Lingaa (Music)

When Thalaivar and ThalaivAR come together for a soundtrack, expectations rise to the zenith. This year, Lingaa is here. Here is what I think about the five songs from the film.

Oh Nanba: Singers – SP. Balasubramaniam, Aaryan Dinesh Kanagaratnam, Lyrics – Vairamuthu (PICK)

AR Rahman starts the album with this track which has a Spanish/Salsa base to it. With the EDM beat at the background, Rahman picks the frontrunner for Thalaivar’s intro songs to croon this one. Though I would have loved more of ADK in the mix, SPB’s superb rendition takes this through. Watch out for the Arabic and string bits which are effortlessly fused into the composition.

En Mannava: Singers – Aditi Paul, Srinivas, Lyrics – Vairamuthu (PICK)

Being the love duet set in the historical portion, Rahman ropes in a Hindi flavour to this track. With the lovable vocals of Aditi Paul which come with Srinivas’ able support, this song ends up being a beauty. Vairamuthu’s lyrics add a wonderful essence to the song, which has the classical interludes as the icing on the cake.

Indiane Vaa: Singer – AR Rahman, Lyrics – Vairamuthu

Though ‘Indiane Vaa’ brings back memories of the composer’s tunes in Kochadaiyaan, Rahman and his flawless rendition are more than enough to keep this song in the ring. Vairamuthu’s inspirational lyrics which stress on the importance of water and the feeling of togetherness do convey the intentions well. Towards the end, the song does get a tad too lengthy and crawls towards its finish.

Mona Gasolina: Singers – Mano, Neeti Mohan, Tanvi Shah, Lyrics – Madhan Karky (PICK)

If you were waiting for the point where AR Rahman gets unpredictable and goes crazy, it is right here. Mona Gasolina is an out-of-the-box track which is rocketed up with Mano’s vocals, the ante rising with the passing second. His voice modulation along with Neeti’s and Tanvi’s stylish rendition take this peppy track to an enormously entertaining level. Smart work from Madhan Karky too!

Unmai Oru Naal Vellum: Singer – Haricharan, Lyrics – Vairamuthu

The only track in the album with no recall value. Even though Haricharan tries to keep this going, the song gets monotonous and goes stale. To be frank, this doesn’t even sound like an ARR composition.

Lingaa is a sparkling soundtrack, with its own share of innovation and enjoyable moments. Albeit being far from AR Rahman’s best, the composer has come up with a fitting soundtrack for a commercial movie. The songs will surely get onto you with repeated hearings, and sound even better with the visuals. Lingaa isn’t among the golden club of AR Rahman, but at the same time, it is by no means a bad album.

The mozart churns out another entertaining album for the Superstar!

3.5 / 5

Thirudan Police

Films on father-son relationships in Tamil cinema are abundant, and Thirudan Police is the latest addition to the long list. Though this is a tried and tested formula, debutant director Caarthick Raju comes up with a novel screenplay which keeps the viewer engaged for most parts.

Thirudan Police starts off with Attakathi Dinesh being projected as a wastrel, who steals money from his dad’s pocket and creates havoc by picking a fight with a neighbour. Dinesh has no respect or affection for his father (Rajesh) who is introduced as a honest police constable who lives up to his name. A play of politics inside the department, and Rajesh is planned and murdered by a local goon. Dinesh gets the job of the constable thanks to the kind hearted higher official (Aadukalam Naren), and from thereon, Thirudan Police is the story of how Dinesh avenges his father’s killers.

Although Thirudan Police begins on a predictable note and a dash of melodrama, it slowly turns into an interesting film which doesn’t let you squirm. One may find faults with the love tracks or dragged action sequences, but otherwise, this is a film with its own share of comedy, entertainment, sentiments and what not. The director saves his best for last, offering a final 30 minutes where the heads of the cast come together to create a laugh riot. Kudos to director Caarthick Raju for coming up with a different climax, contrary to other films where the screenplay paves way to the stunts.

Attakathi Dinesh might just be the right pick for the role, as the script demanded a hero who looked just enough convincing to play a constable. Emotions come very easily to him, and he is able to depict a variety of expressions onscreen. Ishwarya Rajesh is a neat heroine, but one does have the doubt whether the film really needed a love track. But the show stealers in Thirudan Police are Naan Kadavul Rajendran and John Vijay who bring the roof down with their timely comics. Their dialogues in the climax will surely stay in your head once you walk out of the cinema hall. Apart from them, Thirudan Police boasts of some impressive performances from veterans like Aadukalam Naren and Rajesh. Even SPB’s cameo, comes at an important point and is likable too.

Technically, the film has decent cinematography, added with bright DI. The crisp editing does not let the film wander at any point, at a runtime of two hours and a quarter. Music by Yuvan is peppy, as it becomes enjoying coming with acceptable song placements. The composer has seriously tried out something new for the background score, as it ups the ante of the film, be it the serious portions or the comic ones.

