Thegidi Reviews from Now Running!

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Thegidi" Means Responsibilities and duties of the Detective Job.It's after you hear this line and understand what it means completely, you realize how brilliantly the entire story of the film is built on this single line. With films like "Pizza" and "Soodhu Kavvum" proving to be successful of its wacky content and clear presentation, "Thegidi" comes in the same lists that portrays the success their formers.

Having successfully completed Master of Arts in Criminology, Vetri (Ashok) takes up a job with a detective agency. On his first assignment, he is asked to gather information about three subjects. He does so by closely watching his subjects without blowing his cover and gathers vital information. As his fourth subject, he's asked to follow Madhu (Janani), but in the process he falls in love with her and even gets close to her by concealing his true identity.

The first thing to like about the film is its short running time of 122 minutes. When most star-studded films take about nearly three hours to narrate a done to death story, "Thegidi", with a not so popular lead cast, succeeds in keeping us hooked to our seats. Meanwhile, each of Vetri's three subjects dies mysteriously. He comes to the conclusion that Madhu might be also on the list. Vetri should protect Madhu, but at the same time, he has find out what lead to the death of his three subjects. But with a slow build up to the climax, even with a shorter running time, it does make you little impatient every now and then.

Ideally you expect a thriller to race at the speed of a stallion, but this film maintains a low profile and builds up tension gradually. This should not be mistaken as lousy filmmaking because director Ramesh does it on purpose. He expects his audience to be vigilant and step into the shoes of Vetri to observe the tiniest detail with attention. By having a slow narrative, he gives us the opportunity to see everything that Vetri could miss. In essence, he makes us the eyes and ears of Vetri.

All the recent thrillers in Tamil like "Pizza", "Pizza 2" seem to have an unconventional end, hinting at a possible sequel in the offing. Likewise, "Thegidi" too packs in a twist in the tale that will totally catch you off guard and it is at that moment that you root for the film even more. While Ashok Selvan does a neat job of playing a detective with a nosy attitude, the film, I feel, needed a stronger lead. It needed someone who could express a gamut of emotions such as fear, curiosity, and love so on flawlessly.

Ashok struggled in expressing the required emotions in some important scenes. Janani did well in a role with minimum scope for performance. Jayaprakash as usual impressed in a cameo and proves why he's one of the finest character actors in the industry.If "Thegidi" turns out to be a hit, debutant music composer Nivas Prasanna deserves huge credit for the success. He carries the tension of the film right till the end with his background score and songs that are placed in the narrative at right junctures.

With its share of ups and downs, "Thegidi" is a taut film executed in style.

Rating:***1/2

Vallinam Reviews from NowRunning!

All Sports in India is ruined by the power of capitalist and political interference. Very few privileged people get the opportunity to represent their country. Sport depicts struggle of each sportsman in their respective sports and hardly get recgnised anytime and some don't even get an opportunity, this also highlights the discrimination between sports and sportsmen and shows how a certain sport like cricket has been glorified, Although it might not be as powerfully engaging as Bollywood movie "Chak De! India", the film has the spirit to celebrate sportsmanship.

Director Arivazhagan's second directorial "Vallinam", which while addressing the aforementioned points. It turns out with an accident basket-ball player Krishna(forces) in an inter-collegiate basketball tournament, this leads to quit playing the game for good and relocate to another city. In short he moves from Trichy to Chennai, hoping to forget the past incident and exercise himself to perfect life. But call it destiny or fate; he's forced to play again, but this time to stop his college management from destroying their basketball court to make way for the extension of the cricket ground for the upcoming national level cricket championship, to be hosted by the college.

The tension that's accentuated through these moments is testimonial to the fact that the film has succeeded in entertaining the audience. But what's worrisome is whether the film will be embraced by all, irrespective of the fact that it has a college campus as backdrop and it's quite natural to assume it's made for college students. You can find inspiration from films such as "Lagaan", "Chak De! India" and several sports-based dramas of the recent past in "Vallinam", but it manages to maintain some originality in the execution. It might not be a great film, but considering the fact that we don't have many sports-based films in Tamil, this is a great effort. Even with a jagged screenplay that only gains momentum in the second half, the film manage keeps you hooked for the most part of the running time.

