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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.

Endhiran Movie review

Coming soon

Masilamani Movie Review

Review

Looks like there is no respite from the dry spell cast by the lack of new releases at the box office. And lesser said the better about the ones released. SUN Pictures’ Masilamani gives you an instant hangover of having watched too many movies over a very short period of time. The script feels like a medley-mash of movies released over the past decade. And it wouldn’t be possible for us name each of them since the list runs to pages.

Masi (Nakul) is college student, who is also a social activist. For example, if there is a block in his street’s open water drain he would run up to the MLA’s house and wreak havoc. And if there is an eve-teasing incident on the buses that run in his area, he would bash the miscreants to armor the innocent girls. Sunaina, however, mistakes his so-called social activism to anti-socialism. On the other hand, Nakul has fallen for her hook, line and sinker and realizes that she’s his ideal girl. So to win her heart, he wins her family’s first. Under the disguise of Mani, who is Mr. Deeds. The whole world and her family, of course, know Mani except Sunaina. And when she finds out that both Masi and Mani are the same, she has to decide whom she has fallen for.

Masilamani With a brittle story like that, director Manohar treads the script with aides in the name of comedy, only to abruptly leave it after a certain point of time. The comedy track, handled by MS Baskar, although inadequately written, provides comic relief. Baskar’s different getups from famous movies including Sivaji, Alavandhan and Ghajini manage to bring smiles, if not a hearty laughter. And Baskar has Karunas to company.

Nakul – Sunaina looks an item. Everything from their chemistry and acting has considerably improved ever since their first time together. We only wished the movie had little more substance to sustain people’s interest. Imman’s score is largely passé except for the Dora Dora song, penned by Pa. Vijay. The Kavidai Gundar song Odi Vilayadu fails to recreate their usual magic.

While the movie starts off promisingly, 20 minutes later, we find ourselves shifting in our seats counting the seconds and scratching the seats for the interval to come up. The second half gathers momentum, but only to culminate into a banal climax.

Thus, Masilamani is necessarily targeted for the B and C centers, for people who have long forgotten the Tullada Manamum Tullum days.

Verdict: Only if you are a Die-hard Nakul & Sunaina Fan

Naalai Namathae - Movie Review

நடிப்பு: பிரதீப், சர்வானந்த், மணிவண்ணன், எம்எஸ் பாஸ்கர், ஆசிஷ் வித்யார்த்தி, ராஜன் பி தேவ், தனுஷா, கார்த்திகா மற்றும் கிரண்

இசை: பரத்வாஜ்
பாடல்கள்: பழனிபாரதி
ஒளிப்பதிவு: ராஜரத்னம்
இயக்கம்: வினயன்
தயாரிப்பு: ஜோஸ் மாவேலி

கல்தோன்றி முன் தோன்றா காலத்திலிருந்து தமிழ் சமூகத்திலும் சினிமாவிலும் நிலவும் குடிசைவாசி Vs கோபுரவாசி கதைதான் இதுவும்.

நாட்டின் மிகப்பெரிய தொழிலதிபர் ஆசிஷ் வித்யார்த்தி. ஒருநாள் திடீர் ஞானோதயம் பெற்று தனக்கு சொந்தமான ரூ.1800 கோடியை ஏழைகளுக்கு எழுதி வைப்பதாக அறிவித்து, அதை நிறைவேற்றவும் மணிவண்ணன், பிரதீப் ஆகிய இரண்டு ஏழைகளையே நியமித்துவிட்டுக் காணாமல் போகிறார். 

இந்தப் பணத்தை அபகரிக்க தணிகலபரணி, ராஜன் பி தேவ் தலைமையிலான அரசியல்வாதிகள் முயற்சிக்கிறார்கள்.

இடையில் மணிவண்ணனின் வளர்ப்புப் பெண்ணை சுற்றிச் சுற்றி வருகிறார் பணக்கார இளைஞர் சர்வானந்த். இதையறிந்த அவரது அரசியல்வாதி அப்பா கடுமையாக எதிர்ப்பதோடு அந்தப் பெண்ணை தனது ஆட்களை விட்டு கண்ணெதிரே கற்பழிக்க விடுகிறார்.

சொத்துக்களை எழுதிவைத்துக் காணாமல் போன ஆசிஷ் வித்யார்த்தி என்ன ஆனார்?.

பணம் பறிக்கும் அரசியல்வாதிகளின் முயற்சி பலித்ததா? 
கற்பை இழந்த அந்தப் பெண் என்ன ஆனார்? 
ஏழை - பணக்கார காதல் நிறைவேறியதா? 

போன்ற கேள்விகளுக்கான விடைகளை நீங்களும் திரையில் பார்த்துத் தெரிந்து கொள்ளுங்கள்.

ஆரம்பத்தில் பெரிய பணக்காரர் ஒருவர் ரூ.1800 கேடியை ஏழை மக்களுக்கு எழுதி வைப்பதாக கதை துவங்கும் போது அட, என நிமிர்ந்து உட்கார வைத்தாலும், 'இதுதான் கதை, இதற்கான சம்பவங்கள்தான் இவை' என்றில்லாமல் எக்கச்சக்கமான நிகழ்வுகளுடன் திரைக்கதை தடுமாறுவதால் சுவாரஸ்யம் குறைந்து விடுகிறது.

ஆனால் ஆசிஷ் வித்யார்த்தி எப்படி பணக்காரர் ஆனார் என்கிற அந்த ப்ளாஷ்பேக் விறுவிறு.

மணிவண்ணன் சிறப்பாகச் செய்துள்ளார். கிட்டத்தட்ட கதையின் நாயகன் மாதிரி வருகிறார். பிரதீப் இயல்பாக நடித்துள்ளார்.

ஏழைக் காதலியாக வரும் தனுஷாவை பள்ளியில் படிக்கும் பெண்ணாகக் காட்டும்போது தோற்றம் அதற்கு கைகொடுக்கவில்லை. ஆனால் சாதாரண பெண்ணாக வரும்போது மனதில் பதிகிறார். 

விலைமாதுவாக சரசுவாக வருவது யார்... அட கிரண்!.

