Kayal (TAMIL)

Kayal

Starring: Chandran, Anandhi, Vincent and many more
Editing : Samuel
Music : D Imman
Cinematography: Vetrivel Mahendran
Written and Directed by: Prabhu Solomon

After the stupendous ‘Mynaa’ and ‘Kumki’, Prabhu Solomon has come up with one more love story set in the backdrop of Tsunami, which hit the Indian coast exactly a decade ago. Has he succeeded in delivering the third installment in his love trilogy? Has the ending being on the same negative side like his previous two hits? Need to check out.

Aaron (Chandran) and Socrates (Vincent) work hard for 6 months and spend their money exploring every nook and corner of India. While travelling to Kanyakumari, they are mistakenly held captive in a village for helping a couple elope. Aaron instantly falls for Kayal (Ananthi), a servant working there and proposes her. After learning that the two friends are innocent, the family releases them. Meanwhile, Kayal realizes she too has fallen in love with Aaron and so begins her journey to find Aaron. Will Kayal find him in spite of many obstructions? Will they reunite despite the Tsunami forms the rest.

Prabhu Solomon has delivered an irresistible love story between an innocent girl and a free spirited young man set against the backdrop of Tsunami, where fate and nature plays the villains. Many comic scenes which involves a old man and many digs at the police gives few interesting laugh in the first half. But certain logic loopholes are there like how the grandmother let her go in search of a man whom she does not know. Too many songs towards the end just drags the film as the thrill keeps growing.

Debutante Chandran is pretty authentic and brilliant. He emotes really well, and his dialogue delivery is absolutely wonderful. Vincent as Socrates makes the roof come down with his one-liners and played his role to utmost perfection along with Chandran throughout the movie. Ananthi’s eyes literally gives the name of the film and she had justified her selection with simple expressions. Krishnamurthy as ‘Zameendar’ rocked his role and his screen presence evokes claps and whistles from all the audience.

Kayal is a technically brilliant movie. Technical aspects and performances are two pillars of this movie. D Imman’s music has once again created magic like it did for ‘Mynaa‘ and ‘Kumki‘. Kayal might have lost its way if not for Imman’s music. Vetrivel Mahendran has done a fantastic job in displaying nature at its best. Samuel has done a decent job as an editor and keeps the movie short enough. Special mention goes to the VFX team to bring alive the 2004 Tsunami on screen almost flawlessly. Prabhu Solomon is very comfortable in dealing with love stories and he makes use of Imman’s potential to inject the love factor quite easily and with interesting dialogs but he seems to travel in the same monotony way of stories. Its a technically magnificent and emotionally wrenching experience where the love unites at the end..!! 🙂

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Meaghaman (TAMIL)

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Starring: Arya, Hansika, Harish Uthaman, Ashutosh Rana and many more
Editing : Srikanth
Music : Thaman
Cinematography: Sathish Kumar
Written and Directed by: Magizh Thirumeni

After dishing out ‘Thadaiyara Thaakka‘ movie with a gripping plot, director Magizh Thirumeni is back with Meaghaman in which Arya plays the lead. Meaghaman had created some excitement prior to its release. It comes along with array of films and action forms the main theme of the film. So what’s up with the captain of the ship, let’s find out.

Shiva (Arya) and his colleague cum friend Chandra (Ramana) are two young cops who are on a undercover mission to stop a drug mafia by tearing the mask of a person who they think is the brain behind all illegal activities carried by the mafia group. While Shiva tries to gain the confidence of Jothi (Ashutosh Rana), the main antagonist, Chandra does the same in a different group led by Sharma, a cop turned gangster. Chandra fails to keep his true identity in the dark as he gets caught by Sharma and also lets the cat out of his bag by revealing Arya’s real identity as well. What happens to these two policemen? Do they stop the most dreaded mafia despite giving away their true identity or do they succumb without accomplishing their mission forms the crux of this action-thriller.

The director has not traded off with undesirable punch dialogs, comedies and un reasonable gallantry and has given precisely what the story requested. Characterization has assumed a significant part in the motion picture, were everybody’s character has been decently planned and overall portrayed. He has made the audience constantly on the edge of their seats trying to spring in something new every scene, but all those happen in a slow mode. An undercover agent amidst all the action gets caught red-handed, ah yes you have heard this story but the director does spring in a few meaty tricks that sure catches you off guard. The screenplay is too sluggish with the first half building up an array of characters and fitting climax could have served the movie’s purpose.

Arya has been depicted in an alternate style and with distinctive characterization. One might feel that the film could’ve been a film without a female lead for Hansika has been used only in songs which in fact acts as a speed breaker hindering the pace of the film. Supporting cast has come good mainly Anupama Kumar and Ashutosh Rana. Thaman’s BGM deserves a thunderous applause and acts as a true catalyst in the movie at much wanted scenes. Sathish Kumar’s cinematography gives a stylish look to the movie and is effective in all stunt sequences. Editor Srikanth has done a decent job in keeping the movie crisp however, some ordinary screenplay fails to support an interesting plot which otherwise would’ve turned this movie into an edge of the seat entertainer throughout.