In this process, it gets little preachy at regular intervals with dialogues that are purposely written for commercial reasons, but it is understandable from the point of a view of catering to the masses. "Vallinam" never tries to convince us that basketball is a better game than cricket. It reminds us that cricket is not the only sport that deserves to be celebrated in a country where we have other equally popular sports as well. You root for the film when you realize that the actors took the effort to get trained in basketball, portraying the commitment with which they have prepared. Some of the best moments of the film unfold in the court, in between the game and when the ball spins in slow motion on the rim of the basket.

For a change, Thaman's music doesn't make you cringe in your seats. His background score syncs well with the second half, while Bhaskaran's celluloid captures the best shots during the basketball games. Nakul gives his career's best performance. He proves himselfs to hero can step out of the commercial zone and take up roles that can still be liked by audience. Debutant Mrudhula will shine with proper guidance while the rest of the cast members are good in their respective roles.

Overall, "Vallinam" attempts to galore the classifiation of one sport from another in our country.

Rating:***

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

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

Agadam Review from Times of India!

Synopsis: Three men bury a woman they have murdered in the middle of the night. They get an unexpected visitor, who wants to do business with them. Soon, the ghost of the dead girl turns up before them sending them running for their lives.

Review: Oh, the irony that is the interval! You only have to feel sorry for Mohamad Issack. He has made a film that has been certified by the Guinness World Records as the longest uncut film but his very achievement is tarnished by the fact that the film is cut (read stopped) midway by the theatre operator for the interval.

In fact, indirectly, this very act is a statement on the significance of Issack's efforts. Watching the film, we realize that it isn't ambition or the subject of his movie that has necessitated this attempt but the need for such a gimmick to attract an unsuspecting viewer. This is novelty for novelty's sake, nothing more.

The film's plot heavily draws on Karthik Subburaj's trendsetting Pizza. If the latter film had an individual trapped in a lonely mansion that has a ghost, here it is four characters who are scared to death by a ghost in a house. The difference is that while Vijay Sethupathi was the protagonist there, here, the victims are all corrupt men, who distribute expired medicines and murder those who try to expose them. There is also a twist towards the end, as in the earlier film. And, like Pizza, this one too has been shot on a shoe-string budget.

But the comparisons end there. While Karthik Subburaj's film is a dazzling example of what a director with a command over his craft can do with a minimal budget, Agadam is a cautionary tale that proves that while digital has made it possible for anyone to make a film, not everyone should make one. This is an unnecessarily over-long film with a sloppy script, amateur performances, shoddy camerawork, template music and unintentionally funny sequences, with not a single redeeming feature (no, the longest shot doesn't count). The only horror here is not the one the characters experience but what we, the audience, undergo.

 

Rating:*1/2

 

http://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/moviereviewarticlelist/agadam/movie-review/28463733.cms 

Vizha Review from Times of India!

Synopsis: Sundaram, a tappu player, is attracted to oppari singer Raakamma, but his act of helping a friend's romance threatens to take her away from him. 

Movie Review: Updating the classic Thillana Mohanambal premise of individuals in similar professions falling in love with each other, Barathi Balakumaran presents an old-fashioned romance done the old-fashioned way with Vizha. If the hero in the earlier film is a nadaswaram vidwan, here, he is a tappu player, who performs at funeral houses. The heroine is an oppari singer (in the older film, she is a Bharatanatyam dancer), and the 'saavu veedu' is their meeting place. We have had a few films based on this idea even earlier ( Karagattakaran and Sangamam did it in the late 80s and 90s respectively), and Vizha feels like an adaptation for this generation.

Tappu player Sundaram ( Mahendran) is attracted to Raakamma (Malavika), the young oppari singer, and she too reciprocates his love. When he helps his friend Pandidurai, who is a foreign return and the heir to the stuck-up local bigwig Bakkiyammal, get married to his childhood sweetheart, Bakkiyammal tries to get her revenge by arranging a match for Raakamma with Manimaran ( Yugendran), who works for her, and sending her goons after Sundaram. However, the good-hearted Manimaran offers refuge to Sundaram, and the lovers are left in a dilemma — should they stop the planned marriage or tell the truth to Manimaran?

The plot is a fairly interesting (even if it is familiar) one but what makes Vizha a lesser film than it should have been is the amount of unnecessary padding that the director brings to this story. He is severely hampered by his decision to take the 'whether Raakamma loves Sundaram' plot till the interval and so devotes the entire first half to the shenanigans of the hero and his friends which are so been there done that. Even the opening block, which he uses to detail the customs at a house of death, lacks the punch that it needed and so doesn't quite come across as atmospheric (this week's other release, Madha Yaanai Kootam, does this in superb fashion).

