Very rarely we do come across such engrossing and engaging entertainer on Tamil screen. Anjathey, director Mysskin's second venture can be considered among the outstanding entertainers.
Anjathey is all about two friends, whose roles in the life are swapped in a sudden change of fortunes. Sathyanathan (Narain) and Krupakaran (Ajmal) are sons of police constables living in a police colony. They remain close friends despite having divergent attitudes. Krupa wants to become a sub inspector and works meticulously to get selected. Aimless Sathya, a street rowdy, is always humiliated by his father (M.S. Bhaskar) because of his irresponsible attitude.
ARAI EN 305il KADAVUL
Director Simbhudevan has pulled it off. Expectations would be normally high on directors on their next when they render a blockbuster in their first. Many had faltered before. Only a handful has made it. Simbhudevan has managed to render a movie that is convincing and appealing.
‘Arai En 305il Kadavul’, produced by Shankar's S Pictures, is totally a different one from Simbhudevan's maiden venture (Imsai Arasan). While Imsai...was loaded with comedy and one-liner, Arai En is sentimental, emotional and conveys a strong message.
Simbhudevan has taken a complex theme and tried his best to make it crisper and easily understood by the common man. He has partially managed to win the battle.
DASAVATHARAM
One striking feature that hits you in the face once you have watched ‘Dasavatharam’ is Kamal Haasan's passion for filmmaking. All the ten roles he has essayed have been meticulously planned right from the body language to dialogue delivery. Be it the American president George Bush, the Vaishnavite priest of the 12th century or Fletcher, the American baddie.
The narration then makes sure most of the characters played by Kamal get into close proximity in terms of geography. The stunt sequences are quite professional with its share of thrilling moments, but then there are too many coincidences consistently. The protagonist and his slowly, but surely falling-in-love lady companion seem to be jumping off just about everything. Soft landing seems to be a predictable option at most times.
SAROJA
Fun, frolic and mayhem were in abundance in Venkat Prabhu's first directorial venture 'Chennai 600028'. With his second film 'Saroja' the director dutifully follows the same pattern despite having the backdrop of a thriller featuring a kidnap, gun totting desperados and characters with malicious intent.
Even with a no-way-out situation that four friends get themselves into, and with the events unfolding in a real time sequential order, there is still scope for laughs. Premji Amaran's good-for-nothing attitude in the film amalgamated with silly remarks, 'Mirchi' Siva's ever so casual comic remarks, the intense demeanor of Sampath as a bad guy, Prakash Raj as the doting father of a kidnapped daughter, Vega as the kidnapped girl Saroja and Jayaram as the Assistant Commissioner of Police impress in their respective roles. One of the movie's strengths is that all these characters are introduced quickly in such a way that audiences easily understand the roles played by them except when the twists in the film happen.
Major strengths for 'Saroja' are in the form of some breathtaking and spectacular background score from Yuvan Shankar Raja (probably one of his bests so far), slick editing from Praveen K. L and Srikanth N. B (they have a long way to go) and excellent cinematography by Sakthi Saravanan.
SUBRAMANIAPURAM
Can a movie be made in an interesting and crisp format in spite of a boasting of a huge star cast?
Director Sasikumar, who had his tutelage under Bala and Ameer, has proved that a quality entertainer can be made with less-known faces provided the movie has interesting storyline with the right amount of twists.
Designed in a retro classic style, Sasikumar portrays Madurai in a different color and with a new perspective. As the title suggests, the entire movie is set in Subramaniapuram, a hamlet in Madurai.
The story, set in the 80s, takes place in Madurai Subramaniapuram, a suburb of the city. Movies like Palaivana Cholai dwelt around four friends. Perhaps Sasikumar impressed by such classics, has made an attempt of chronicling the life of a group of friends.
POI SOLLA POROM
All credits to director Vijay for faithfully remaking Khosla Ka Ghosla.
Dealing about land sharks in a busy city like Chennai, the movie has comical touch all through entertaining the audience.
Vijay has recreated the magic of Jaideep Sahini's original well to suit the Tamil audience. The movie starts with a funny scene and what is commendable is that the fun continues throughout. Talented stars like Nedumudi Venu, Cochin Haneefa, Nasser and Mouli have been ably supported by the young brigade.
VAARANAM AAYIRAM
The film designed as a tribute to Gautham Vasudev Menon's father comes across as emotions spelt out in a reserved manner and thereby proves to be a tame affair. One can understand the director's angst at losing a parent, and trying to make a film about the loss, but then the man's (father) enigma never takes center stage throughout the film. Probably the biggest drawback of the film.
The narration of the film has been designed to follow a 'classic approach'. Unfortunately, all the ingredients that go into the making of a classic are missing thereby making the screenplay stagnate at times to irritable proportions. All films that have been successful in being called classics portray enduring human emotions that can be related with instantaneously. Gautham has most definitely missed the plot with 'Varanam Aayiram' giving more emphasis to incidents rather than connecting them well. The story follows the lead characters (the protagonist and his father) through decades. Much effort has been taken to bring out authenticity to the 'period' effect which is praiseworthy.