Caarthick Raju must be lauded for his matured dealing of the script, which will surely take him places if continued in the future. Thirudan Police is a good watch for the weekend, as it is an enjoyable film which will surely put a smile on your face. 

Taut police.

3 / 5

Isai (Music)

SJ Suryah’s Isai is becoming an interesting film to watch out for, after the release of the trailer which garnered some attention. The music of the film released today, let’s take a look at how it sounds.

Puthandin Mudhal Naal Idhu : Singer – SJ Suryah, Lyrics – Madhan Karky

With a catchy tune at the start, this song goes on to become a grand listen. The beats and the electric guitar blend pretty well with SJ Suryah’s hard vocals, finishing on a compelling note.

Isai Veesi : Singer – Chinmayi, Lyrics – Madhan Karky ( PICK )

Here comes the best track in the album. Chinmayi’s vocals are the USP of this number which has a watery aura all around. The lyrics are another asset, making this a hauntingly beautiful one to lend your ears to.

Atho Vaanile Nila : Singers – Karthik, Chinmayi and Deva, Lyrics – Madhan Karky

Although the beat at the beginning sounds similar to ‘Nila Adhu Vanathu Mela’, this track is a listenable one thanks to Karthik’s and Chinmayi’s vocals. Deva’s bit towards the end is a pleasant surprise.

Nee Poiya : Singer – Vijay Yesudas, Lyrics – Madhan Karky ( PICK )

SJ Suryah’s attempt to make a track in pathos turns out on the greener side. With minimal instrumentations and matured rendition from Vijay Yesudas, Nee Poiya is a moving number.

Dirty Dancing : Singer – Shalini Sing, Lyrics – Shalini Sing, Georgia Sing

A pedestrian kuthu song with unimpressive vocals and lyrics. Skip!

Themes : Singer – Chinmayi

SJ Suryah comes up with three themes, with are belted with impressive instrumentations and controlled vocals from Chinmayi at the background.

SJ Suryah’s Isai is a mixture of impressive sounds and tunes. The composer must be praised for keeping the orchestrations within control and offering good space for his singers to take charge. Isai is a neat debut for the director/actor as a music composer.

An impressive and interesting debut!

3 / 5

Kayal (Music)

Prabu Solomon and D. Imman. After two outstanding albums in Mynaa and Kumki, the duo are back for their next, which is a love story set in the backdrop of the 2004 Tsunami. How are the songs this time?

All lyrics have been penned by Yugabharathi.

Paravaya Parakurom : Singer – Haricharan ( PICK )

One more gem to add to Haricharan’s long list of impressive songs this year. The orchestrations fit the vocals to perfection, making this a flawless track on all terms.

Yengirundhu Vandhaayo : Singer – Shreya Ghoshal

A lilting melody sung in a gloomy aura. The music slowly climbs up on the tempo ladder, along with some beautiful violin leading to the tabla. Shreya’s voice is an asset to this one.

Koodave Varamaadhri : Singer – Alphonse Joseph

A track on the slower note, which is rendered well by Alphonse Joseph. Passable one, this.

Yen Aala Paaka Poren : Singer – Shreya Ghoshal, KG Ranjith

Shreya Ghoshal is back with a stupendous rendition in Yen Aala Paaka Poren, which is tossed across a healthy mix of simple and organic instrumentations.

Unna Ippo Paakanum : Singer – Haricharan, Vandana Srinivasan ( PICK )

This is where Imman brings all his talent together. The tune, orchestrations and the vocals gel so well along with the lyrics, making this a heavenly listen.

Deeyalo Deeyalo : Singer – Oruthanodu Gopi

A folk track which is a regular in Prabu Solomon’s films. And it stays regular at that.

Yenga Pulla Iruka : Singerr – Balram ( PICK )

Lovable end to the album, with a cry of a man who is in search of his love. Balram’s vocals add flavour to the track, which boasts of some brilliant chorus bits.

Though Imman doesn’t venture out of his usual base and style of music, Kayal is a soothing journey for lovers of the melodious genres. The album is replete with live instrumentations and the composer’s choice of talented renderers. Belted with Solomon’s visuals, these songs will surely create magic on the screen.

A concoction of emotions, in trademark Imman style.

3 / 5

Anegan (Music)

KV Anand is back with Anegan, which has Dhanush in the lead role. Touted to be a film with Dhanush playing four roles in four different time periods, Anegan has music by Harris Jayaraj. Let’s look at how the tunes have cropped up for the film.

Danga Maari : Singers – Dhanush, Marana Gana Viji, Naveen Madhav, Lyrics – Rokesh ( PICK )

An exciting kuthu track to start things off. The trumpet sounds gel well along with the beat and are used effectively, especially in the interlude after the first stanza. Dhanush’s works on the mic are the best parts of the song, and the other two singers aid him well and make the listener wait for the high point. Rokesh’s lyrics are local at the lowest levels, something mandatory for this type of a song. Instant winner!