The second half is much better even though we are able to predict the outcome of certain scenes — when a character in an earlier scene tells Sundaram that he should play the tappu for his death, we know that he'll die in the end; and we always know that Manimaran will, in the end, stand by Sundaram. Still, Balakumaran manages to pack a punch in the scene where the lover affair between the leads comes out in the open. James Vasanthan's song too plays a crucial role in elevating the emotion here (and, his score is a major plus throughout).

Rating:***

http://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/moviereviewarticlelist/vizha/movie-review/28065951.cms

Biriyani Review From Rediff!

Director Venkat Prabhu, who is known for offbeat entertainers like Chennai 28, Saroja and the mega hit Mankatha, is back with a dark comedy called Biriyani. The film stars Karthi, Hansika and Premgi Amaren, along with a host of supporting actors.

Produced by Gnanavelraja's Studio Green, the film has all the ingredients of a Venkat Prabhu film. The sheer number of characters in an offbeat story with its unpredictable twists, liberally laced with humour and flavoured with great music makes Biriyani a well-packaged treat for the viewers.

Karthi, who seems to have had a style makeover with his trendy clothes, new hairstyle and coloured eye lens, plays the role of a casanova, Sugan. Despite having a gorgeous girlfriend, a media reporter, Priyanka (Hansika), Sugan flirts with all the pretty women he meets and they too, are besotted by him.

Premgi Amaren is his usual quirky self as Parasu, Sugan’s childhood friend and sidekick. Both travel to Ambur, for the inaugural of their Company’s new showroom.

The chief guest at the inaugural ceremony is a business tycoon, Varatharajan (Nassar), who is also suspected of several shady dealings and is currently being investigated by the CBI. On the return journey, Sugan insists that they stop at a roadside eatery for biryani, his weakness.

It is here that they meet the sensuous Maya (Mandy Takhar), who insists that they join her in her hotel room. Unable to resist the temptation, Sugan and Parasu accompany her and after several glasses of alcohol, they are totally disoriented and before they know it, it is morning and they are being hunted by the police for the murder of Varatharajan.

What actually happened in the hotel room and how Sugan and Parasu get out of this mess, forms the rest of the story.

The number of characters in the film is sure to make your head spin. Besides Premgi, there are several other regulars of a Venkat Prabhu film, who either play a supporting role or make a cameo appearance. Sampath Raj plays Riyaz Ahmad, a CBI officer; Jayaprakash is the Commissioner of Police, Nithin Sathya and Sam Anderson play Sugan’s friends, Uma Riyaz Khan, Subbu Panchu and Ramki play important roles. Hansika is forgettable while Uma Riyaz Khan gives an excellent performance.

Venkat Prabhu also continues his association with cousin Yuvan Shankar Raja, and incidentally this is Yuvan’s 100th album as a music director. He has made Biriyani special by adding some interesting touches, there are a couple of remixes, a rap song by Gaana Bala, but the highlight is the motivational song Edhirthu Nil sung by popular contemporary music directors, D Imman, G V Prakash, S Thaman and Vijay Antony.

On the downside, the film has a slow first half, and too many flashback scenes. Premgi is also getting repetitive and boring.

Though the film takes its own sweet time to get a move on, once it gathers momentum, there is no stopping till the end, where there is an exciting climax, as well as an anticlimax, in typical Venkat Prabhu style.

Rating:**1/2
http://www.rediff.com/movies/review/review-this-biriyani-is-well-made/20131220.htm 

Ivan Veramathiri Review from Rediff!

Ivan Veramathiri lacks the simplicity, depth and magic of Director M Saravanan’s last film Engeyum Eppodhum, writes S Saraswathi. 

Director M Saravanan hit the jackpot with his first film, Engeyum Eppodhum, which won him both critical acclaim as well as box office success. 

For his second venture, Ivan Veramathiri, which is already the talk of the town (releasing in over 500 screens worldwide), he has teamed up with Vikram Prabhu ofKumki fame. 

The film also stars debutant Surabhi, Ganesh Venkatraman, Vamsi Krishna and Hariraj. 

Ivan Veramathiri is produced by UTV Motion Pictures in association with N. Lingusamy's Thirupati Brothers. 

