed the hopes of his daughter. We get a scene where the daughter tells her brother that their father took out the anger he had for his son on her by putting an end to her studies and turning her into a child-bearing machine. But we never see Subbu recognizing his failings with respect to his daughter. In fact, while he instantly develops an attachment with his son's offspring, we are left wondering about his relationship with his other grandsons, who were born to his daughter. Maybe, Balu Mahendra wants to tell us that it is not possible to right all the wrongs we have done in our lifetime.

We also wish that the argument between Sivaraman and Stella over Aditya staying in the village had a bit more bite. It is a bit hard to believe that he gives in so easily when Stella counters his very valid reservations with the simple point that Aditya will learn much because Siva himself had studied in the village. Less practical and more romantic.

But there is plenty of genuineness and warmth, which, elevated by the minimalist storytelling and genteel performances (director-actor Sasikumar's cameo is the only false note) turn this simple film into the feel-good film of the year.

Note: Strictly for those who like leisurely-paced slice of life films that are more enlightening than they are entertaining.

Rating:****

http://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/moviereviewarticlelist/thalaimuraigal/movie-review/28019810.cms