சர்வானந்துக்கு நடிக்க பெரிதாக வாய்ப்பில்லை. ஆனால் கொஞ்சம் முயன்றால் தமிழில் பெரிய அளவில் வர வாய்ப்புண்டு.

ராஜன் பி தேவ், தணிகலபரணி, ஆசிஷ் வித்யார்த்தி என முப்பெரும் வில்லன்கள். தங்கள் 'தப்பான' பாத்திரங்களை சரியாகவே செய்திருக்கிறார்கள்!.

பரத்வாஜின் இசையில் ஒரு பாடல் ஓகே. பின்னணி இசை பரவாயில்லை.

அரசியல் சூதாட்டங்கள், பிச்சைக்காரர்களின் சோகம், ஏழை - பணக்காரன் காதல், பிச்சைக்காரர்களுக்குள்ளேயே உள்ள கயமைத்தனம்... இப்படி பல பிரச்சினைகளையும் ஒரே கதைக்குள் திணிக்க முயற்சித்ததைத் தவிர்த்திருக்கலாம் இயக்குநர் வினயன்.

அதனால்தான் படம் எந்த பாதிப்பையும் ஏற்படுத்தாமல் போய்விடுகிறது

Guru En Aalu Movie Review

Producer: KRG Movies International 
Director: Selva 
Story: Remake of Yes Boss (in Hindi; Released – 1997) 
Screenplay: Selva 
Dialogue: L. Venkatesan 
Cast: Madhavan, Abbas, Mamta Mohandas, Vivek, M.S. Bhaskar, Manobala, Mayilsami, Pattimandram Raja, Renuka 
Choreography: Kalyan, Sridhar, Dinesh 
Stunts: Thalapathy Dinesh 
Music: Srikanth-Deva 
Lyrics: Pa Vijay, Kabilan, Pazhani Bharathy 
Editing: V.T. Vijayan 
Cinematography: U.K. Senthil Kumar 
Art: Shivayadav 

One movie for which you can willingly take your family out, this summer is Guru En Aalu. Guru ( Madhavan) is the groveling ' Yes Man ' to Krishna (Abbas). His aim in life is to become successful and would go to any extent to please his boss. He knows his boss in and out, including how much money he would have in his shirt pocket. But, his boss has a perennial weakness for women, although he is married. Guru, sees nothing wrong in this and is eager to carry out every task he is asked to do, but will he stand up to his boss? 

Krishna one day meets Seema (Mamta Mohandas) and decides to cast her as the brand ambassador for a product, and eventually falls for her. Guru in the meantime, has struck a rapport with Seema and also has a liking for her, but knowing fully well about his boss (Krishna's) intentions, keeps working for him and simultaneously develops a friendship with Seema. 

One day Krishna is caught by his wife with Seema, but he evades by telling him that she is Guru's wife. One thing leads to another, and they are even forced to enact a sham marriage in order to support the boss's theory. The situations are humorous and there are plenty of funny moments that keep the audience in splits. 

Krishna then decides to shoot the ad for the product, with Seema, at a foreign location. But, Guru along with Asana Azhagappan (Vivek) foils his every attempt to get closer to Seema. Finally, the entire crew comes back to India and on their way back home, Guru's mom meets Seema and decides that, he should get married to someone of her nature. 

But, Seema, is unable to cope with Krishna's aggressive courting tactics, and when she views Guru and Krishna as parallels, she finds that her heart craves for Guru and sees that he is innocent and transparent. She then decides to strike a deal with Krishna, that if Guru is promoted as the Managing Director of Krishna's new company, then she would do anything for him. 

Krishna tries to hoodwink Guru by trying to make him believe that the new company floated, would be his, while simultaneously promising his lawyer the same post. With that, Krishna decides to take off on a holiday with Seema to Kerala, but this is when, Guru decides to stand up for himself and speak to Seema and confess his love. Seema soon gets to know of Krishna's crookedness and diversionary tactics and decides to confess her love for Guru. 

The climax ends with Guru and Seema, confessing their mutual love for each other after a small fight.

Madhavan has played his character excellently. He has displayed all his talents and oozes energy with his boyish charm. Only Madhavan could have done justice to the role and Mamta Mohandas has assured herself of a break in Kollywood as her performance stands out. Abbas has a great on screen presence and has portrayed the "Boss" with ease. 

The cinematography is good and the director manages to effectively merge the scenes, without any dip in narration. As they say laughter is contagious and is also the best of medicines. There is nothing like going out for a movie, and laughing to your hearts content, and returning home with a feeling that you have spent your day really well. That's why fun films are always successful. 

Vivek rules as he manages to handle it with panache! Especially, the scenes where he cross- dresses to convince Brinda Parekh as 'Lata Aunty', has everyone rolling on the floor with laughter. The Madhavan-Vivek combination has always been successful and this film proves to be no exception. 

The film also has other leading comedians such as M.S. Bhaskar, Manobala, Mayilsami and Pattimandram Raja in the supporting cast. Together, it works to perfection without making the audience feel bored. 

Madhavan has made a comeback in Kollywood. With the success of Yaavarum Nalam and now with the feel good Guru En Aalu, he is back in the reckoning. He now stands tall as a strong national brand for the goodness that he emotes on screen and his ability to respect the audience taste!

Final Verdict:

Madhavan's strategy of fighting recession with laughter seems to have paid off with Guru En Aalu. 

Some of the other adjectives that can be used to sum up Guru En Aalu: Breezy, fun filled, clean entertainer, refreshing

Best to watch with: Family

Kunguma Poovum Konjum Puravum - Movie Review

Kunguma Poovum Konjum Puravum 



Cast: Ramki, Tananya, Tarun 
Banner: Captial Film Works 
Producer: SP Charan 
Director: Rajmohan 
Music: Yuvanshankar Raja 
Cinematographey: Siddharth 
Art: Vidwesh 
Lyrics: Vaali, Gangai Amaren 





Before we lose ourselves in our own groping words, trying to balance an honest opinion of Kungum Poovum Konjum Puravum (KPKP) and still do justice to its simplicity and real-ness, allow us to cut to the chase and tell you: WATCH the movie. Don't look for faults; don't expect flamboyance; don't expect big, starry names; just appreciate the sensitivity and attention to detail while narrating a very simple and poignant love story.

