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ஆர்.கே.செல்வமணியின் ‘அகிலா’

 

  ஸ்ரீ மகாலட்சுமி பிலிம்ஸ் தயாரிக்க ஆர்.கே. செல்வமணி  இயக்கும் ‘அகிலா’ திரைப்படம் அடுத்த மாதம் திரைக்கு வர இருக்கிறது.

இத்திரைப்படத்தில் பி. ஆனந்தன், ஆர்த்திக், நரேன், ஹீதாஷா, பேபி யுக்தா மற்றும் பலர் நடிக்கும் இப்படத்தை ஆர்.கே.செல்வமணி திரைக்கதை எழுதி இயக்குகிறார்.

புரட்சி என்ற பெயரில் தீவிரவாதத்தை தூண்டிவிட்டு, அப்பாவி மக்களின் உயிரைக் கொல்லும் எந்த இயக்கத்தையும் மக்கள் மன்னிப்பதும் இல்லை, மக்கள் சக்தி இல்லாமல் எந்த இயக்கமும் ஜெயித்ததாக வரலாறும் இல்லை. தீவிரவாதம் என்பது ஒரு வழிபாதை, அதில் மீண்டவர்கள் எவரும் இல்லை, மாண்டவர்கள் தான் அதிகம், என்ற கருத்தினை தனக்கே உரிய பாணியில் சொல்லி இருக்கிறார்.

வனவிலங்குகள் நிறைந்த அடர்ந்த காட்டுப்பகுதியான அமீர்தி காட்டில் படமாக்கப்பட்டுள்ளது, சென்னை மற்றும் அதன் சுற்றுபுறங்களில் படப்பிடிப்பு நடத்துள்ளது.

இப்படத்தின் இயக்குநர் ஆர்.கே. செல்வமணி தீவிரவாதியாக  நடிக்கிறார் என்பது குறிப்பிடத்தக்கது.

ram-charan-new

ராம் சரண் நடிக்கும் ‘ராம் சரண்’

 நடிகர் சிரஞ்சீவியின் மகன் ராம்சரண் நடித்த மாவீரன், ரகளை, சிறுத்தைப்புலி போன்ற படங்கள் தமிழ்நாட்டிலும் மிகப் பெரிய வசூல் சாதனையை ஏற்படுத்தி இருக்கிறது.

அதைத் தொடர்ந்து ராம்சரண் நடித்த ஆரஞ்ச் என்ற தெலுங்கு வெற்றிப் படம் “ராம் சரண்” என்ற பெயரிலேயே மொழிமாற்றம் செய்யப்படுகிறது.

கதாநாயகியாக ஜெனிலியா நடிக்கிறார் மற்றும் பிரபு, பிரகாஷ்ராஜ், சுஜா போன்ற நட்சத்திரங்களும் நடிக்கிறார்கள்.

காதல் என்பது ரொம்ப நாள் நிலைக்கிற விஷயமில்லை… சீக்கிரமே துவங்கி சீக்கிரமே கருகிப் போகிற விஷயம் என்கிற நினைப்பில் இருக்கும் ராம்சரண்…

காதல் ஆண்டாண்டு காலமாக நிலைத்து நிற்கிற அருமையான விஷயம் என்று நினைக்கிற ஜெனிலியா…

இரு வேறுபட்ட எண்ணங்களைக் கொண்ட இவர்கள் இருவரும் ஒரே எண்ணங்களுடன் இணையும் அருமையான காதல் கதை தான் ராம்சரண்.

கதை, திரைக்கதை, டைரக்ஷன் பொறுப்பேற்றிருப்பவர் பொம்மரில்லு பாஸ்கர்.

அறிவுமதி, விவேகா, யுகபாரதி, அருண்பாரதி, ஜெயமுரசு ஆகியோரின் பாடல்களுக்கு ஹாரீஸ் ஜெயராஜ் இசையமைக்கிறார்.

முழுக்க முழுக்க ஆஸ்திரேலியாவிலேயே படமாக்கப்பட்டுள்ள இப்படம் விரைவில் திரைக்கு வர இருக்கிறது.

pizza readt tamil-new

‘பீட்சா’ ரெடி…

 கார்த்திக் சுப்புராஜ் இயக்கத்தில் சந்தோஷ் நாராயணன் இசையமைத்துள்ள படம் ‘பீட்சா’. விஜய் சேதுபதி, ரம்யா நம்பீசன், ஆடுகளம் நரேன், சிம்ஹா, பூஜா, கருணா, வீர சந்தானம் மற்றும் பலர் நடித்திருக்கிறார்கள். ‘அட்டகத்தி’ தயாரிப்பாளர் சி.வி.குமார் இப்படத்தை தயாரித்துள்ளார்.

ஒரு காதல் த்ரில்லராக உருவாகியுள்ள இந்த படம் அக்டோபர் 19ம் தேதி வெளியாக உள்ளது.  சங்கம் சினிமாஸ் தமிழகம் முழுவதும் இப்படத்தை திரையிடுகிறது.

பீட்சா டெலிவரி செய்யும் ஒருவர், ஒரு மர்மமான இடத்திற்கு சென்ற போது, அவரது வாழ்க்கையில் அது எப்படிப்பட்ட மாற்றத்தையெல்லாம் உண்டு பண்ணுகிறது என்பதுதான் படத்தின் கதை.