Roja Kadale : Singers – Shankar Mahadevan, Chinmayi, Sunidhi Chauhan, Lyrics – Vairamuthu

Once again, Harris isn’t original with his beat here. The concoction of the laudable lyrics and the vocals don’t go to well here, making this just a passable track.

Aathaadi Aathaadi : Singers – Bhavatharini, Tippu, Dhanush, Abhay Jodhpurkar, Lyrics – Vairamuthu

Though Harris directly rips off his tune from one of last year’s best songs, Aathaadi Aathaadi is a soothing melody to lend your ears to. The choice of singers are probably the USP here, along with Vairamuthu’s stellar lyrics which create a likable aura.

YOLO - You Only Live Once : Singers – Shail Hada, Ramya NSK, Richard, Lyrics – CS Amudhan

On the lines of Shaggy’s hippie beats, YOLO comes off as a shot at a calypso number. But the song gets disinteresting as it goes, and fails to excite as much it intends to. Though this is a new attempt, it falls flat and dies out without creating an impact.

Thodu Vaanam : Singers – Hariharan, Shaktisree Gopalan, Lyrics – Vairamuthu ( PICK )

Harris is always known for his melodies, and atleast one enjoyable song is sure to come your way. In that array comes Thodu Vaanam, which has Hariharan at his best. A completely likable track, which has assets like Shaktisree’s voice and Vairamuthu’s lyrics to its name.

Deivangal Ingae : Singer – Sriram Parthasarathy, Lyrics – Kabilan Vairamuthu

Harris keeps this light, with a simple tune which offers a lot of space for Sriram Parthasarathy to score. The sweet additions of the female chorus and chime sounds make this number a harmless one on the whole.

Though Anegan is not Harris’s best in recent times, the album offers a good blend of commercial music. Yes, the composer has taken a leaf out of many other songs, but the end result is satisfying and surely won’t be a tiresome watch on the big screen. Anegan ends up on the safe side, an album which will hold on until the film comes by.

Borrowed ingredients, likable curry.

2.75 / 5

Oru Oorla Rendu Raja

In one of the comic sequences of the film, Soori tells Vemal to join Facebook and Twitter. And our so called street smart hero replies by saying “Adhula laam sera evlo da selavu aagum?”. Yes my dear friends, Oru Oorla Rendu Raja is replete with jokes of this kind, some even worse.

OORR begins as a no-brainer, just like many other films which have been churned out in the past. Vemal and Soori are introduced as two happy-go-lucky fellas, who happen to catch a train thanks to an inane flashback story. Director R.Kannan does spray some spice with Priya Anand’s entry, as the story takes an interesting turn with the actual plot coming into play. Vishaka Singh has a good role here, with an important issue as the pivot. But once that’s wrapped up, it moves onto a rather predictable and uninteresting track filled with clichés and unnecessary commercial infusions. Kannan’s inability to grip the viewer with an engrossing screenplay hits back at him, the film is devoid of a clap worthy moment on the whole.

Walking out from his earlier films and walking into this one, Vemal continues to be the stick. The amount of expressions on his face are just a handful, as there is nothing to take away from his part. Soori continues to be the annoying piece, as his character keeps reciting one-liners which receive a straight face. However, one must laud him for his dancing skills which have gone up by a mile. Priya Anand is the saving grace of OORR. With more screen space than the heroes, her character in the film has been penned well, with a notable amount of maturity and scope to perform. Nasser has one of his worst makeovers ever, accompanied by Anupama who has the same grumpy expression to showcase throughout the film.

Cinematography by PG.Muthaih is neat, except for the overdose of aerial shots. The songs have been shot with a lot of colors which make them visually appealing, especially Mazhakaatha and Sundari Penne. Editing is decent at just over 2 hours, as pulling the film anymore would have made it a drag. Imman’s work in OORR is on the positive side, helping the film with both the songs and the BGM.

Oru Oorla Rendu Raja ends up being the film we all thought it would be. After an impressive debut in Jeyam Kondaan, it is saddening to see Kannan coming up with trashbags like Kanden Kadhalai, Settai and this one. At the end of the film, a card pops up saying ‘Save Human’. I’m hoping the director didn’t mean the audience.

One city two kings. One review two stars. 

2 / 5

Poojai

Poojai comes up as Diwali’s ‘overflow’ release. Produced by Vishal with himself as the lead, the film boasts of an ensemble starcast, and Hari’s usual tech team. So what works, and what doesn’t?

Poojai is a cocktail of Hari’s earlier films (excluding the cop stories). The film follows the usual commercial routine of comedy, songs, fights and family sentiments. Hari spins his story around a flurry of characters, linking them up to each other and finally sorting things out. Thanks to the lead pair Vishal and Shruti Hassan, the film is watchable throughout. While Vishal keeps it going with his manly acts, Shruti and her cute expressions provide the much needed ‘aww’ moments. The comic track which includes Soori, Pandi and Imman Annachi never manages to tickle the funny bone, except for a few one-liners. Sathyaraj and Radhikaa Sarathkumar do have notable roles to play here, but their characterisation is half baked, which results in an average final note. The rest of the cast which includes Abinaya, Thalaivasal Vijay, JP and more do fit the bill well.