This is not a movie for voyeurs and thrill-seekers wanting to lose themselves in heavily rose-tinted celluloid. KPKP is all about a visual and emotional assault while speaking of the most mundane everyday lives.

Thulasi (Thananyya) and her grandmother move to a remote fishing village in the hope of a new life. Theirs is a tale of woe, but also one which is, sadly, quite commonplace - father ran away with another woman, leaving his family behind and mother remarried and moved on too, while they continued to be left behind. Thulasi, a 12th standard student, is a dusky beauty, all gentle grace and intelligence. Her run-in, friendship, deep bonding and ultimately, love, with Koocha (Ramakrishnan) begins at school. They study together (she's the smart one and he quite honestly professes to having no scholarly ambitions), walk together, chat for hours and are the best of friends before love blooms, grows and brings them finally, to the knowledge that they were meant to be together for life.

Throughout the narration of this love, little details of village life are seamlessly woven in - bizarre traditions steeped in our culture long enough to seem quite ordinary and routine; immorality walking on the same street as cloying, conservative minds; neighbours who are your closest family. or your worst enemies.

From the moment of Thulasi and Koocha's mutual acceptance of a deep bond begins the gut-wrenching rollercoaster of their lives. Happiness takes a nosedive when Koocha leaves for a school excursion, but Thulasi stays behind. And from here on, we leave it to you to watch this ride and be carried along with it on the big screen.

The village that was once Thulasi's home becomes her hell...Ill-luck shows her macabre sense of humour through the men Thulasi encounters in her suddenly nomadic existence. Life seems to be a quagmire of unwittingly unwise decisions, constant fear and a desperate struggle to hold onto a hope of love.

Everyday people walk on the edge of sanity every day. And Thulasi must walk with them; that is the way of our culture. And of course, always, the questions: What happens to Thulasi? Do she and Koocha have a life together? Or is he as callous as the men in her life so far? Why, oh, why must a woman alone suffer so much, at the hands of other women, even? Does Thulasi break her bonds? All answers better seen onscreen. 

Throughout the simple yet powerful narrative, we are never allowed to forget this: the image of the gut-deep reality of Tamil Nadu's village and small-town life, with all its colour, mayhem, thrills, chaos, order, strange contrasts, compassion and brutality.

Two giant pluses for KPKP are: the beauty of the locations and the performances of the entire cast. Director Rajamohan has chosen breathtaking locations which are as naturally beautiful as they are ordinary. The white sand, the manic buses, the scores of rustic fishing boats dragged up and anchored along the shoreline, dotting the beach with their rugged form, peeling paint and messy beauty. Even the filthy, gutter-filled alleys and ordinary village homes come to life.

As for performances, Ramakrishnan, Tananyya and Tarun (who plays the local goon Dharma), simply take the cake with their strong characterizations and exemplary performances.@ Ramakrishnan is the image of a young, slightly vain and rustic young local hero; at once convincing us of Koocha's complete scallywag nature while easing us into his staunch devotion to Thulasi and unshakeable belief in his love for her.

Tananyya is beautiful, quiet, dignified. She is like a gentle goddess. Her eyes speak volumes and she doesn't require words for expressing her feelings.

Big, loud, crude and ugly words from the mouth are what Tarun's Dharma does best and this dirty baddie simply wows with his disgusting habits and personality that strangely alternates with a tiny compassionate streak.

One can't take due credit away from almost anyone in every frame of the film, though. From the catty neighbour to Koocha's mom to Thulasi's unfortunate grandmother to Dharma's loose sister and even Koocha's friends - every character has meaning and his/her role is well-done.

The camerawork and sets are very good, even if not phenomenal. The freshness and beauty of Tamil Nadu's coastline are brought into full play, with all its colours and imperfections. The flow of the story is fairly good and there are hardly any choppy eddies and currents. The music is exceptionally good and Yuvanshankar Raja has surprised us by giving us chart-rockers even for a small-budget movie as this.

One minus is the slowness of the first half. For a while, the tale just meanders along sluggishly, with some good humour here and there, but needing more. The other minus is the complete absence of even the more barely-known actor - for some of us, this helped us focus on the tale and not its protagonists alone; but for others, it is something to difficult to relate to.

Never mind all this. Every giant step for movies has started with a small step by innovative filmmakers. Producer S.P. Charan has taken a bold stride with his trilogy of smart, yet commercially practical projects movies he is producing, with KPKP being the first. In a time of mindless nonsense, KPKP, while being far from perfect, is a breath of fresh air. Kudos are due. But - next movie, a tad faster please, though???

Verdict: Different, arty, yet not completely art-house.

Karthik Anitha - 2009 - Movie Review

Producer: Shankar V. Rajan 
Director: Sri Hari
Cast: Rathan, Manju, Kota Srinivasan Rao, Rajan P. Dev etc.
Music: Jack Anand 
Cinematography: K.G. Shankar, A. Vel Murugan



This weekend seems to be bounded with love stories on the screens. If Ananda Thandavam is sincerely catering to the multiplex audiences, here’s ‘Karthik Anitha’ that will blissfully capture the interests of B and C Centres. The storyline is so simple without any complications and gradually has no particular romance sequences of kisses and lip locks. Director Sri Hari comes up with a decent family entertainer that will make the audiences feel it’s a worth watching once. 

Karthik (Rathan) and Anitha (Manju) are close pals as they’re family friends right from their childhood. Their families are residing in neighboring houses in the same apartments. Well, Karthik and Anitha keep playing pranks on each other and don’t express their love till the end. Certainly, death of Karthik’s father (Kota Srinivasa Rao) leaves the young lad more desperate. Meanwhile, a smart evil-kind of guy from arrives and seeks the parent’s permission for getting married with Manju… Finally, there’s a convincing end for the young couple who get united with the elderly people’s blessings. 

Rathan and Manju have done a decent job while Kota Srinivasa Rao steals the show with a commendable performance. After a long sabbatical gap, Rajan makes a good comeback on decent show. Dev’s antagonism could’ve been better. 