தென்மேற்கு பருவக்காற்று, சுந்தர பாண்டியன், நடுவுல கொஞ்சம் பக்கத்த காணோம் படங்களில் நடித்த விஜய் சேதுபதி இந்த படத்தின் நாயகனாக நடித்திருக்கிறார்.

இப்படத்தின் டிரைலருக்கு நல்ல வரவேற்பு கிடைத்துள்ளது என்பது குறிப்பிடத்தக்கது.  இதன் மூலம் கிடைத்துள்ள எதிர்பார்ப்பு இப்படக்குழுவினருக்கும் இயக்குனர் கார்த்திக் சுப்புராஜ்,  விஜய் சேதுபதி, ரம்யா நம்பீசன் ஆகியோருக்கும் பெரும் நம்பிக்கையை ஏற்படுத்தியுள்ளது.

No KAMAAL DHAMAAL MALAMAAL!

Director :  Priyadarshan Music :  Sajid-Wajid Lyrics :  Jalees Sherwani and Wajid Starring :  Nana Patekar, Shreyas Talpade, Paresh Rawal, Om Puri, Neeraj Vora, Asrani, Madhurima Banerjee

Strange; for a movie designed to be a comedy, KAMAAL DHAMAAL MALAMAAL fails to evoke even one sincere laugh. Director Priyadarshan has no script in hand, and that I think is the biggest comedy. download KAMAAL DHAMAAL MALAMAAL wallpapers The storyline is an absolute mystery, even after two-and-a-half hours of trying to fathom things out. In between, the director throws in some heavy emotions, which is like wearing rubber slippers along with a suit. CHECK OUT: Kamaal Shreyas-Madhhurima create Dhamaal in Rajasthan! The characters have no spine, and I dare say, are like twits. There's David and Peter. They are two childhood friends who share everything, except their love. One day, a lottery they have bought hits the jackpot. But one of them cheats the other of the money when it was decided that they would share the booty. The girl one loved is now married to the one who was cheated. In one minute, the film then progresses to over 20 years later. What do we see? The one who is cheated (Om Puri) is living with his family working hard, while the one who cheated (Paresh Rawal) is living in luxury. His daughter is in love with his once 'best friend's' son while he has three other sons, who do nothing but roam in a jeep and bash up the boy who is in love with their sister. That boy is called Bakri, played by Shreyas Talpade. here is also Nana Patekar who sleepwalks into the movie, keeps mum the whole while, and then at last speaks. His role is so nonsensical that you wonder what is Kamaal, Dhamaal or Malamaal in this movie. The Kamaal, I guess is Priyadarshan going on the sets with no script in hand. The Dhamaal would be the artistes had on sets not knowing what to expect in the next scene or shot. Malamaal... I don't think anyone will be. CHECK OUT : KAMAAL DHAMAAL MALAMAAL - Movie Preview What is even more frightening is that artistes of the caliber of Om Puri, Paresh Rawal, Nana Patekar and Shreyas Talpade actually agreed to be a part of this... forget it.

Andala Rakshasi Movie Review

Story: Gautam (Rahul Ravindran) loves Midhuna (Lavanya) who cannot get over the accidental death of her first love Surya(Naveen Chandra). Just as Midhuna begins to start falling in love again with Gautam, he discovers that Surya is still alive.

         

Movie Review: Spoiler alert! It’s a tragedy! The film ends in one i.e. But then there was a time in Telugu cinema, (the mid to late eighties to be specific) when films tragic romances like Mouna Raagam and Geetanjali were the zeitgeist. Andala Rakshasi is of that vintage, as far as matters of taste, sensibility and cinematic integrity go at least. On the flip side though the film avoids all the “silly business”(read as forced comedy tracks, silly jokes, unconnected action) that most filmmakers resort to, hoping to appeal to the masses among the audience.

A rare few filmmakers though try to make the movie that they want to make, the one that they think the audiences will identify with. Debutante director, Hanu seems to belong to that category. It has to be said he has given a good account of himself in his first outing in bringing back irony and despair into romance.

Set in the early nineties, the film revolves around the Gautham, Lavanya and Surya. Gautham is the only son of a rich dad who owns Rs 500 crore worth of businesses. But he prefers to live life making a pittance playing guitar at a local pub instead. He falls in love the first time he sees Midhuna. She happens to kick a football which throws him off his bike while he’s on his way to somewhere. The two get to meet each other again when Midhuna survives a fatal accident. Gautham’s dad helps her family with the finances needed to save her life.

But then Midhuna comes back to life from a four month coma enquiring if a certain Surya is dead, and she is more than destroyed when her parents nod in confirmation. It turns out Surya is a bit of a wastrel who can’t help landing himself in trouble all the time. But he’s so struck by Midhuna that he follows her until she falls for him eventually, which is when the accident happens. And then Gautham discovers that Surya is still alive, in self destruct mode yet his love for Midhuna still intact. Then the melodrama kicks in.

The film is told in a series of gripping flash backs, going back and forth in time. The cinematography is crackling. The filmmaker uses landscape of Ooty to drive home the poignancy of the romance and doing a good job of recreating the nineties. Each frame seems to have been constructed with care. The background score gives you the goose bumps. The music is melodious and fun and writing is lyrical yet simple. On technical front there isn’t much to complain about.