Technically, Poojai is just decent with mainstream cinematography and hurried editing. The stunts are the solace in Poojai, executed well by Vishal. Music by Yuvan is pedestrian, and his stale re-recording adds to the worries.

Director Hari sticks to his basics and comes up with yet another film on the same lines as his previous ones. Poojai has some interesting moments here and there, but the excitement is brought down with the insertion of forced comic sequences and unwanted melodrama. Had the director concentrated on bringing in some more brain into the script, the film would have ended up becoming a racy tale to watch. Right now, it just ends up being a commercial entertainer to watch if you have nothing else to do.

Customary commercial potboiler!

2.25 / 5

Kaththi

Diwali and big star films go hand in hand. And this Diwali, it's Vijay. After a plethora of problems, conflicts and confusions, Kaththi finally arrived today to a thundering response, sure to begin on a bang. AR Murugadoss joins hands with Vijay for the second time post Thuppakki, does Kaththi match up to that? Read on.

While Thuppakki was more of an action thriller, Kaththi has a strong emotional side to it. Though the first 40 minutes are a big bore, the film picks up right from an intriguing fight sequence between Vijay and two girls. Vijay's tryst as Jeevanandham is one of the high points of the movie, as it deals with a hard-hitting issue in the best possible way. Post the interval, the content takes centrestage with well researched facts and figures. AR Murugadoss saves his best for the end, firing on all cylinders with his excellent dialogue writing.

Yes, Vijay plays a dual role in Kaththi and his performance quotient in the film has surely doubled up. Be it the trendy Kathiresan or the soft Jeevanandham, this guy is a revelation. His acts in the emotional scenes are on another level, and connect quickly with the audience. Dance and fights are something which come easily to the star, and that continues in Kaththi too. Though Kaththi does have a tinge of his earlier films where he saves the people on his own, it is distinct in its own way. Samantha as Vijay's pair has been used effectively at the right places. Her role in the film is compact, offering less space to perform and just be the glam doll. Neil Nitin Mukesh is a thumping villain here, dubbing his lines to near perfection too. Just like Vidyut, we won't mind seeing him in more movies down south. The rest of the cast including Sathish are aptly placed, mainly the grandfathers who have worked along with Vijay. 

Technically, Kaththi is a storm. The film possesses stunning visuals thanks to George C. Williams. Editing by Sreekar Passed is neat, yet a few trims in the first half would have stepped on the pedal. The art direction is surreal, and the stunts do bring up the anti, especially the coin flip fight sequence. Anirudh's songs dont find themselves good placements, but he co-ops it up with stellar re-recording. 

Kaththi is no 3 hour entertainer to go enjoy, have dinner and go to bed. The film deals with a deep social issue. The audience here, are more like the media in the film. They will not care if this kind of an issue is shown on TV, written in a book or spoken about publicly. But with a star like Vijay at the forefront, this film is sure to turn heads. The silver lining here is Murugadoss, who walks the tightrope between being preachy and being massy, with absolute elegance!

This knife shines on one side, smiles on the other.

3.25 / 5

Yaan

Most of the successful directors in Tamil have reached their spot not because they come out with glossy and technically sound movies. They are there because of their ability to keep the audience pinned to their seat with their paperwork, which has to be coupled with good execution. Ravi K. Chandran dons the directorial hat for Yaan, and what could have been a superb debut falls short by a mile thanks to some absurd writing and amateur narration.

Yaan doesn’t begin on a bad note itself, the film starts off looking to be promising thanks to a decent action block followed by a breezy romance between the lead pair. Right from the intro, Jiiva carries the film on his shoulders, be it comedy, action, expressions or the liveliness. It is really astounding to see how jovial this guy is, as he keeps the film going whenever he’s onscreen. The film has its chances to get better, but Ravi spoils it with his unnecessary addition of commercial elements which eventually turn out being an overdose. The attention given to make the film feel like a glossy Bollywood romcom turns out to mar the flow of events which make the viewer squirm. The director keeps the main plot to himself until the interval block, from where the film falls from the watchable level it attained, and finally turns out to be an unintentional comic. The second half is mundane, be it the premise, events or the action sequences which are a hush. Adding to the agony, there is a song in pathos, and another one at the height of a pitiful moment. When the film ends, I was happy. Happy that I could board a bus back home.

If Yaan does have a silver lining, it is Jiiva. Brimming with energy, Jiiva is the live wire in movie. Though the narration fails to excite you, this guy is your consolation prize for buying a ticket. It might be too early for Thulasi Nair to be the mainstream Kollywood heroine, but she does fit the bill to extent. Moreover, this is a commercial film and we don’t need a heroine who actually knows to act. Thulasi with a handful of expressions is adequate, you might think. Nawab Shah as the villain is of no use, and turns out to be nothing more than a Bollywood puppet brought in to make the cast sheet look good. The supporting cast is neat, but you did expect better from veterans like JP and Nassar.