Magizh wanted to present a full fledged and well detailed action film but missed the pace in the screenplay which gets predictable at the end and doesn’t enthrall much. Meaghaman is certainly not the captain of the ship but a rock-solid entertainer with a volley of twists and action..!! 🙂

Pisasu (TAMIL)

Pisasu-Movie-Release-Date-Wallpaper

Starring: Naga, Prayaga, Radharavi, Harish Uthaman and many more
Editing : Gopinath
Music : Arrol Corelli
Cinematography: Ravi Roy
Written and Directed by: Mysskin

Mysskin’s previous film ran without a trace in big screen but the television provided the needed reach and thus there was a very good film which did not disturb the box office. That was the effect the brand Mysskin has and his stories have. His films generally have darkness as a part of the film but when he takes a horror flick just imagine how the film could be. Need to check that.

The movie opens with a reckless car driver knocking off an unknown girl, played by Prayaga. After the accident, the driver flees the spot and that leaves a passerby, played by Naga, with no option but to rush the girl to the hospital. Prayaga dies on her way to the hospital and falls prey to the universes’ ever expanding style of transforming souls and becomes a ghost soon after her demise. The ghost of Prayaga holds on to Naga and chooses to stay at his house and starts haunting him. The ghost is neither seeking revenge nor love and hence the motive of Prayaga’s ghost and her reason to haunt Prayaga who only tries to save her life forms the crux of this film.

There is a sense of “Where is the story?”, “What does the ghost want? “ A number of questions unanswered through the first half. With that said, in the second half Mysskin switches to his signature thriller mode from horror, and then finishes off in grand style. The lesser you know, the more you are bound to enjoy it.

Newcomer Naga as the lead protagonist (though in a weird hairstyle) has given good performance. Prayaga appears for a single scene as a human being, but we feel her presence throughout in the form of a ghost. Her handling of the awkward makeup and hanging from the roof most part of it warrants mention. Radharavi excels as usual as the father of the ghost. His emotions are very good in many scenes and makes us to feel. Just like the movie’s performances, its technicalities like editing and sound mixing adds stability to the movie. Special mention goes to the debutant music director Arrol Corelli whose songs and background score are soul-stirring. Cinematographer Ravi Roy too has impressed with his camera works.

The movie’s crisp editing wraps it up in 114 minutes nevertheless the first half finishes without much impact. Though the script has room for scary moments there isn’t much spine chilling moments. In all Pisasu is an emotional spooky supernatural movie from Mysskin where he shows the humanity side of the ghost that simply doesn’t try to scare you, but surprises your imagination with unpredictable thrills.

PK (HINDI)

PK

Starring: Aamir Khan, Anushka Sharma, Sushant Singh, Sanjay Dutt, Saurabh Shukla and many more
Editing : Rajkumar Hirani
Music : Shantanu Moitra
Cinematography: CK Muraleedharan
Written by: Abhijat Joshi, Rajkumar Hirani
Directed by: Rajkumar Hirani

Much had been debated about the film’s plot. Is PK an astronaut, is he an alien or is he a con artist? What is PK movie all about? Much till the screening of the film, the plot had not been revealed, so this may come as a surprise to you, but PK is not an out and out comedy film like how it has been portrayed till date.

Abhijat Joshi and Rajkumar Hirani pen a unique take on God and its faith layered by love, life and humanity. A mysterious pan chewing PK (Aamir Khan) is in search of God and his remote which he lost once he enters as alien. A complete stranger PK is weird but curiously loving. PK in his search for God meets Bhairav Singh (Sanjay Dutt) and Jaggu aka jagat Janani (Anushka Sharma) who comes to Delhi from Belgium after losing her love (Sushant). Bhairav helps him to understand the language, Jaggu helps him to understand love. PK challenges the stereotype belief of faith and while finding his answers finds love and much more.

Firstly, a big round of applause for Aamir, Rajkumar Hirani and Vidhu Vinod Chopra for making this story and giving us a grand family entertainer with some food for thought! PK will make you ask the pressing question, How does a big hero do this. The star has proven his mettle yet again and I couldn’t have pictured anybody but him as the weird, quirky yet endearing PK! Hirani and his co-writer Abhijat Joshi craft clever scenes rich in irony, like one in which PK arrives at a church service with a Pooja bag, or one in which he attempts to enter a mosque bearing wine. It’s to the writers’ credit that they successfully mine laughs out of scenarios that might otherwise appear prickly.

PK creates another career triumph for Aamir Khan for its major awards turn. Exceptional in the Bhojpuri drawl with affable sweetness, the actor draws the viewer close to his curious character immediately, and manages to keep the audience amused throughout. Excelling and surpassing himself in his most challenging role till date Aamir comic timings get more edge and sharp this time. Anushka Sharma too has essayed her charismatic but cute journalist role well, the short hair looks really good on her. Her love chemistry with Sushant and friendly chemistry with Aamir has been balanced really well. Sanjay Dutt is wonderfully droll, Sushant Singh Rajput is very likeable indeed and Saurabh Shukla, playing the antagonistic godman, is great at being a pompous god-invoking gasbag. Lookout for another star at the end as a sweet cameo.