The performances are natural and haunting. The debutante Lavanya has the author backed role and does a great job of it. She has a very versatile face and the filmmaker utilized it to the hilt. The boys Naveen Chandra and Rahul were both pretty good themselves.

It’s the tragic climax that runs against the grain of commercial Telugu cinema with its compulsive obsession for happy endings. Also it is loaded too much with the 90′s sensibility of tragedy and sacrifice. Also the movie moves along at a pace of its own and it might not really cut ice with our audiences used to the predictability of “masala”.

Ek Tha Tiger Movie Review

Director : Kabir Khan
Producer : Yash Raj Films
Music Director : Sohail Sen
Starring: Salman Khan, Katrina Kaif

MyStills.net Rating  :  

Salman Khan didn’t have a single release this year. The wait is now finally over as the most awaited film of recent times, Ek Tha Tiger has finally released. Salman plays a RAW agent in the film which has the lovely Katrina Kaif paired opposite him. Promos and music has created a huge buzz for the story and the movie opened to a record number of theaters worldwide. The film has hit the screen on the auspicious occasion of Independence Day, so lets how it fares.

Story

Salman Khan(Tiger) is a RAW agent in the Indian government, and is sent on various missions to different counties. On a special mission, he is sent to Dublin to track important details of an Indian Professor who makes high profile missiles.

Once he starts his mission he comes across Zoya (Katrina Kaif) and falls in love with her. A high profile game of espionage and intelligence follows. People are not who they turn out to be and many shocking twists come in. What happens to Tiger’s ongoing mission? Does he succeed in winning his love? Does he manage to complete his assigned mission? That forms the rest of the story.

Plus Points

Salman Khan is perfect as Tiger. You will be surprised to see Salman in a new full on action packed role. He looks dashing as a RAW agent and has given a mature performance. He is mind blowing especially in the action sequences.

Katrina looks ravishing and has done a marvelous job. She is surely the surprise package of the film.

Story is a major highlight as it has many suspense elements which will leave you on the edge of your seats. Chemistry between Salman and Katrina is going to be a major highlight of the movie. They complement each other in ever scene and look awesome on screen.

With beautiful locales, lovely songs and action packed episodes, this is a full on action entertainer to the core. From start to finish, this film has oodles of entertainment and will leave Salman Khan fans completely satisfied.

Minus Points

First half tends to be a tad slow in the opening moments, but it picks up once the twists in the story are unveiled. The super hit track Mashallah comes only after the movie gets over which is bit disappointing.

Some mass masala elements which fans expect from Salman these days are missing form this movie. Because of too many action sequences, all sections of the audience might not appreciate the film completely.

Technical Aspects

This film is surely high on technical values. Such large scale action sequences are a first for Indian cinema. Action sequences are choreographed in a highly stylish manner, on par with Hollywood standards.

Cinematography is awesome and shows the the cultures of Cuba, Istanbul and Dublin effectively. Music of the film is apt and does not spoil the flow.

Director Kabir Khan manages to keep the script and mood of the film intact. Screenplay is the highlight as the movie’s pace never drops and Kabir sticks to the plot.

Verdict

On the whole, Ek Tha Tiger is a complete pasia vasool treat not only for Salman Khan fans but also for regular movie lovers. Salman in a never before seen role, great locales, suspense elements and sizzling chemistry between the lead pair are the major highlights of the film. Ek Tha Tiger is a edge of the seats thriller which will surely create new records at the box office. What are you waiting for, go grab a ticket and watch Sallu Bhai in this full on action entertainer.

Raaz 3 Movie Music Review

Sequels have not enjoyed a great deal of success at the box office. Let’s hope “Raaz 3″ doesn’t bite the dust and manages to click with the audience. The soundtrack of the film has six songs penned by Sanjay Masoomm and Kumaar, composed by Jeet Ganguly and crooned by some fine singers.

The album kicks off with Javed Ali’s soulful voice in “Deewana kar raha hai”, which has an Arabic feel to it. It has resemblance to composition of Arabic track “Ana law azeto” sung by Egyptian singer Mohamed Hamaki. There is nothing too great about the track in terms of words or music. It fails to give a good start to the soundtrack.

Next up is “Zindagi se”, which has the melodious Pakistani singer Shafqat Amanat Ali’s voice, who has given many hits in Bollywood. However, the composition fails to capitalise on his voice and the song fails to make an impact on you. There are intervals where the piano attracts you, but overall it is dismal.

A ray of hope comes with “Rafta rafta” by KK and finally one gets to hear a song that manages to deliver. Slow and soothing number with simple lyrics and KK’s voice captivates listeners. However, nothing too great about the composition and it is solely the singer’s voice that carries the song on its shoulder.

“Oh my love” follows it, a Hinglish (Hindi-English) romantic number sung by Sonu Nigam and Shreya Ghosal. The composition is really good but ordinary lyrics ruin the song. The high point of the song is the chorus, which is a bit enjoyable.

Next on the playlist is “Kya raaz hai” and the composer has tried hard to make it peppy with some fine beats. Shreya Ghoshal and Zubben Garg have done a decent job in the vocals but despite the good tune, the song fails to grow on you.