On the technical aspects, both the cinematographers fail to capture the shots with finesse. For this sort of film with a good storyline, the technical aspects should be more better convincingly. Ditto to Jack Anand on his musical score. 

If the film was made stylishly, the verdict would have been ‘Excellent’…. However, Director Sri Hari proves of his adeptness on penning a good script and fine narration. 

As a whole, it’s a film worth watching for the pennies you’ve paid. 

Verdict: Worth Watching Once…

Ayan - Tamil Movie Review

Star-casts: Surya, Thamannah, Jagan, Prabhu, Akashdeep Saigal and many others.
Production: AVM Productions, Sun Pictures
Direction: K.V. Anand
Music: Harris Jayaraj
Cinematography: M.S. Prabhu
Editing: Antony

Gangster stories, double-crossings, informers – This isn’t something clichéd when it comes to Tamil Cinema. Of course, we could’ve watched many times on the screens, but they weren’t something more precisely presented. K.V. Anand delivered his knack of blending an crucial concept with commercial elements right in his debut directorial ‘Kana Kandein’. Well, on the same tracks, ‘Ayan’ takes off with one such theme.

Deva (Surya) smuggles foreign goods, Gold and diamonds for Doss (Prabhu) who has bought him up right from his childhood… His sidekick Chitti Babu (Jagan) and a deaf driver (Karunaas) accompany him in all conniving acts. Deva and Chitti Babu turn to be close friends and indeed Chitti’s sister (Thamannah) falls in love with him. A good friend, a lovable sweetheart, A Caring Mom (Renuka) and a father-like Doss. What else does a man need than this? But Deva’s main impedimenta is through Kamalesh (Akashdeep Saigal) who keeps informing cops about the collusive tasks carried through Deva and Chitti. Doss doubts about the deaf driver to be the informer. Unfortunately, it’s really appalling when unraveled about the real informer.

Surya has adeptly carried through the performances top-notched. He’s extraordinarily matured compared to his previous flicks. He’s perfect with spellbinding stunts, decent romance and emotional sequences. Thamannah deserves commendable credits for the crème de la crème acting. She had done what many of our actresses failed to do on the screens other than skin shows and dancing horribly. Thank you Thamannah, we made us like your decent show. Prabhu steals the show and in many scenes his characterization goes powerful than Surya. Jagan has been portrayed with a stunning role that’s more than comedy. Certainly, the entire script revolves around him. Renuka deserves good comments while Akashdeep Saigal could’ve been presented with yet more rigid role.

Screenplay and characterization is more brilliant. K.V. Anand proves himself to be off a skilled filmmaker with an interesting narration. Merely, in the second half, the film looks bit flimsy in screenplay and anyhow, it makes up grandly towards the climax scene (Catch Me If You Can – Style). Most of the sequences have been inspired from ‘Lord of Wars’.

Harris’s musical scores works with couple of songs ‘Pala Palakura’ and ‘Vizhi Mudi Yosithal’. But why does he stumble more on background score is worth asking question. Cinematography is good at many parts and mediocre in few portions while Antony comes up with a matured touch unlike his previous films. Dialogues are catchy.

On the whole, ‘Ayan’ reveals about K.V. Anand’s real taste of good cinema. So, it’s a film worth watching and you’re sure to enjoy doing it so.

Bottom -Line: Enjoyable on many parts

Verdict: Worth Watching

A AA E EE - Movie Review

A AA E EE

Subramaniam, (Prabhu) an Ayurvedic physician is a much respected man in his village. His only daughter Anita (Monica) returns home from Chennai after completing a course in fashion designing. Having lost her mother at a very young age, Anita is close to her father and they share a special bond. Soon Anita’s marriage is fixed with Ilango (Arvind), son of Vedachalam, (Haneefa).

While Vedachalam is a good for nothing, his son is a perfect match. Illango falls in love with Anita. But Anita tells him of her past, about her lover Akash, (Navdeep) who had jilted her after a one night stand. Illango, though shattered meets Akash and tries to unite him with Anita.

And in this attempt, he finds himself falling in love with Anita’s cousin, Eshwari (Saranya Mohan). Now the story is about uniting the two pairs of lovers. And Anita does not want to hurt her father with the knowledge of her past.

Set in a rustic background, the film entertains with its moments of comedy, slapstick albeit. And it talks about a young daughter who is willing to sacrifice her love so that her father is not disappointed, a trait not that often seen in today’s films.

Prabhu as the father is good. Manorama as Illango’s grandmother is at her usual best. Haneefa in his colourful outfits keeps the audience chuckling with his dialogues. While Arvind and Monica are adequate, it is Saranya Mohan who impresses with her acting. Navdeep makes a mark too.

The songs are good. Good camera work with stunning visuals showing nature at her best.

There are moments when the film sags, but if you have a penchant for clean family drama, this one could be straight up your alley.

Poo - Tamil Movie Review

Director Sasi returns with “Poo” (Bloom) after a long hiatus, but has ended up with a bloomer.

The offering has situations similar to mushy hits like “Autograph”, “Thavamaai Thavamirundhu” and “Azhagy”.

POO

The story revolves around a villager-turned-engineer Thangarasu (Srikant) who is unhappily married to a rich woman. He bumps into his old flame Mari (Parvathy), the better half of a tea shop owner. The film deals with their trip down memory lane.

Flashbacks reveal Mari’s crush, her inability to say “yes” at the vital moment and the sacrifices of the protagonist’s father to help him reach an acceptable social status.

Mari’s present sob story and her continued yearning interspersed with her earlier inability to express her love take the film towards its rather insipid climax.

The treacle-like story lacks verve and looks more like a badly made television serial.

Parvathy is the only saving grace thanks to her gallant effort to etch the sad character. Srikant as a bumpkin cuts no ice.

Listless music drags the film down further.

Cinematography by Muthiah is just a wee-bit above average adding some beauty to the village backdrop.