Manush Nandan does a superb job with the lens, especially in the song sequences which ooze with colors. At a runtime of 156 minutes, the film does test your patience and better cuts could have given it a shot at being engaging. The much-hyped action sequences choreographed by the men who worked in ‘Inception’ do not manage to light a spark and end up being an eyesore. In fact, there are no interesting action scenes except for the first run with Jiiva and Thulasi. And yes, was the film shot in Morocco or ‘Basilistaan’?

Harris Jayaraj’s middling music gets some appreciable picturisation, but the song placements do really make them turn into walkout breaks. While his BGM makes you ‘wow’ at places, at the others it is downright awkward.

Ravi K. Chandran came up with a fairly appealing premise. It’s just that the film is contrived in such a way that it tries too hard to be a classy commercial, and ends up being a complete mess. The action blocks are forced, the romance lacks the feel, and logic goes for a toss. Yaan is all bright, but no beauty. It would be great to see the director going back to what he does best, cinematography. 

Wannabe glossy commercial which goes berserk!

2 / 5

Jeeva

Films with sport as the backdrop have plunged Tamil Cinema, especially in the last decade. There has been a flurry of films with a pinch of difference between each other, in context to the storyline. Suseenthiran teams up with Vishnu Vishal for Jeeva, a film which stresses on the darker sides of the game.

Unlike usual sport-based films, Jeeva has a professional angle at the game with real cricketers who play textbook shots and follow the basic technique. Though VFX is used at some places, the aura of an original cricket game is brought about to an extent, making it an enjoyable experience when it comes to watching the matches onscreen. While the cricketing side of Jeeva is its trump card, the romantic portions take away the excitement. The scenes in the first half between Vishnu and Sri Divya are unnecessarily stitched into the screenplay. Suseenthiran does keep them to their limits, as the screenplay immediately shifts itself to the main plot when the film starts to drag. Coming into the second half, Jeeva is an emotional ride with Soori’s funny moments peppered all over it. There is intensity, believable cricket, fun, family and everything else you need to have in the mix. You will love the cameo at the end, for it has a cute little twist embedded with it.

Being a cricketer in his early days has helped Vishnu mould into his character with elan. He is jovial when it comes to the lighter moments, and saves his performance for the moving moments in the second half. Cricket is something which naturally comes to this guy, and that is what makes Jeeva different from the other films – an organic touch which is very essential. Sri Divya is adequate and pulls off a decent performance with her expressions at the brink. Lakshman is an apt pick for the role, rather than going for a famous face to gain popularity. Ravi as the coach is firm, along with the rest of the cast who are handpicked by Suseenthiran.

Madhie’s camera captures the sequences beautifully, as the noticeable flares add a special feel to the songs. Editing by Ruben is crisp with a running time of just over 2 hours. Imman’s songs are flushed into the narrative, but his re-recording for the intense portions is truly hair-raising.

Suseenthiran comes up with an appreciable show in Jeeva. His laudable paperwork is propelled even higher with the help of Vishnu’s clap-worthy performance. The director has a subtle storytelling technique, which makes the film a good one on the whole. Jeeva may not be an inspiring film, but it does throw some light on the issues which are lesser known to the common public. Give this a watch, for it is definitely worth one. 

Commendable cricketer!

3 / 5

Kaththi (Music)

A man who never ages. And a man who composes coming-of-age tunes. Ilayathalapathy Vijay and Anirudh’s first time combo for Kaththi, the music is out now. Here is my review of the album, does this knife shine?

Pakkam Vandhu : Singers – Anirudh, Hip Hop Tamizha, Lyrics - Madhan Karky and Hip Hop Tamizha ( PICK ) 

The exciting combo of Anirudh and Hip Hop Tamizha come together for their hat trick number – Pakkam Vandhu Konjam Muthangal Thaa. Anirudh starts off the album with a bang, bringing in an innovative fusion of a club tempo with Indian flavors of the pipe and mridangam. Hip Hop Tamizha’s lyrics are lovable in the first half, heart-hitting in the second. The mixing is top notch for this number which will be a regular at the discotheques hereon.

Paalam : Singers – Shankar Mahadevan, Shwetha Mohan, Lyrics - Yugabharathi

Beginning on the beat of a Punjabi parade, this track moves onto a Carnatic tune and finally ends with a kuthu rush. Anirudh tries to infuse too many Indian genres into the same song which ostensibly take away the essence on the whole. Shankar Mahadevan and Shwetha Mohan cash in with their lively vocals, yet Paalam is a step below the other songs in the album.

Kaththi Theme ( The Sword of Destiny ) 

An energizing theme which is short and superb. However, the ‘Kaththi Draw’ bit at the end could have been done away with.