“Khayalon mein” rounds up the album and Shreya has crooned the song really well. It provides the listener with a happy ending. It manages to cheer up the listeners at last.

Vishesh Films has been doling out chartbusters for a very long time and one wonders how they came up with such a sad album.

The soundtrack of “Raaz 3″ leaves a big blot on their musical taste and leaves a big question mark on what went wrong here?

Shirdi Sai movie review

Banner: Sri Sai Krupa Entertainments Pvt. Ltd.
Cast: Nagarjuna, Srikanth, Sneha, Kamalini Mukherjee and others
Cinematography: S. Gopal Reddy
Art:   Sri.Bhaskar Raju, Srikanth
Editing: Shravan
Music: Keeravani
Producer: A.Mahesh Reddy
Screenplay- Direction: Raghavender Rao
Dialogues: Parchuri Brothers
CBFC rating: U
Release date: 06-09-2012

Synopsis:

There have been several prior depictions on the life and times of Sadguru Sai Baba on celluloid in quite a few languages. This version is one more approach using latest technology and quite a few cinematic liberties. But the underlining concept is the preaching of equality of Sai in a line – Sab Ka Malik Ek.

Performances:

Earlier, there is Vijay Chander who portrayed the role of Sai Baba and lived up to the perfection. There many temples and household which have his getup as the real god picture. His impact as Sai is just as Legend NTR’s Krishna Avatar. But Nagarjuna had given a good performance in the role. He moulded his personality to get in to the skin of the character and the make up suited perfectly. But the walking style and the depth in the voice made the difference. Whenever, Sai says some thing the real Nagarjuna flashed for a moment.

But his acting in the last 20 minutes in the movie is immaculate. He excelled in the role during that time and created a divine magic with his eyes itself. I can confidently say he is the best in the current generation to portray the role.

Rest – Srikanth as Dasaganu, Sri Hari as Wales, Brahmanandham as Sandeham, Kamalini as Radha Krishna Mai, Shiyaji Shinde as Bhatia, Sharath Babu as Mahalsapathi contributed their parts in limited space.

Technical Performances:

Raghavender Rao is undoubtedly the only director who can deliver Devotional movies near to perfection in the current generation. He had done good job in extracting performances. But the script could have derived more emotions. Somehow, the divinity is not a full meal.He took certain liberties to induce comedy in Dharamavarapu – Shiyaji Shinde episodes but that did not click.

Keeravani’s Back Ground Score and music is the best and is certainly an asset to the movie. And added depth to the movie. Inspite of taking some cinematic liberties, the script work and the dialogues by Parchuri Brothers are good.

Cinematography suited the mood of the story. Graphics work could have been better.

Final Say:

The movie may not be a classic like Sri Shirdi Sai Baba Charitra but is certainly the best remake and portrayal of Baba life the current generation can get. Inspite of few glitches, the makers should be commended for their noble effort to give a devotional movie to this generation with out caring the commercial liabilities involved.

The BO performance of the movie should be good given the popularity of Baba in AP.

Mask 1st Week Box Office Collections

jiva as Lee is excellent and a perfect foil for this role. The slow stunt scenes with his intense body language makes an excellent watch in all the stunt scenes. Pooja hegde is OK. Narain is riveting in his villan role, he steals the show with his cruel minded plans and he is sure get more villan role opportunities. All other characters have done their role perfectly especially Nasser and Selva.

Mask 1st Day Box Office Collections is 6.20 Crores

Mask 2nd Day Box Office Collections is 6.00 Crores

Mask 3rd Day Box Office Collections is 6.10 Crores

Mask 4th Day Box Office Collections is 5.80 Crores

Mask 5th Day Box Office Collections is 5.35 Crores

Mask 6th Day Box Office Collections is 5.00 Crores

Mask 7th Day Box Office Collections is 4.50 Crores

Naan

Crime time 
 

Cinematographer - director Jeeva was a name to reckon with in Tamil cinema. Though he has passed away, his legacy seems to be continued by his protege Jeeva Shankar. The latter makes his independent foray as filmmaker with Naan starring music composer Vijay Anthony in the lead role.

A crime thriller Naan speaks about an youth who faces challenges in his life from unexpected quarters that leads him to make a s3erial of murders. The tag line of the movie is that no man is perfect in this world. And so is the male protagonist.

Besides Vijay Anthony, the movie has Rupa Manjeri, Siddharth of Ananda Thandavam fame, Anuya and Vibha in lead roles.

Karthik (Vijay Anthony) is forced to kill his mother for infidelity. He spends the rest of his life in prison and returns only to do an unexpected thing - changing his identity for pursuing his medical course. But that comes with lots of troubles. He overcomes them obviosuly with unexpected acts.

Vijay Anthony lives up to the role. But his emotional outputs are one-dimensional. He is good at action scenes. Siddharth is promising while Roopa gets a meaty role.

The movie has its lacuna but thanks to overall efforts of Vijay Anthony, it is a wonderful watch.

Eppadi Manasukkul Vandhai

Slow and steady 
 
It seems to be the season of romantic movies hitting the screens. Filmmaker P V Prasath after Kadhalil Vizhunthein has come up with Eppadi Manasukkul Vandhai, a romantic thriller which is all about a youth’s all –out action to save his love life.