The film opens with a violent incident in the city law college, instigated by the law minister Sadasivam, who is angry that his demand for seats under the minister’s quota was not met. 

Even as the students are mercilessly beaten to death, indifferent policemen, curious onlookers and the media stand around doing nothing. A few insensitive ones even take pictures and shoot videos. 

Three lives are lost and as the incident is reported by all the TV channels and radio shows, people are outraged, but feel completely helpless because the culprit is a powerful minister. 

Gunasekaran (Vikram Prabhu), a student in search of a job, is deeply affected by the incident and decides to take matters into his own hands. 

The minister’s brother, Eeswaran (Vamsi Krishna), is out on parole for a couple of weeks and needs to be handed over to the police before a particular date. 

Gunasekaran kidnaps Eeswaran and keeps him hidden at a deserted construction site. His plan is to have the minister arrested for parole violation and helping a criminal escape. 

Malini (Surabhi) plays his love interest. She is a cute, happy and naïve engineering student. Surabhi is perfectly cast and brightens up all the scenes she appears in with her bubbly, innocent character and seems totally natural and fresh. 

Ganesh Venkatraman as Aravindan, a police officer, turns up only after the first half and though he has very little to do, he seems competent. 

Vamsi Krishna appears quite intimidating and has given an admirable performance. . 

Vikram Prabhu, who impressed us with his realistic performance as a simple lungi-clad mahout in Kumki, seems comfortable in the urban setting of this film. 

The spark, however, seems to be missing. His romantic scenes with Surabhi seem awkward and stilted and he really needs to work on his dance moves. 

His character of a common man, frustrated, angry and saddened by the unlawfulness and senseless violence that people have come to accept as an everyday occurrence, is not very convincing. 

The plot of the film seems to have been taken from the Chennai Ambedkar Law College violence that happened a few years ago. The film starts brilliantly but does not maintain the suspense or pace. 

It picks up pace in the second half, but some of the scenes are too cinematic. 

Director M Saravanan raised the bar for himself with his incredible debut; unfortunately, Ivan Veramathiri lacks the simplicity, depth and magic of Engeyum Eppodhum. 

Music by C Sathya, editing by A Sreekar Prasad and cinematography by Shakthi are all well done. 

Rating:**1/2

http://www.rediff.com/movies/report/review-ivan-veramathiri-is-an-average-entertainer/20131213.htm

Jannal Oram Reviews from Times of India!

Synopsis: A bus conductor and driver accidentally hit a person on road and get involved in a murder mystery. Will they be able to clear their names?

Remaking the Malayalam film Ordinary, Karu Palaniappan gives us yet another family entertainer with a multi-star cast. The film, as the director tells in a voice over at the start of the film, is a journey into the lives of two characters — bus driver Karuppu ( Parthepan) and the new conductor Subbu ( Vemal) — and the characters that they encounter during their daily bus trip from Palani to Pannaikadu, a hillside village with a motley bunch of characters. Given that they have to spend the nights in Pannaikadu to make the return trip to Palani in the morning, they become almost a part of the village. Subbu even falls in love with one of the villagers, Kalyani (Manisha), who is also a regular passenger on their bus.

But, one day, an unknown man falls down in front of their bus and the duo thinks they have accidentally hit him, and send him to the nearby hospital on a jeep that happens to pass by. But, soon, Subbu is arrested for murdering the person, who is revealed to be Shiva (Sanjay), the son of Vinayagam (Rajesh), a respected man in the village, and the fiance of the school teacher Nirmala David ( Poorna).

Jannal Oram starts off as a routine village drama, populated with some interesting and some not-so-interesting characters. There is Saami ( Vidharth), an orphan who does odd jobs for everyone in the village, Justin ( Ramana), a teacher who has a soft spot for Nirmala, a church Father, a drunkard, a tea shop owner and his girl who flirts with Karuppu, an idler and so on. We get introduced to these characters and see the dynamics of the various relationships here. So, when the murder happens, the director provides us with many suspects, which helps to hold the suspense.

Overall, the film is competently put together and somewhat interesting but you cannot escape a lingering feeling that it should have been a little ambitious and much better. Too much time is spent in getting us familiarized with the characters that for large stretches in the first half, we wonder when the director will get to the story. The songs, which are shot indifferently, only add to the length. The second half is better paced but even here, some of the actions of the characters are cinematic and the beats feel a bit too familiar — Subbu's secret getting out, Karuppu chancing upon the jeep driver, the final revelation. But sometimes, familiarity can be comforting and in that aspect, the film delivers. 