Selfie Pulla : Singers – Vijay, Sunidhi Chauhan, Lyrics - Madhan Karky ( PICK )

Though Selfie Pulla drives itself on a tune which is quite familiar for a ‘Vijay’ soundtrack, the star is in dashing form in front of the mic. His voice modulation is on another level, which makes this track such an enjoyable listen. Madhan Karky’s lyrics propel the song even higher for this is one track which will go on to be one of the biggest hits in 2014. Facebook and Twitter, likes and shares aplenty!

Bad Eyes ( Villain Theme )

Anirudh once again grinds a snazzy beat with an Indian instrument, this time the veena. The result is an astounding theme. Kickass!

Nee Yaaro : Singer – KJ Yesudas, Lyrics - Yugabharathi ( PICK )

In hindsight, Anirudh’s peppy tunes usually appeal to a bigger audience, but the lynchpin of his albums are the melodies which turn out to be a delight in the long run. Nee Yaaro finds its place on those lines, a soulful rendition with a simple tune which will create the necessary aura in the film.

Aathi : Singer – Vishal Dadlani, Anirudh, Lyrics - Pa. Vijay ( PICK ) 

After the success of their first song together, Vishal Dadlani and Anirudh join hands for another track which is competent to the first. Anirudh smartly uses the ‘Sword of Destiny’ theme here as the rap portion, and it does grab the attention pretty quickly. An instantly likable number, sure to climb up the charts soon.

A Vijay film needs chartbusters and Anirudh provides that and more. Kaththi is an album with fresh and enjoyable music which is sure to strike gold with the masses. Putting his talents to best use, Anirudh has churned out an arresting album which will be lapped up by Vijay fans. The celebrations begin, never to cease.

VnA - Voltaic and addictive.

3.75 / 5

I (Music)

The biggest film of the year, ‘I’ has its music release today. With AR Rahman in control of the department, the expectations are sky high for an album filled with chartbusters. Do we get what we deserve? Read on.

1. Mersalaayiten : Singer – Anirudh, Neeti Mohan, Lyrics – Kabilan

The youthful vocals of Anirudh come together with Rahman’s electronic tune, set to ‘local’ lyrics. The Atari-ish jingle and the Arabic string interlude are the best parts of the song, which has a heavy dose of autotune. The song lacks AR Rahman’s magical touch and sounds bland and repetitive post the halfway mark.

2. Ennodu Nee Irundhal : Singer – Sid Sriram, SunithaSarathy, Lyrics – Kabilan ( PICK )

AR Rahman brings in a fusion of light drums along with the accented voice of Sid Sriram for this lilting melody. Though the lyrics are ordinary, the instrumentation haunt you while the vocals do take it to level respectable. The back end of the song features a lovely chorus which ends it on a high.

3. Ladio : Singer – Nikita Gandhi, Lyrics – Madhan Karky

Two of AR Rahman’s contrasting tunes intertwine themselves for Ladio, which is an international dance number made for Amy Jackson’s fashionista intro in the movie. Nikita Gandhi’s modern vocals take this over, aided by MadhanKarky’s trendy lines. The instrumentation is on the lines of a pop number, and doesn’t hold onto you once you are done listening to it.

4. Pookale Sattru Oyivedungal : Singers – Haricharan, Shreya Ghoshal, Lyrics – Madhan Karky ( PICK )

If you came into this album looking for that one flawless track, here it is. The lovely vocals of Haricharan and Shreya Ghoshal along with the mesmerizing tune provide a heavenly feel on the whole. The rendition is near perfect with melodious orchestrations which do not get too loud at any point. A superb melody which deserves a click on the repeat button. Must laud MadhanKarky’s magical lyrics and AR Rahman’s droplet sounds that add an enjoyable essence to the song.

5. Aila Aila : Singers – Aditya Rao, Natalie Di Luccio, Lyrics – Madhan Karky ( PICK )

One of those ARR numbers which sound prosaic at first but grab your liking later. AR Rahman’s innovative tune comes to the front more than anything else, but a special mention has to be given to Natalie Di Luccio, who has struck the jackpot which her rendition which is highly appealing. The song has a lot of towering moments, which will surely set the screen ablaze with the colourful visuals.

6. Ennodu Nee Irundhal (Reprise) : Singers – Chinmayi, Sid Sriram, Lyrics – Kabilan ( PICK )

If you loved the first version, you are bound for more. Chinmayi croons this one with all her heart, along with the instrumentations which possess more strings this time. Sid Sriram comes back for more, but the best part of the song truly is the female vocals from the word go.

7. Mersalaayiten (Remix) : Singers – Anirudh, Neeti Mohan, Lyrics –Kabilan

The album ends on a lifeless rehash of the first song. The music is rushed and the drums are infused even harder, with the true plus points of the song taken away without a trace. A disappointing remix, solely for the dancers at the club.

I is by no means a bad album. But by AR Rahman standards, it is a little underwhelming on the whole after a flurry of impressive albums. Nevertheless, we have a decent fare to which Shankar can open up his visual talent to. Let's wait and see.

Satisfyingly impressive.