The movie shares some similarities with Kadhalil Vizhunthein. For the characterisation of the hero is almost the same in both the movies. But the sequence of events makes it more engrossing.

Playing the lead role is debutant Vishwa. A promising talent, who delivers his best in a tough character. Former Miss India Earth Tanvi Vyas plays the female lead while Irfan dons the role of a college student, whose characters sets the ball rolling in the film.

Produced by director Kiccha, Eppadi Manasukkul Vandhai has music by A J Daniel, a former Harris Jeyaraj speaks about a friend turning foe for romance. He even dares to turn a serial killer to hold the hands of his beloved. Though is it soft and romantic, at places it is gruesome and bloody.

Seenu (Vishwa) a poor boy hailing from a dhobi family meets Mithra (Tanvi Vyas), a rich girl and falls in love with her. Seenu joins the college ( a fashion technology institute) where she joins. There is one Shyam (Irfan), a close friend of Mithra who stays in her house. Seenu becomes both their friends. But a fight breaks between Shyam and Seenu. The former is killed by Seenu. Fearing that he would be a hurdle in his lovelife, he kills Shyam and hides his body. He cooks up a story that Shyam had left the city after a love failure.

Seenu consoles Mithra's close friend and soon wins over her heart. Now enters a tough police office (Ravi Kale). He suspects Seenu of killing Shyam. The chase begins. What happens then is the climax. Vishwa has given his best considering this to be his maiden venture. He is cool and delivers the roe well. Tanvi Vyas has a major role to play. She has enough screen space and enjoys doing the role. She is cute and bubbly. All kudos to Ravi kale. He goes on to give a matured performance.

S D Vijay Milton's camera is the hallmark of the movie. At places the movies proceeds little slow and sadly there are some cliched sequences too. But Prasath has managed to cast a spell on screen.

Attakathi review

Entertaining fare 
 
Debutant filmmaker Pa Ranjith, who has emerged from the shoes of his mentor Venkat Prabhu has managed to a complete youth film with right packaging. Starring all newcomers, the movie bubbles with youthful exhuberance and energy all through.

Dinesh, Nandhitha play the lead roles. Santhosh Narayanan has scored the music. P K Varma has cranked the camera while T Ramalingam takes care of the art. 

The movie revolves around a youngster, his aspirations, struggles and the romance in his life. 

Set in semi-rural area, the movie revolves around Dinesh. A youngster, he is a love-lorn youth. He proposs almost all girls who comes across in his daily life.

One fine day, he meets Poornima (Nandhitha ) in a bus and starts loving her. She says a firm no and his heart breaks only till he meets another girl.

After two years, he goes to college where he meets Poornima again.

He tries to throw love arrows at her. She looks like accepting his offer. But now comes a twist in the script.

Dinesh and Nandhitha have understood their characters and given their best.

The whole team has given their best. Three cheers to Studio Green for presenting a entertaining fare.

The only lacunae is the lengthy second half. Also it ends in a predictable manner.

Naan Ee Movie Review

Naan Ee - This fly flies high !

After making his mark as a successful director who blends fantasy tales with commercial elements, directorSS Rajamouli of Vikramarkudu, Magadheera and Mariyadha Ramannafame is trying his luck in Tamil with his bilingual Naan Ee.

The movie is a perfect blend of romance, humour, revenge and sentiments. 

Three cheers to Rajamouli for making a movie that has visual effects which is on par with films made in the West. For making a movie around a fly needs guts. Rajamouli has taken it in his stride to deliver a convincing tale that is racy, riveting and entertaining.

The movie boasts of no big story. It is just about a youth, who is killed by a baddie reincarnates as a housefly and takes revenge on the killer. But the screenplay and unfolding of events and the scenes involving housefly's acts makes it an engrossing affair.

Naan Ee has richness, grandeur, fantasy, fun and everything. With a strong technical crew around, Rajamouli has pulled  it off.Samantha, Nani, Sudeep play the lead roles. Music is byMaragathamani while Senthil Kumar handles cinematography.

Story

Sudeep (Sudeep Kicha) is a business tycoon who gets everything he wants in earth with his money. He lures women and gets them in his couch. He comes across Bindhu (Samantha) who is a miniature artiste and a social worker.

In the pretext of giving her huge donation, he wants her to fall in his ambit. But she love her neighbour and a simple youth Nani.

Shocked to know about her affair, Sudeep kills Nani and makes everyone believe that it was an accident. But Nani is rebron as housefly immediately and now he is hellbent on taking revenge onSudeep. Can a housefly do this impossible act. 

Watch the movie for the rest.

Performance

Nani should be given a pat. Though he appears just half-an-hour, he does give his best. He is enthusiastic and bubbly.

Samantha hogs enough screen space,. She is no cliched heroine here running around tree and romancing and disappearing after a few scenes. her role has a major bearing on the story. But the real scene-stealer is Sudeep.

A numero uno actor in Kannada filmdom, he has gathered guts to play a baddie in this movie. His performance makes one sit up and watch.

At his best in second half, Sudeep is awesome as villain. Santhanam makes a cameo appearing in a sequence. 

Analysis

Rajamouli's Naan Ee is India's answer top the west that India too can make movies with amazing visual effects. The  housefly and its antics are captured well. The team behind the computer graphics and visual special effects deserves all pat. Maragathamani and Senthil Kumarcombines well to give their best.