Kadhalna Summa Illa - Movie Review

Star-casts: Sarvanand, Ravi Krishna, Kamilini Mukherji, Nasser, Tejashri, MS Bhaskar, Ilavarasu and others.
Banner: Raj Television Network
Direction: Ilangkannan
Music: Vidhyasagar, Manisharma, Moorthy
Cinematography: S.A. Vincent

KADHALNA SUMMA ILLA

An adventure can enlighten a person and indeed consider this term ‘Love itself is enlightenment’. Not sure, whether Radhakrishnan, Director of ‘Gamyam’ was inspired from life of Gautama Buddha who witnessed adventure that led to enlightenment. Remaking such a top-notching flick into Tamil with same casts on lead except Ravi Krishna replacing Allari Naresh has the same results.

‘Kadhalna Summa illa’ directed by Ilangkannan who earlier made ‘Ottran’ deserves good pat for a fine job. But there happens to be a big blunder that he has committed all throughout the film. Any guesses? He hasn’t exactly remade the film but has done cut-copy-paste works of ‘Gamyam’ to this Tamil remake. The scenes doesn’t involve the character of Ravi Krishna have been copied from Telugu version with just dubbing. Only scenes involving Ravi Krishna has been reshot and that are not you call perfection.

Anyways, it’s fine and good until audiences don’t judge the most blatant flaws on continuations.

Kadhalna Summa illa – As the title suggests it’s not at ease the protagonist wins his ladylove.

It’s a journey of Abhiram (Sarvanand), son of a millionaire in search of his lost love Janaki (Kamilini Mukherji). On this travel, he experiences what the real life is that he hasn’t strained to learn earlier. He goes through various encounters of joy, fun, pain, emotions, birth and even death. To get him accomplished of his love, a roadside bike-lifter velu (Ravi Krishna) is on his side.

With our journey not extending more than 120mins, ‘Kadhalna Summa Illa’ is a fantastic flick that offers a touching tale with entertainment for all classes. An act of surprisal from Ravi Krishna who with his ‘Netru Indru Naalai’ had turned the spotlights on him and with this film, he’s over-the-top. Debutant Sarvanand is sure to have big time in Kollywood with his charming looks and performance. Kamilini Mukherji’s decent performance offers enhancement to the script though her role is minimal. Though appearing in one particular sequence, M.S. Bhaskar steals the show while a person enacting the role of Naxalite for couple of scenes is extraordinary.

Background score by Moorthy is close to everyone’s heart while his score on songs ‘Samayame’ would fit Telugu and not Tamil screens. Vidhyasagar has copied his own tunes of ‘Jai Sambho’ from Telugu movie ‘Bagaram’ while Manisharma does it with ‘Ennavo Saidhai Nee’ from Okadu.

Cinematography by S.A. Vincent enriches the visual quality and would have been better if the copy-paste factor was avoided…

On the whole, ‘Kadhalna Summa Illa’ is a film that can be watched for a good-different experience especially for those who were fed up with ‘Villu’ and ‘Padikadhavan’ for this season.

Bottom - Line: Poignant tale of romance

Verdict: Be a part of this journey…

Padikadhavan - Tamil Movie Review

Star-casts: Dhanush, Thamannah, Vivek, Suman, Atul Kulkarni, Shiyaji Shinde and others.
Banner: Vijaya Productions
Direction: Suraaj
Music: Manisharma
Cinematography: Venkatesh

PADIKADHAVAN

Well, this is something for your information. When a funny message on Villu’s failure was messaged to Dhanush’s assistant, both laughed with cheerfulness. Vijay if you were waiting for your chance, carry on and get going with it…. ‘Padikadhavan’ – The most terrible and worst movie of this Pongal season and of course call it – Dhanush’s breaking point like Pudukotailirundhu Saravanan and Sullan. Director Sooraj has been such kind of filmmaker who easily copycats Hindi and Telugu films for his version. Nevertheless, comedy tracks were so excellent in ‘Thalainagaram’ and ‘Maruthamalai’ and this one isn’t an exception.

‘Awkward film’ – is what you would call this after watching… You would feel 150mins of horrible experience of late 90s Telugu film where minimum of 5 villains are present yelling with their annoying loud voices and a solo hero bumping them off. Naturally, Padikadhavan makes you feel of Satan is let loose out of hell or getting trapped with a half-drunken monkey inside a cage.

Radhakrishnan (Dhanush) happens to be the only uneducated person in his entire house. His father (Pratap Pothan) is so distressed and annoyed about him all the time. But his other family members are so kind to him. Over here with attempts of taking the story forward, our honorable filmmaker inserts an idea into our hero that getting married with a well educated girl would transcend his life. He meets an aeronautical student (Thamannah) and it’s love at first sight. The same crackbrained stuffs of dream sequences, hatred and finally love blossoming appears… But that’s not merely the tale for there happens to be a group of people separately eyeing for Radhakrishnan and his ladylove. Don’t get too excited… Rest of the story with its sluggish screenplay has lots of restlessness on you.

Dhanush can better quit acting for few days, fetch a good script like ‘Adhu Oru Kana Kaalam’ or ‘Yaaradi Nee Mohini’ and then make his comeback. Looking leaner isn’t a big deal, but getting on with unbelievable stunts that he isn’t capable off is something ludicrous. Well, in one particular scene we have our hero’s friends uttering the same words, but that doesn’t get follow anywhere? It’s so evident that henchmen are carrying artificially made sickles and knives, which we very often spot in plays of school day functions. Our dear Thamannah, don’t ever accept such kind of offers for that will dump you out of town. She is perfect on all vistas except choosing the script. Vivek offers certain humor tracks but most of them do remind us about Vadivelu’s style (Fine! As you all know it’s Vadivelu who was replaced by Vivek). But it would have been nice if Vadivelu had played that role as Vivek doesn’t fit the role of funny don. Suman, Shayaji Shinde, Atul Kulkarni have been wasted on their roles and don’t know the exact reason what the filmmaker was doing here?

Most of the scenes have been taken from Pawan Kalyan’s Telugu movie ‘ABCDEFG – A Boy Can Do Everything For Girl’ especially the tiff between Dhanush and Thamannah. It is better for Suraaj to stop watching DVDs and think something different.