3.25 / 5

Aranmanai

Horror comedies are a good genre to watch on the big screen, if packaged with the right ingredients and showcased in a decent manner. Sundar C does just that with Aranmanai, by picking a good script with a strong cast as the spearhead.

Though Aranmanai follows an already treaded path in terms of its screenplay, Sundar C manages to fit in the right elements to appeal to most sections of the audiences. There are cheap thrills, slapstick comics and women objectifications on one hand. But on the other, there are strong performances, appreciable commercial writing and some laugh worthy scenes with Santhanam at the centrestage. The best part of Aranmanai is the fact that it is a film with the female characters at the forefront, and the male ones underplaying themselves in the background.

Sundar C does hold on to revenge as the central crux but yes, it is the way he puts things on screen which do the trick. After a wavered first half, the film turns well at the halfway mark and moves at a likable pace in the second. Belted with a standout performance from Hansika and a glamour bonanza from Rai Laxmi, Sundar C ropes in the right person in Andrea to play the matured role. Vinay and the director himself are just propellers in the story, nevertheless they have their own moments at the right times. The rest of the supporting cast are adequate, importantly Kovai Sarala and Manobala who bring the roof down along with Santhanam.

Technically, Aranmanai just passes muster with average cinematography and fine editing. The VFX is an eyesore, resulting in a big setback to the film. Bharadwaj's music too, mars the effect that Sundar C has created with his colorful picturizatons. However, Karthik Raja's re recording is acceptable with the usual ooohs and aaahs.

On the whole, Aranmanai might not scare you much. Nor does it have something out of the box. But it successfully sets out doing what it intended to. The three girls in the movie might just be the icing on the cake. Go for this one if you liked the last flick in the genre - Yaamiruka Bayamey.

Passable palace.

2.5 / 5 

Amara Kaaviyam

Jeeva Sankar stepped on the dais with Vijay Antony's Naan, a tautly made thriller which was a runaway hit at the Box Office. Come 2014, and we have Amara Kaaviyam, his second film as a director. After attempting to make a thriller in his first, the cinematographer cum director flips onto the romantic side with this one. Does this turn out to be as poetic as it is publicized to be? Read on to find out.

Amara Kaaviyam is one film which tries too hard to be a poem on celluloid. When it tries to be detailed, it ends up being slow. When it tries to become intense, it turns melodramatic. And there are many such turn-offs. The whole film is based on a core idea which was brittle to my eyes. The first 45 minutes were underwhelming to say the least, and albeit the film picking up from there, the end result isn't something on the positive side. Jeeva Sankar's script is totally devoid of comedy, which in the right amounts could have really changed things for the better. It is a series of middling events in the lives of two people in love, which fail to hold your attention. 

Coming to the casting, Arya's brother needs to improve a lot. Though his facial makeover fits into the role of a schoolboy, he is stiff in the acting quotient and truly needs to get better. The team could have been appreciated if they had found a heroine who looked a tad younger. Instead, they have zeroed in on this lady who looks 2 times elder to Sathya. However, Miya comes up with a performance which deserves a special mention. Her facial expressions are top notch and she is one of the actresses who will make a mark here, flying in from God's own country. The rest of the cast are apt, be it Ananth Nag or the the lead pair's parents.

One really wishes that Jeeva Shankar continues as a cinematographer and steps into bigger projects. His camera pans through the lush green locales of Ooty, canning in some brilliant shots in the process. Amara Kaaviyam is a visual delight, no doubts. The art direction is decent, taking good care of a film set in the 80s.

Ghibran's music is the linchpin of Amara Kaaviyam and adds life to the film. Albeit his mesmerizing songs not receiving superb picturizations, his background score is haunting and is one area in the film which is flawless. Pity this talented guy for not being a part of a worthy film, although being honest to his profession all along.

Amara Kaaviyam is said to be based on a true incident. Unfortunately, neither the happenings leading to the incident or the incident itself is something which will raise your eyebrows. The much hyped climax is a let down too. If Nayanthara wept after watching this, I'm afraid the reasons might have been different.

Irumbu Kuthirai

Amongst a flurry of young directors making notable debuts comes Yuvaraj Bose, with a film with bikes as its backdrop. Irumbu Kuthirai is Atharvaa's next outing after the highly coveted Paradesi which bought him tons of appreciation and accolades. So I walked into the film with zero expectations. This is what hit me.

So mister Yuvaraj Bose had an excellent actor in Atharvaa. Two gorgeous girls. A fierce villain. A big budget and a strong technical team. And then, he comes up with this. Irumbu Kuthirai is one of those films with everything going right only until the director decides to screw it all up. To be frank, the story is something with decent potential to be carved into a good movie. But it is the director's shoddy screenplay and amateurish execution which makes a mockery out of all the goodies given to him. Right from the first frame, you can look for novelty with a magnifying glass and you'll still fail badly in finding it. Be it the comic scenes or the romantic track, there is absolutely nothing which will widen your eyebrows except for the premise. The story moves in all predictability, except for the last 20 minutes which is your consolation prize for spending an hour and a half, squirming in your seat.