PVP Cinemas should be given a pat for producing a mammoth movie that is strikingly different and entertaining. Rajamouli has added one more feather in his cap with Naan Ee.

Plus

Scenes involving housefly

Sudeep's awesome show

Maragathamani's background score

Mark : 4/5 

Maalai Pozhuthin Mayakathile Review

Coffee Toffee

Director Narayan Nagendra Raodeserves a pat for trying something unique and different what his predecessors have never tried to venture to. He had set the while movie in a coffee shop where people with different problems and travails come together.

Produced by Mayuri Sekar, MPM is a movie that is experimental in Tamil cinema. There is not many characters in the film. Neither there are action sequences nor crass comedy. MPM is an emotional tale set in pone place.

Aari of Rettaisuzhi plays the lead role with Subha as his ladylove. Subbu Panju, R S Sivajiand Balaji dons key characters. It has no run-of-the-mill stuff loaded anywhere and proceeds at a leisurely pace, that may test your patience on few occasions.

The highlight of MPM is Achu's music and Gopi Amarnath's camera work. Both contributed a lot in elevating the mood of the film.

Story

Ajay (Aari) is an aspiring filmmaker. On a rainy eveing, he chances to see Jiya (Subha) at a coffee shop and is apparently bowled over by her beauty.  Also present in the coffee shop at the time are Satish (Balaji) who comes with wife Ramya (Tejaswini) and the manager (Subbu Panchu).

The couple (Sathish-Ramya) are apparently at loggerheads and on the verge of a split. The manager has issues to be solved in his business. There is a writer (R S Sivaji) who is witness to all this.

After twists and returns, all well ends well and everyone leave the place with smile on their faces. Of course all problems sorted out.

Performance

Aari deserves a pat for playing the lead role in a entertaining manner. He brings out his disappointment, joy, sorrow well. Subha looks new to the screen and adds more fizz to the proceedings. Especially when she opens her heart to him, she stands out.

Subbu Panju and Sivaji are tailor-made for the role. Both perform with clarity. Balaji and Tejasvini as disturbed couple rock.

Analysis

The movie is well-made thanks to the stylish sophisticated handling of the script by the director. The scenes are vivid and bright. Achu's songs and background score are elevating. The camera of Gopi Amarnath speaks many words. The capturing of song sequences are beautiful and aesthetic.

With less characters, the director has tried his best to provide a different film, which he has achieved partially.

Plus
*Aari's performance
*Achu's music
* Camera by Gopi Amarnath
Minus
* Slow narration
* Lack of fizz or any excitement
Mark 2.5/5

Total Recall (2012)

By Matt Patches

The remake of Total Recall never escapes the shadow of its Arnold Schwarzenegger-led predecessor — and, strangely, it feels like a choice. With a script that's nearly beat-for-beat the original film, Total Recall plods along with enhanced special effects that bring to life an expansive sci-fi world and action scenes constructed to send eyes flipping backwards into skulls. Filling the cracks of the fractured film is a story that, without knowledge of the Philip K. Dick adaptation's previous incarnation, is barely decipherable. Those who haven't seen Paul Verhoeven's 1990 Total Recall? Time to get a few memory implants. 2012 Recall makes little sense with the cinematic foundation, but it does zero favors to those out of the know.

Colin Farrell takes over duties from Schwarzenegger as Douglas Quaid, a down-on-his-luck factory worker hoping to escape his stagnate existence with a boost from Rekall, a company capable of engineering fake memories. Quaid calls the damp slums of "The Colony" home (one of two inhabitable parts of Earth), but he dreams of moving to the New Federation of Britain, a pristine metropolis on the other side of the planet. When the futuristic treatment goes awry — caused by previously existing memories of our blue collar hero's supposedpast life as a secret agent — Quaid emerges from Rekall with lethal power hidden under his mild-mannered persona. He quickly goes on the run, escaping squads of soldiers, robots, and his assassin "wife," Lori (Kate Beckinsale) all hot on his tail. Total Recall turns into one long chase scene, as Quaid unravels the mystery of his erased memories.

But when it comes to answers and heady sci-fi,Total Recall falls short. Farrell isn't a hulking action star like Schwarzenegger, but he's a performer that can sensitively explore any human crisis, big or small. Director Len Wiseman (Underworld, Live Free or Die Hard) never gives his leading man that opportunity. Farrell makes the best of the films occasional slow moment, but the weight of Recall's mindf**k is suffocated in a series of fist fights, hovercar pile-ups, and foot chases pulled straight out of the latest platformer video game (a sequence that sends Quaid running across the geometric rooftop architecture of The Colony looks straight out of Super Mario Bros.). When Jessica Biel as Quaid's former romantic interest Melina andBreaking Bad's Bryan Cranston as the power-hungry politico Cohaagen are finally woven into Farrell's feature length 50 yard dash, it's too late — the movie isn't making sense and it's not about to, regardless of the charm on screen.

The action is slick, and the futuristic design is impeccable, but without any time devoted to building the stakes,Total Recall feels more like a HDTV demo than a thrilling blockbuster. The movie's greatest innovation is the central set piece "The Fall," an elevator that travels between the two cities at rapid speed. The towering keystone of mankind is a marvel, but we never get to see it, explore it or feel its implications on the world around it. Instead, it's cemented as a CG background behind the craze of Farrell shooting his way through hoards of bad guys.