Rating:***
http://timesofindia.indiatimes.com/entertainment/movie-reviews/Jannal-Oram/movie-review/26649086.cms

Naveena Saraswathi Sabatham Reviews Times of India!

Synopsis: Four friends go to Bangkok for a bachelor party, get totally drunk, only to wake up on a remote island with no recollection of how they ended up there. And, no, this isn't their 'Hangover'!

Movie Review: There is a scene in the second half of Naveena Saraswathi Sabatham in which Naradar (Mano Bala) tells Lord Siva (Subbu Panchu) that the story isn't progressing and by this time, people will be posting on Facebook and Twitter that the first half of the film is super while the second half is mokkai. It is delivered as a knowing wink at the audience, suggesting to us that the director, Chandru, knows he has hit a dead end. Sadly, it is also the most profound statement in the entire film — not only on the audiences of today but also on the films we get these days, including this one, which just turns dreary, minutes after we enter the second half.

The film does begin in a promising way, with Naradar showing videos of the main characters to Siva on his iMac! This Mt Kailash resembles the version we have seen in AP Nagarajan's mythological films from the 60s (including Saraswathi Sabatham) down to the costumes but with a difference — its inhabitants seem to be passionate consumers of Apple products. So, you see Parvathi using an iPhone, and Muruga playing Temple Run on an iPad (though the director fails to exploit the oddity of a God playing a game called Temple Run) and so on. We are thus introduced to the film's Earth-set characters — Ramarajan, a quack of sorts, who is in love with college student and reality show contestant Jaishree, his friends Gopi, a corrupt politician's son, Ganesh, a hapless husband whose wife does katta panchayat, and Krishna, a wannabe film star. These four characters are normal when sobre but turn into a nuisance when they get drunk, and that, Siva explains, is the reason he has chosen them for his thiruvilayadal.

So, in The Hangover style (which the movie acknowledges), the four go to Bangkok for a bachelor party after Ramarajan's wedding is fixed, get drunk there but, then, they wake up to find themselves on a remote island with no recollection of how they ended up there. They are clueless when it comes to getting out of the place and so does the movie itself. What was a mildly amusing affair turns tedious and we are left with the sorry sight of witnessing the antics of VTV Ganesh, a sloppy effort to integrate the original Saraswathi Sabatham into the plot, and an even cruder attempt to wash all this off with a "message" (about drinking) in the end. And, this takes the fun out of what could have been dismissed as pointless fun.

 

Rating: **1/2

 

http://timesofindia.indiatimes.com/entertainment/movie-reviews/Naveena-Saraswathi-Sabatham/movie-review/26593007.cms 

Vidiyum Munn Review Rediff!

Rating:***1/2

Artist, photographer, visual designer, writer, director and producer, Balaji K Kumar is a man of many talents.  This Chennai-born, Los Angeles based filmmaker is already a name to reckon with in Hollywood.  His Twelve twisted tricks won him the Golden trailer award in 2002; while his film 9 lives of Mara, a cult classic,received a tremendous response and went on to receive a host of awards.  

Balaji makes his debut in Tamil cinema with Vidiyum Munn starring Pooja Umashankar and child artist, Malavika Manikuttan. 

Vidiyum Munn is a suspense thriller that revolves around a sex worker who puts her life in danger to protect an innocent 12-year-old from the clutches of pimps and prostitution. 

Rekha (Pooja Umashankar), a professional sex worker, is brainwashed by her pimp Singaram (Amarendran), into getting hold of a 12-year-old to service a high-end client.  Though reluctant at first, she is lured by the money and the prospects of a better life.

But even as she escorts an unsuspecting Nandhini (Malavika Manikuttan) to the client, she is filled with guilt.  Her conscience troubles her so much that she decides to save the girl and escapes from the city with her, but not before something goes terribly wrong.

Now a bunch of ruthless killers want to hunt them down.  Who are these men and why are they chasing two hapless females is what forms the rest of the story.

Pooja, who was last seen as a blind beggar in Bala's Naan Kadavul makes her comeback in Tamil cinema after a four-year hiatus.  She once again proves her versatility by her realistic portrayal of a seasoned sex worker who is resigned to her fate.