Musical score by Manisharma is a mediocre and none of the songs are worthy hearing. Ditto to his background scoring. Cinematography and Editing are so amateurish.

On the whole, ‘Padikadhavan’ has no chances of making it big in box office… Even Dhanush’s diehard fan would make of his ridiculous acts on the screen…

Bottom - Line: illiterate fails to the worst

Verdict: Damp squib

Villu - Tamil Movie Review

Star-casts: Vijay, Nayanthara, Prakash Raj, Vadivelu, Sriman, Manoj K Jayan and many others.
Banner: Ayngaran International Productions
Production: K. Karunamoorthy, C. Arun Pandian
Story, screenplay, Dialogues and Direction: Prabhu Deva
Music: Devi Sri Prasad
Cameraman: Ravi Varman
Art Director: Sunil Babu
Stunts: S.Vijayan
Dialogue: Ravi Kumar
Lyrics Writer: Kabilan

As it goes with Spider Man, Superman, Die Hard, Mummy and James Bond series, Actor Vijay has started marking his ventures with same genres. Of course, commercial elements are always welcomed by the masses and especially his style, dialogues bounded with messages, mischief acts and tremendous dance. But when it comes to stories where ‘vengeance’ is the main element, they’re out of audiences’ tastes.

Son seeking vengeance for his father’s death is something that everyone has been viewing on the screens for over 3 decades. And why Vijay does pick up such an empaling speculation on each of his films? Well in Kuruvi, his task was about bumping of the baddies to save his father and here, he’s there on revenge of his father’s death. Precisely, it’s a polished remake of ‘Aboorva Saghodarargal’ and Hindi Movie ‘Soldier’….

The film opens with Pugazh (Vijay) on a secret mission as he receives instructions from senior police officer Joseph (Manoj K Vijayan) to abduct world’s deadly criminal Raaka (Aditya). Sooner, Pugazh makes Jhanvi (Nayanthara) with her as a part of his mission (As James Bond does it for all Bond girls). Perhaps, later its revealed that Jhanvi is none other than daughter of World’s most wanted mafia leader JD (Prakash Raj). Rest of the film is about who actually Pugazh is? What are his intentions?

Vijay does a brilliant job on dance, stunt sequences and overall good justice to his role… But watching him with unbelievable stunts on aircraft is something we say, ‘ludicrous’, ‘Ridiculous’…. Does he assume himself to be James Bond or Die Hard fame Bruce Willis? Its a billion dollar question. The funniest annoying part is where our hero stands amidst of 10 cars getting blasted with bomb and yet not spotted with single cut. Do Vijay and Prabhu Deva think audiences to be fools watching the film? Even, filmmakers of Telugu film industry have transformed and started making good films. ‘Villu’ starts off well in the first half with fun, frolic, songs, action and romance. But none ever expected that Vijay would perform clumsy acts like throwing underwear on Nayan’s face and that’s something female audiences would hate it. Nayanthara can better quit acting and look for Malayalam offers or else continue here in Kollywood with item numbers. All throughout the film, she is involved in skin shows and doesn’t attempt for a better performance. Blame is on the part of Prabhu Deva who doesn’t give her enough scope to perform the role. Vijay’s double action is unnecessary and someone could have played his father’s role. Humble request to Prakash Raj - ‘Sir, Kindly don’t take up offers for money sake’. Devraj, Anand Raj, Sriman live up to expectations. Vadivelu’s humorous tracks are only relief especially, shaking his legs for ‘Kathala Kannale’ and ‘Naaka Mukka’ are over-the-top that’ll cause you stomachache. It’s a decent spell of bull fight though done on CG process and call it ‘good work’. Prakash Raj looks funny with colored wigs on his head (Remember Suman in ‘Kuruvi’ and ‘Aegan’).

Prabhu Deva was quite good on remaking each and every in ‘Pokkiri’ while he fails to pen a gripping screenplay for his own script. The First half moves about with commercial factors and everything’s fine till 10 cars burst during an action sequence with Vijay walking straight through them. Prabhu Deva must understand watching James Bond film is fine and good, but try not applying them for Vijay’s film.

Musical score by Devi Shri Prasad has whole lot of Tollywood traces and fails to impress with his background score. ‘Rama Rama’ picks up the interest of Vijay fans with Kushboo and Prabhu Deva dancing for the number. Well, rest of the songs doesn’t carry on with same credits. Pepsi Vijayan’s stunts are the highlighting factors in the film while rest disappoints us.

On the whole, ‘Villu’ doesn’t carry any specialties like ‘Ghilli’ or ‘Pokkiri’. Overdosed heroisms and loose screenplay fails to hold even Vijay fans in theatres. However, we may point out the exact features, anyway or so Vijay has tactics of getting his film run successfully for more than 200 days. Maybe, more too.

Fine! For ‘Kuruvi’ we had our verdict carrying ‘Refund Your Tickets’ while for this one – ‘Gift the tickets to your enemies’ would be the apt one.

Bottom - Line: Sequel to Kuruvi

Verdict: Ayoo Ramaa…..

Tamil Movie Review Naan Kadavul Movie

Banner: Vasan Visual Venture

Production: KS Srinivasan

Star-casts: Arya, Pooja, Azhagam Thamizhmani and over 175 new faces.

Story, screenplay and Direction: Bala

Dialogues: Jaya Mohan

Music: Ilayaraja

Lyrics: Naan Kadavul

Cinematography: Arthur A Wilson

Art: Krishnamurthy

Stunts: Super Subbarayan

Effects: Raju

Editing: Suresh Urs

Naan Kadavul

Each and every flick he makes has something really bold and beautiful. The unique theme he brims up with offers a stunning surprise for his viewers. Well, it’s more illustrious with his previous ventures of ‘Sedhu’, ‘Nanda’ and ‘Pithamaghan’. These flicks were shot merely within short period while this fourth directorial ‘Naan Kadavul’ took a very long time around 3 years to get completed. His mantra of ‘Slow and steady makes the work perfect’ should have urged him to do.

Finally, shooting for the film has been completed and patch-up works in production works are pending now. Arya and Pooja who had been coming up with clichéd roles as peppy youngsters have something more different here.