Muraleedharan’s cinematography is marvelously beautiful like postcards. Rajkumar Hirani editing is sharp. Music gels well with the film. PK is no satire — it’s a bit too toothless for that — but it is a rollicking mainstream entertainer with ambition to evoke some introspection, one with compelling moments and some genuine surprises. It sticks faithfully to Hirani’s quirky film making, and yet there is no question that it’s a courageous film. Packed with sharp dialogue and genuinely funny moments that offset the lack of subtlety, it is easily one of the year’s better films. A sequel is on the demand now. Dont miss this film which may answer to your many questions..!! 🙂

Lingaa (TAMIL)

Lingaa

Starring: Rajnikanth, Sonakshi Sinha, Anushka, Santhanam and many more
Editing : Samjith
Music : AR Rahman
Cinematography: Rathnavelu
Written and Directed by: KS Ravikumar

Rajni, the Super Star, returns back live after 4 years. That too the film released on his birthday. What else will give more joy to all the film fans. Lingaa a short time creation but with a huge star cast gave a very good hype on what the film is as many cases were against the story of the film. So lets see what the Super Star gives us.

Named after his grandfather, Lingeshwaran (Rajnikanth) is one of the classiest robbers, in association with his friends. But he is also wanted by Anushka and the folks of Solaiyur, for reopening an age old temple. Curious and clueless about why his grandfather is praised so much, Linga is finally forced to agree to visit the village. The young lad eventually learns that his grandfather was the one to revive the life and livelihood of the entire village, with his own money. But flashing back, Lingeshwaran is a wealthy king with a heart singularly aimed at serving people. Why and how did the king misunderstand? What is the backbone forms the rest.

The problem with Lingaa is that even though Rajnikanth plays two characters, it is Lingeswaran whom the film is clearly enamoured with. But the character is not truly striking and hardly has a formidable antagonist — the scheming British collector never seems threatening. For a film crafted and made ready-to-release in six months, many frames in the film look like a richly painted big canvas, quite a visual treat, with the beautiful Mysore palace and also sets mounted on a mega scale, animation and computer graphics.

Superstar – that’s one word, said enough. For years, movies that star Rajnikanth, portray him as a rogue who ultimately transforms into a benevolent and generous, forthcoming person with high respect in the society. This is the person Rajnikanth himself, in most parts. Thalaivar plays his part well, as a gentleman in all respects, and his dialogues befit both his roles. And both Sonakshi Sinha, who abandons her home and village to be with the Raja as he is banished, and Anushka Shetty as a television anchor-girlfriend of Lingaa are characters on the periphery. Naturally, with a superstar like Rajnikanth in frame after frame, the others around shrink into inconsequential specks.

Rathnavelu’s work on the camera angles, especially in songs, apart from palace scenes and train fight sequences are good. Equally good is Samjith’s work on editing and superimposition – noteworthy are the scenes when of jewellery robbery and the spat with the British. AR Rahman’s songs slowly gives the pep for the film and his background score is simple as the story. It is another clean masala from Ravikumar which has a racy screenplay to justify the story that preaches unity, integrity, honesty, humility, and generosity, all for the goodwill of people. Introduction of the thought that people should not be biased based on caste, is an intelligent move. However, certain patches do stand out as sore thumb that are in dire need of finesse – like dialogues for everyone other than Rajni, action, choreography, and graphics, especially in climax. In all, the film looks like it is made for Rajnikanth, to make him the hero of all times, but fails to meet expectations as a movie on the whole…!! 🙂

Big Hero 6 (ENGLISH)

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I am not sure how this review will be as I saw the film without any prior interest and to be frank this is my first animation film viewing experience in the big screen. Also as there were no other better films to watch and we too had a short span of time, we decided to watch this. Let me say what I actually felt about the film.

Hiro is a 14 year old who builds tiny robots that can bash monstrous ones so he can illegally win money at botfights. His big brother Tadashi thinks he is spoiling his time and studies and takes him under his wing and shows his true geekery, with his nuttily-nicknamed friends inventing things that would make the folks go haywire. Hiro come across Baymax, a personal healthcare robot which his brother created. Hiro applies in the same school and prepares microbots which actually makes everyone to look upon him and also kills his brother. What happened because of the microbots and what Hiro does is the rest.

Based on the story which takes place in San Fransokyo (a combination of San Fransisco and Tokyo), the film is a nice cocktail of big-ticket action sequences, funny lines, and a feel-good story about friendship, sacrifice and doing the right thing. With ample twists and turns, the engaging plot navigates on an emotional level, fuelled with humour that is physically intense, unpretentious and well-timed. The 3D does not add much to the entertainment of the film.

Even though there are many characters, it’s Baymax, the chip-and-coding robot ironically, that is the film’s big beating heart. Its so nice to present all the characters in a positive note. The film itself has a short film titled Feast which precedes the main film where you can come across cutest dog you have ever seen. Overall, it is an attractive film that can be classified as a classic animation film..!! 🙂 🙂