But it is young Malavika Manikuttan, who steals the show.  Her character is quite complex, requiring her to be bold, street-smart and defiant, while at the same time appearing vulnerable and innocent too. 

There are no dramatic flashback scenes to explain how Pooja and Malavika Manikuttan are caught in this dangerous web, but their quiet acceptance of the most horrifying events perhaps reveals even much more.

Vinoth Kishan, as Chinnaiah, one of the villains, appears absolutely terrifying with his compelling eyes and just a handful of monosyllabic dialogues.  Then there is Mani (Muthukumar), Devanayagi (Lakshmi Ramakrishnan) and John Vijay as Lankan, every one fits into their role perfectly and the results are impressive.

Music by Girishh Gopalakrishnan is sensational; it helps create the atmosphere heightening every emotion, and maintaining the suspense and thrill.  Cinematographer Sivakumar Vijayan, a debutant, has shot most of the scenes at night in dimly lit locations that intensify the story and provide the right ambience.

The only minus would be the length and the lack of pace, despite of the deadline of 24 hours, you don’t feel the clock ticking, the sense of urgency is missing.  But that takes nothing away from the anticipation and thrill you feel as each scene slowly unfolds itself.

Director Balaji undoubtedly is at the top of his game, narrating a tale filled with emotions; greed, lust, fear and desperation set in the backdrop of a cruel and aggressive world, where people only look out for themselves, it is either kill or be destroyed yourself.

The stark simplicity of the dialogues, the well-etched characters, the intriguing plot, the captivating music, the cinematography, but most of all the brilliant twist at the end makes Director Balaji K Kumar’s Vidiyum Munn a must watch.

http://www.rediff.com/movies/review/vidiyum-munn-is-brilliant/20131130.htm

Vidiyum Munn Review Nowrunning

Rating:***

Films on child trafficking usually throw at us startling facts and numbers in an attempt to emotionally hijack us but debutant Balaji K Kumar's "Vidiyum Munn" avoids all such genre cliches and sticks to presenting a well executed thriller that intrigues with suspense from start to finish.

Although inspired from British thriller "London to Brighton", to which the makers have not given due credit, "Vidiyum Munn" stands out as one of the better thrillers of the recent past.

When Rekha (Pooja), a hooker, flees town with 12-year-old Nandini (Malavika) after committing the biggest mistake of her life, her pimp (Amarendran) is given the ultimatum to produce her along with the girl in the next 24 hours to avert a threat to his own life.

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It's not the usual thriller flick that you watch and forget as you walk out of the movie hall. "Vidiyum Munn" lingers on in your head for a long time. Cut from the same cloth used to produce thrillers such as "Pizza" and "Yuddham Sei", it's the suspense that guides the film to the finish line. That suspense, with the help of a few characters, is strongly weaved into a labyrinthine story that you will only appreciate when it reaches its climax.

Having worked in Hollywood for over a decade, Balaji, who had earlier directed English thriller "Nine Lives of Mara", gives the film a treatment that's akin to the west in terms of the overall presentation.

One of the concerns of the film might be its slow narrative that runs a little over two hours. The film could've been shorter, considering its genre and the not-so-popular star cast. But thanks to the hypnotic soundtrack of Girishh, the music keeps you hooked for the most part. His music not only heightens the suspense in the story but also serves in building the mood of the film.

Instead of wasting time on explaining circumstances that led Rekha to become a prostitute, Balaji focuses only on the plot which is the hunt for two characters. This is very smart of him and proves that he knows how to use his craft effectively. He also avoids too many characters and throws the spotlight on only those that are linked to Rekha and Nandini.

For not giving credit to the original, "Vidiyum Munn" will lose some respect from the audience. Although it's not a frame-to-frame copy, but those who have watched the British thriller can find a few similarities in the remake. Nevertheless, it's a bold film that doesn't hesitate to tread a path very few filmmakers even aspire to walk on.

Pooja Umashankar in her comeback role is good but she easily gets superseded by child artist Malavika, who acts effortlessly as the runaway kid.

John Vijay gets a little irksome at regular intervals especially with his style of dialogue delivery but he also provides the occasional laughs with his witty one-liners while Vinoth Kishan plays a powerful baddie with very few dialogues.

"Vidiyum Munn" is a step closer to alternate Tamil cinema which majorly caters to those with some intellect and not to entertainment seekers.


http://www.nowrunning.com/movie/13517/tamil/vidiyum-munn/4479/review.htm