Science fiction more than any other dramatic genre twist demands attention to the details. New worlds aren't built on broad strokes. But Total Recall tries to get away with it, in hopes that audiences will recall their own movie knowledge to support its faulty logic. The movie repeatedly prompts viewers to think back to the 1990 version, with blatant fan service that's absolutely nonsensical in this restructured version (no longer does Quaid go to Mars, but there's still a three-breasted alien?). The callbacks may have given Total Recall a "been there, done that" feel, but rarely is it coherent enough to get that far. By the closing credits, you'll be struggling to remember what you spent the last two hours watching.

Aakrosh (New)

Aakrosh (New)
	Producer: Kumar Mangat Director: Priyadarshan Starring: Ajay Devgn, Akshaye Khanna, Bipasha Basu, Paresh Rawal, Reema Sen Music: Pritam Lyrics: Irshad Kamil Genre: Thriller Recommended Audience: Adult Film Released on: 15 October 2010

After a series of No Brainer comedies, Priyadarshan finally comes up with a serious movie to reveal us the person who gave us Virasat. Ajay Devgn recently said in an interview that Priyadarshan should stop making comedies and focus on movies like these after his national award winning effort, Kanjeewaram. Call it coincidence but 2010 has seen hordes of films based in the interiors of India. After Ishqiya, Peepli (Live), Antardwand and Dabangg, Aakrosh is yet another film set in small town India. It's a complex but compelling narrative set around the issue of honor killings. Director Priyadarshan handles the subject proficiently, without compromising on the entertainment quotient. There's never a dull moment and the entire narrative keeps one riveted. Take off your eyes and there are chances you'll become confused.
Three friends, one of whom is a Dalit from a Medical College in Delhi go to watch Ramleela celebrations at the Dalit’s village in Jhanjhar somewhere in the interiors of Bihar and go missing. It's two months and there is no clue about their disappearance. The media and students’ movement demand action from the authorities. It's then that the government orders a CBI enquiry with officers Sidhant Chaturvedi (Akshaye Khanna) and Pratap Kumar (Ajay Devgn) to solve the case. Sidhant is the tech savy officer always seen with the laptop who has a good profile of solving the cases and a good knack of statistical data. Pratap is the more practical no nonsense type guy who believes in getting the work done through hooks or by crook. He also has lot of connections as he belonged to a nearby village and himself a low cast Dalit.

When they reach Jhanjhar, they realize that they are not welcome there. They find it difficult to solve the case as the local police and other authorities are a part of Shool Sena, which is responsible for illicit activities. Sidhant and Pratap also face Ajatshatru Singh (Paresh Rawal), a ruthless police officer who misuses his power. Not only that even the locals don't support the investigation. It's with the help of Roshni (Amita Pathak), the daughter of a rich and powerful villager, and Geeta (Bipasha Basu), who's Aiatshatru's wife and Pratap's former love, that the investigation moves ahead. A bewildering turn of events ensue.

Priyadarshan takes his time to build the story in the first half, which is comparatively slow paced. Once that is done, you find yourself gripped. The inexorable and brooding story-telling pattern is replete with twists. The issue of honor killings is used as a backdrop, in this high octane action thriller. Mind you, the action does get gory. The violence on the Dalits at times gets exaggerated and the film is strictly not for kids. Some poignant scenes like the way the judge passes a hurried judgment as he feels claustrophobic make you cringe. The scene in which Ajatshatru Singh listens to cricket commentary while Sachin Tendulkar is batting in his 90s deserves special mention.

Arun Kumar's editing is decent but the first half could have been pruned for a much better impact. The couple of songs are a deterrent. Tirru's choreography is appealing, with some brilliant shots. Dialogues by Aditya Dhar are impactful. There's nothing great about Pritam's music.

Ajay Devgn gives a superb performance. He has an inimitable panache, which is amazing. Watch out for the scene where he narrates his tragic childhood while ironing his shirt, the dialogue delivery is impeccable. There's something between him and trains. After OUATIM, there's yet another train sequence featuring him in this film. While the former was deftly done, the latter appears farcical. Akshaye Khanna is impressive. After Deewangee, the chemistry between Ajay and Akshaye clicks even in Aakrosh. Paresh Rawal is outstanding. He may even get a Filmfare Award nomination in what is his second negative role after Rann this year. He's so good in his bad avatar that you are full of disdain each time he appears on screen. Amita Pathak is good. Bipasha Basu is miscast. It's difficult to imagine her as a tormented wife. Her two phases have a very stark contrast. Sameera Reddy is passable in the item number.

After watching Aakrosh you will feel exhausted (albeit in a good way!) but please be aware of the excessive violence depicted which puts the gloss off an otherwise superb action thriller!