Like in his previous films, Bala centres ‘Naan Kadavul’ on emotional quotients of lost love and affection. For spiritual and astrological meliorations, an arrogant father excogitates and sends his son out of the house. The abandoned son (Aarya) grows up in the midst of Saadhus and Sanyasis. Turning one amongst them with long hairs and gory looks he has forgotten everything about world. Meanwhile his father realizing that he had committed blunders goes in search of him now. Getting to see his son in such a state, he is so shocked and decides taking him back.

Rest of the story is about the estranged son getting back to Tamil Nadu and series of events that happens in Vaarnasi after he leaves the place.

The newcomers in the movie include Rajendran, a popular stunt artiste, director Singampuli, producer Azhagam Thamizhmani, an eunuch Keerthana and a physically challenged singer Kovai Krishnamurthy. Keerthana hails from Madurai.

For the first time, we don’t have Bala penning dialogues for his film while Tamil literary composer Jaya Mohan takes on that task.

Actress Pooja for the first time dubs in her own voice and Director Bala wanted her to do with attempts of fetching her National Awards. Lyricist Vaali who had penned lyrics in appraisals of Lord Vishnu in Kamal Haasan’s ‘Dasavatharam’ has composed lyrics in appraisal of Lord Shiva over here.

Super Subbarayan’s stunts would be a stunning highlight in this film and climax fight sequence was shot nearly for 26days. Acharya Ravi, Singam Puli and Rassaiya Kannan have worked along with Bala as associate directors.

Censor Board officials will watch the film on November 30 and plans are to release it on Pongal. Since movies with Digital Interlude (DI) are not considered for National awards, both the cinematographer and the director have not used DI in the film.

Producers would be releasing the film simultaneously in Tamil and Telugu. A total of 450 physically challenged children and elders form part of the movie. Bala was felicitated for his mammoth effort on World Handicapped Day celebrations recently… Over 48 physically challenged persons, who know nothing about cinema had been to Chennai to dub in their own voice. A team of doctors attended them in case of emergency during the shoot.

Musical Maestro was joined by acclaimed Bollywood composer Uttam Singh for re-recording. For the first time, a full-fledged song in Sanskrit feature in the movie

The movie has been shot in Varanasi, Kasi, Kanchipuram and Periyakulam….

Tamil Movie Review Panchamirtham Review

Panchamritham is cinematographer Raju Easwaran’s debut film as a director and is produced by Abirami Ramnathan. It is based on the fantasy television serial, ‘Mayavi Mareechan’ telecast on Sun TV.

Taking a leaf from Hindu mythology, it revolves around Mareecha, (Jayaram) Ravanan’s brother and Idumban (Raju Easwaran). Mareecha and Idumban both love Mandakini (Samiksha). But Mandakini loves Mareecha. Hence Mareecha and Idumban often cross swords with each other.

Mareecha in the guise of a deer to attract Sita is killed by Lord Rama and according to a curse turns into a rock. Years later, cut to the present day, he is freed from this curse, when Sita, (Saranya Mohan) a young woman falls on this rock. Mareecha takes it upon himself to protect Sita at all times. Sita works as a secretary to Rajaram, (Nasser) an estate owner.

When she realizes that Rajaram’s relatives were milking him of his wealth, she tightens the purse strings, thereby earning their wrath. And in order to kill her, the relatives hire Pandi, (Karunas) who butchers goats for a living.

With so many comedians, this film is a slapstick comedy. The story gets a new twist when Idumban, is released from his curse and he seeks revenge on Mareecha.

With children as its target audience, the film entertains. And of course the special effects.

Nasser in a dual role is at his usual best. Saranya looks fresh and appealing. Karuna entertains.

Tamil Movie Review Panchamirtham Review

Panchamritham is cinematographer Raju Easwaran’s debut film as a director and is produced by Abirami Ramnathan. It is based on the fantasy television serial, ‘Mayavi Mareechan’ telecast on Sun TV.

Taking a leaf from Hindu mythology, it revolves around Mareecha, (Jayaram) Ravanan’s brother and Idumban (Raju Easwaran). Mareecha and Idumban both love Mandakini (Samiksha). But Mandakini loves Mareecha. Hence Mareecha and Idumban often cross swords with each other.

Mareecha in the guise of a deer to attract Sita is killed by Lord Rama and according to a curse turns into a rock. Years later, cut to the present day, he is freed from this curse, when Sita, (Saranya Mohan) a young woman falls on this rock. Mareecha takes it upon himself to protect Sita at all times. Sita works as a secretary to Rajaram, (Nasser) an estate owner.

When she realizes that Rajaram’s relatives were milking him of his wealth, she tightens the purse strings, thereby earning their wrath. And in order to kill her, the relatives hire Pandi, (Karunas) who butchers goats for a living.

With so many comedians, this film is a slapstick comedy. The story gets a new twist when Idumban, is released from his curse and he seeks revenge on Mareecha.

With children as its target audience, the film entertains. And of course the special effects.

Nasser in a dual role is at his usual best. Saranya looks fresh and appealing. Karuna entertains.

Thiruvannamalai - Movie Review

It’s a grand fiesta for all the fans of Perarasu and Action King Arjun. What else can you expect more from this combo other than lots of punch dialogues, Kuthu songs, comedy tracks, unlimited fight sequences, with cameras turning up and down and left and right? Sometimes, it may knockdown you causing nausea if you are seated at the front rows while watching this film. The film has nothing such called an impressive storyline with a kinky theme, but a clichéd commercial masala of hero fighting against baddie and winning the hearts of people.

The film opens with a big clash between Eeswaran (Arjun) and a local MLA (Sai Kumar). Later follows the film involving Eeswaran contesting for elections against the MLA and putting down their evil deeds. Unbearable to his son’s actions, Eeswaran’s mother takes him for a Thiruvannamalai where a Saadhu (Arjun himself) offers him blessings and advice. His statement is about settling down bad things with peaceful approach while Eeswaran has no idea about it. As a matter of fact, both of them agree to interchange their places to experience the different scenarios and rest of the film follows action packed Jyothi where everyone’s seat burn hot…

Arjun with his usual performance on dual roles as a Swamiji and a local cable TV operator. What a directorial by Perarasu? He is worthy bagging the most prestigious awards of ‘Golden Globe’, ‘Oscars’ and what not? Better he can make disclaims at beginning of the film that it’s a pure entertainer for cheap audiences and of towns and villages. It’s very funny with the introduction of Arjun on why he tears cloth where child is laid….