ABHIYUM NAANUM
What when a director, who knows the art of narrating human emotions in a gripping manner, a skilled actor, who can do any role with ease and a talented actress, who combines performance and great looks, come together? A quality entertainer.
Director Radha Mohan, actor Prakashraj and actress Trisha have teamed up to come out with Abhiyum Nanum, which is sure to move every heart as it narrates the tale of a caring father and his beloved daughter. Radha Mohan chronicles the journey of a father, who showers boundless love on his daughter. The bondage between a father and his daughter, always considered very special, has been captured well by Radha Mohan. All credit to the director for providing a movie which is a whiff of air amidst clichéd run-of-the-mill stuff, specially at a time when a female child is still considered a burden in many families in rural parts of our country.
Movies on family values have become a rarity and such themes have been left for the mega-serial directors to handle. But Radha Mohan seems to have taken it a challenge and delivers a movie, which is entertaining, engrossing and makes us sit up and watch in the theatre. The emotions and the joy a man undergoes when he gets a daughter has been brought out well by the director through Raghu Raman played by Prakash Raj.
JAANE TU YA JAANE NA
Aamir Khan who has known to be an ace when it comes to selecting scripts and venturing into production, provides his nephew Imran the much awaited launch. Jaane Tu… also marks the directorial debut of screenplay and dialogue writer Abbas Tyrewala.
Jaane Tu … definitely comes in with an air of freshness with the likes of Genelia and Imran. The film dips post interal but still has its moments. It’s sure to impress at least the youth. As for Genelia and Imran , they have left behind their footprints in Bollywood.
SINGH IS KING
There has been a lot riding on this flick and why not when you have one of the hottest pairs Akshay and Katrina who return yet again after ‘Namastey London’. All the more hype when you have Anees Bazmee heading the ship. Bazmee’s track record at the box office says it all- Tremendous success with his previous ‘Welcome’ creating a box office record.
Now here we are with ‘Singh is Kinng’, with Vipul Amrutlal Shah who enjoyed much success with Akshay’s ‘Waqt’ taking his place as producer.
Akshay does well but the film is much below expectations and why not when the title’s got the word ‘King’ attached to it. Akshay is no doubt a great performer but with this film lacks the true persona of the ‘King’ and there’s still a lot more to get to that ‘King’ status. So for now , Khan is still King.
A WEDNESDAY
From the debutant Director Neeraj Pandey: Two men more challenging: an unrecorded event, spine-chilling thriller ride for 100 minutes with unexpected twists and turns. Cinematic purgatory, right?
Yippee! This is something unexpected, indeed a great surprise and a resurgence of pure cinema in the pages of Bollywood. It's off been awestricken gesture of tasting something unique amidst of feculent flicks that should have really annoyed us. Perhaps, A Wednesday entitles Neeraj Pandey as the finest gifted auteur of Indian Cinema. Truculent characterizations designed on stupendous actors and a rattling screenplay opening with a silent ambience and then an edge-seated thriller with nail-biting sequences: These ascribe the film to be the most estimable start by Neeraj.
RAB NE BANA DI JODI
Well, to start off with, Aditya Chopra spells yet another poignant dimension of pure love as in his previous ventures with SRK; DDLJ and Mohabattein. Yeah! These tales were retentive impressing everyone from 8-80yrs old men and women. Of course, we fell in love getting imbibed with those spellbinding personations in these flicks. So, guess what about Rab Ne Bana Di Jodi – a film that brings back sensational pair SRK-Aditya together after 8yrs? Does the film exceed everyone's expectations on 'Love' n 'Entertainment' factors? Or merely conks out dashing down our hopes?
Hats off to Aditya Chopra! An awesome motif of delineating a touching story of romance...
Have you ever stopped to think if the most ordinary, uninteresting, unobtrusive man you might see on the road or around you might have a love story to tell?
Maybe not! How can an ordinary man have a breathtaking, goose flesh igniting, awe inspiring love story of all things to tell?
But guess what - love does not differentiate between the ordinary and exceptional, the uninteresting and interesting, the unattractive and attractive. Because love knows no distinction. It can happen to anyone and once it does it engulfs us into it completely and gives us those heaven-sent experiences that only love can yield.
GHAJINI
And at the end of this year, there's a bedazing blockbuster in Indian Box office. Here comes our maestro of perfection swaying on with a different genre from his previous ventures. Merely, producers wouldn't have considered Ghajini as an 'Empaling Speculation' for enormous reasons. Well, when you've South India's top-charting Director, Bollywood's superstar, Musical Maestro and versatile technicians teaming up, undoubtedly results are off grandeur. On the buttons, 'Ghajini' is so tremendous on all panoramas of narration and technical aspects. The film had raised everyone's expectations across far-flung corners as Tamil and its Telugu dubbed version had walloping critical acclaims.
So, what's special about Aamir's Ghajini? Thank God! It isn't a copycat of Christopher Nolan's 'Memento' and carries more divergence from Tamil version in latter half. Well, even for those who had soundly watched Tamil version, they're gonna experience an enhanced spirit on emotions. Of course, tho' it's an action-packed thriller, emotions are boundless….
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