Khelein Hum Jee Jaan Sey

Khelein Hum Jee Jaan Sey
	Producer: Sunita Gowariker, Ajay Bijli, Sanjeev K Bijli Director: Ashutosh Gowariker Starring: Abhishek Bachchan, Deepika Padukone, Vishakha Singh, Sikandar Kher Music: Sohail Sen Lyrics: Javed Akhtar Genre: Historic Recommended Audience: Parental Guidance Film Released on: 03 December 2010

Gowariker’s Lagaan till today, is regarded to be a cult classic for many a reason – its inclusion of cricket (India’s most loved sport) mixed with patriotism; and although the story is simplistic and the idea standard, it had an execution that deserved applause, with each form of detailing, right from the character graph to perfectionism in the Avadhi dialect and finally the cinematography and production design. Though many consider it to be his best till date, I personally feel that his Swades and Jodhaa Akbar are far better, connecting with a more universal audience due to commendable treatment of its writing. While people stopped believing in Ashutosh Gowariker post What’s Your Raashee?, I considered it a beautiful film and my faith never wavered, which is why the news of Khelein Hum Jee Jaan Sey heightened my anticipated for the film. Plus, this being a period film makes it more enticing due to Gowariker’s success with his previous films which gave many viewers immense satisfaction.
The story chosen (a true story of the 1930 revolution of Chittagong, the then part of India) is unique, untried and more or less an interesting story to remake on celluloid. Besides, this is an adaptation of a book, which should have been even challenging for the makers. And for those who have read the book, they might find the on-goings interesting. I personally haven’t read the book but I have ample knowledge of the uprising and I’m pretty sure characters wouldn’t have been as overdramatic as they’ve been portrayed in places. Apart from the portrayal of the characters of Surjya Sen and Kalpana Datta (well-written and restrained for the most part) the other characters are either too moody or nahin-kehdo-ki-yeh-jhoot-hai types. The patriotic fever is correctly captured without the convenience of xenophobia in the screenplay, and Gowariker should be commended for that. But despite that, the movie lags in the pre-intermission reels, so much that the normal viewer will pull their hair out and wonder if a movie could be any slower.

And for some scenes, it’s like the makers really want to force-feed us – and this unfortunately happens in those scenes where this isn’t needed. Take, for example, the first scene, where they spend a minute and a half showing the kids playing football, and the conflict taking half a minute more, with prolonged discussions about getting their lands back adding up to another minute and a half, making the whole scene very wordy and lengthy. After this there’s Surjya Sen’s extended introduction and the fact that he “loves his friend to death”. In that scene, his friend suddenly turns up and they have a discussion about how he was beaten to death and all he said was “Vande Mataram.” Surely there’s at least five better ways to write and emote that dialogue!

The other odd thing about the film is the timing of the songs. Post Nirmal’s meeting with Sen, he says he’s going to meet his girlfriend Pritilata, and then out of nowhere a song breaks out before they play badminton – oh and wait, that’s lip-synced! And the songs keep coming during the pre-intermission phase, acting like speed-breakers to an already slow-moving car. The worst part during this phase are the glitches in setting the base of the world which the viewer should be transported into. Chittagong was part of Bengal, and despite that Surjya Sen writes the plan on the blackboard in Hindi to explain to his “comrades” five days before the plan’s commencement. And I wonder why; is it because they suddenly forgot Bengali? People will argue with me regarding this, telling me that they would have wanted everyone to understand what he had written, but this certainly takes out the authenticity in the film, thus making it a flaw.


Besides that, there’s the characters trying to overdo the accent as far as names are concerned. Poor Padukone keeps shifting between “Pritilata” and “Pritilota” to call her friend (played by Vishaka Singh) in the film. And even though she has done an otherwise excellent job in the film, her accent is off the mark. Kalpana is herself forcefully called “KolPona” when her name is casually pronounced “Call-pona”. Details like this should make a period film stronger and the audience tends to forgive you on the pace, but then when both pace and detailing are uneven, people tend to notice while biting their nails waiting for something to happen. Once the intermission arrives you breathe a sigh of relief, wondering if the second half will be as slow.

Thankfully, the film isn’t as slow in the second half – in fact, it suddenly picks up pace out of nowhere and proceeding move to the nail-biting pre-climax portion, finally reaching the climax, where – again – Abhishek decides to talk to the English judge in Hindi. I’m sure the director must have imagined a scene of two different ideologies where language differences act as testimony, but this just felt awkward. But this is easily ignored as pronto comes a profound climax that disturbs you but at the same time, makes you proud of what the “real” revolutionaries might have done to fight for the freedom of India. However due to the above reasons you still leave the theater with mixed emotions as far as the film is concerned.

What redeems the movie somewhat are the performances. Abhishek Bachchan is powerful as Surjya Sen, but you wonder if his one dimensional expressions throughout are indicative of his wider limitations as an actor. In fact, surprisingly, post the unconvincing act in Break Ke Baad, Deepika Padukone here outsmarts Bachchan as far as the acting is concerned. Sikandar Kher is mind-blowing. His emotions are powerful, especially in scenes of shootout. This guy is a terrific actor and need good roles to showcase his immense potential to rise up the ladder. Others are convincing.

To conclude, what was expected to be a fervent exhilarating patriotic movie turns out to be more of a documentary, which makes the movie feel like a history lesson so after the first few minutes don’t be surprised if you find yourself distracted (either fidgeting with your hair or picking your nose or looking around the class for something more interesting than the teacher yakking) and wondering where the entertainment quotient was to be found. Mr. Gowariker, we hope you get back to the form that brought us the likes of Swades and Lagaan, not in comparison perhaps but in treatment at least.