How long will the villains keep yelling at a loud voice like a half drunk gorillas are an unanswerable question. The motif was quite good when Saadhu and a lay man agree to shift their locations for different experiences. But finally, getting to watch Saadhu displaying his Kung Fu and stunning fights are ridiculous. What does he want to convey for the audiences? Is it only through bad force of action and evil that a person can put an end to evil forces?

Musical score by Srikanth Deva is again a great torture for the audiences. Can’t this man score music at least a song favorable for audiences? None of these songs in the recent venture including this one is really nice. Ditto to his background score where he uses ‘Danda Danda’ as the background music. Even for the most patriotic song like ‘Sare Jahan Se Accha’, this brainless musician blends them with a fast beat Kuthu rock while Arjun shows the pictures of Mahatma, MGR, and Rajnikanth to Pooja Gandhi.Cinematography by Padmesh doesn’t work more and of course you expect more than such work for a commercial film.

On the whole, it’s a ridiculous film to watch for miniscule audiences who are fond of watching avant-garde filmmakers. While for other centres, it’s a great commercial Panchamirutham…

Bottom - Line: Cold-cocking your brains

Abhiyum Naanum - Review

Star-casts: Prakash Raj, Trisha, Aishwarya, Prithviraj, Thalaivasal Vijay and others.
Banner: Duet Movies
Production: Prakash Raj
Direction: Radha Mohan
Music: Vidhyasagar
Cinematography: Preetha

Abhiyum Naanum

‘Emotions’ are inborn amongst everyone. Getting bonded with a particular relationship so closely shores everyone when that loved individual departs. ‘Every man is reborn when their children. Perhaps, Children grow so faster while dads remain same that exposes them to various emotions of joys, pains, surprises and shocks. They are introduced to a new world of many relations and it’s an unique feel’. Wow! Watching such theme on the screen gets us so excited about watching this film while on the screens, we see there’s something missing out.

The film opens with Raghumaran, a middle aged person coming across an youngster (Prithviraj) who’s out there with his cute little daughter in park. There begins the handshake between these two as Raghumaran starts narrating the affectionate tale of his daughter Abhi (Trisha). It’s glimpsing back through the happy days with his wife Anu (Aishwarya) and daughter Abhi. It’s about Raghu’s life changing with Abhi’s growth till her marriage with loved one.

Prakash Raj’s performance is so naturalistic in all aspects. Be it his humorous interaction with everyone especially Mano Bala, his wife and everyone else. His emotional outburst with his daughter’s separation, irritations towards his son-in-law Jogindar Singh (Ganesh Venkataraman) initially is great. Trisha’s role is completely in contrast from her previous ventures where she completely believed on skin shows. Though she doesn’t brim up with commendable performance, but thanks for not wearing micro mini dress and dancing with complicated steps that doesn’t suit her. Aishwarya lives under the skin of her character a mother who’s so practical. Watch her while speaking in emotions with her husband before night of Trisha’s marriage, they’re awesome and dialogues go straight onto us. Thalaivasal Vijay, the one playing his wife’s role and a beggar by character named Ravi Shashtri is brilliantly depicted.

Vidhyasagar can better quit scoring music as he’s completely running out of good tunes. None of the songs are worthy listening to and Radha Mohan could have avoided such songs that scatter attention. Capturing the shots of Ooty with toning and grading works in post production, Preetha hasn’t cranked anything special with her camera. Dialogues penned by C.P.Narayann and R.Subramanian’s are extremely extraordinary and sparkles the entire film with brightness.

However Radha Mohan is so annoying us spelling ridiculous stuffs like sitting on a boat mid of lake at mid night on a full moon day. Why the full moon can’t be spotted from the house terrace. The director must understand few things would really go as bonkers if turned into pictures. They are good to read on novels.

‘Sardarji incident’ narrated by Thalaivasal Vijay, story about Singh’s relatives revealed, Prakash Raj being getting stomachache on the day of marriage are something realistic….

As a whole, Abhiyum Naanum isn’t a flick that deserves 100/100 but a good attempt by Prakash Raj and Radha Mohan deserves special mention.

Silambattam movie reviewsR

The self-styled “little superstar” Silambarasan apes the mannerisms and diction of Tamil superstar Rajnikanth in “Silambattam” (stick fight), but sadly, the young actor lacks the senior icon’s charisma.

Silambarasan attempts to keep catcalling frontbenchers happy with a generous dose of vulgar jokes and scenes, but it is enough to make family audiences squirm despite the censors’ scissoring.

The routine storyline revolves around an ordinary, law-abiding Brahmin youth Vichchu (Silambarasan) morphing into a one-man vigilante army following the violence unleashed by a politician (Kishore, who is wasted in the role).

The politician is attempting to corrupt the youth by building a beer factory in the countryside.

Then a local rowdy, Dorai (Prabhu), emerges on the scene from a long incarceration, introducing a tepid mystery element to the storyline as Vichchu is a look-alike of the jailbird’s sibling, who was murdered earlier.

The vendetta unleashed by the so-called good guys makes for a predictable climax.

Despite his aping efforts and risqué jokes, Silambarasan has breathed life into his character.

The hackneyed script, prop-like roles of the heroines Sana Khan and Snehasnag the proceedings.

Director Saravanan has acquitted himself slightly better while wielding the camera.

The background score is passable. Though all the songs belong to the latest Tamil music genre called “Kuththuppaattu”, comprising a fast beat and lewd movements by performers, the attempts of Yuvan Shankar Raja fail to evoke adequate responses from the audience.

There is nothing to write home about in this routine film except that it is a wasted attempt by Silambarasan to ape another star Ajith during the climax - an act that would certainly irritate the latter’s fans.