If you clicked on my review and expected to find the plot of Irumbu Kuthirai, read here - Atharvaa is a cold footed biker. Why and how does he turn into a skilled biker? Well, that's about it.

Priya Anand is cute, Lakshmi Rai is hawt, Jegan is funny at times and Devadarshini emotes beautifully. With a cast like this, one does realize the heights this film could have gone to aided by some smart paperwork and level headed treatment. But that is a far cry. Quoting examples, there is an emotional scene just when the mercury seems to be rising. Atharvaa starts the bike, a song begins. Atharvaa stops the bike, the song ends. In fact, here is one movie where all the five songs are of no use to the main script. The fight between the protagonist and the villain at the end is so forced, the IQ of a 5 year old is sufficient to arrive at the final result. I felt like waiting for the marks of an exam where I had just written my name on the answer paper.

One of the things I'm really waiting to talk about is the music of the film. Except for Ange Ippo Enna Seigiraai, there is not one track in the film which is watchable onscreen. The songs don't even have an iota of innovation in them, for I really wished to have someone hand over a remote to me. The background score is directly ripped from the prized compositions of Hans Zimmer and Skrillex. Sample this, the very first shot of the movie has 'Lost but Won' from Rush playing in the background. Give this man a medal.

So is there something that actually works in Irumbu Kuthirai? Yes. In technicalities, the film is lion range. Cinematography by RB.Gurudhev is stunning with a Hollywood-ish color tone and bright visuals. Gopi Amarnath has been roped in for the action sequences and he too has done complete justice to bring out the best with the camera in hand. Credits to the editor for trimming down the film to a crispy two hours, with interesting transitions and flash cuts. These are the saving graces of this iron horse, kudos guys!

Films like Irumbu Kuthirai don't get me red. They disappoint me, for what a wasted opportunity they turn out to be. People don't come to the theatres to see six pac abs, colorful songs and speeding bikes. They come to films of these types with just one notion - to forget the outside world for a couple of hours and get 'entertained'. Irumbu Kuthirai is nowhere close to that.

Corroded bike.

2 / 5

Kaaviya Thalaivan (Music)

AR Rahman. The name is enough to send off a impacting ripple all throughout the world. And when the composer has an album release lined up, everyone slots their ears in the right position. Kaaviya Thalaivan is his next album, which has just hit the racks today. Here we are with our music review of the album, which is said to be a first of its kind from the composer. Does it really live up to the hype? Read on.

Vaanga Makka Vaanga : Singers - Haricharan, Dr. Narayan, Lyrics - Na.Muthukumar

The introductory song in the album which talks about the theatre group 'Mathura Sree Balashanmughanandha Nadagai Sabha'. Haricharan's voice takes over the song right from the word go, in perfect sync with the lyrics. After a slow start calling one and all to the play, the use of the drums shift the song to an intense level. Soon come the morsing (extremely rare these days) along with the strings which add the heavenly feel to the song. Na.Muthukumar's lyrics depict the different aspects of a theatre group with an eagle eye. The composer's brilliance comes into play by bringing in the vintage sounds of a drama along with a tune which will appeal to one and all. Brilliant!

Aye Mr.Minor : Singers - Haricharan, Shashaa Tirupati, Lyrics - Pa.Vijay

Here, AR Rahman brings in his flute to the forefront, unlike most of his other songs where it is left dwelling in the background. When the sweet vocals of Shashaa Tirupati begin, the beat changes to that of a mesmerizing 1980s number. Both the male and female rendition work in tandem with each other, adding the 'darling' flavour to the song, just as intended. Rahman's interludes are grand, with the use of strings in the right places. And when it comes to the lyrics, one must laud Pa.Vijay for his rhyme which is the final topping to make this a relishing delight.

Sandi Kuthirai : Singer - Haricharan, Lyrics - Pa.Vijay

AR Rahman at his naughty best! His play with the instruments make this a fun track to listen to. Be it the little chorus bits, natural sounds or the cartoonish pings, this track is foot tapping on the whole. Watch out for Haricharan's magic in the second half, where he goes on a streak of mentioning the animal offsprings, which are smartly written by Pa.Vijay. To top it all, you have the interesting use of the xylophone at vital parts of the song. Much like a piece in gratitude to the legend, MSV.

Yaarumilla : Singers - Shweta Mohan, Srinivas, Lyrics - Pa.Vijay

Another song which begins with the flute. Shweta Mohan's flawless rendition is the linchpin of this one, which does take some repeated hearings to get onto you. The amalgamation of the soft sufi-ish tabla, captivating vocals and the neatly written lyrics are a joy, but they all come to a pause when Rahman unleashes his divine weapon through a lilting chorus lead by Srinivas, halfway through the song. The rhapsodic vocals do make this track a truly charming one to say the least. Sweet!

Sollividu Sollividu : Singer - Mukesh, Lyrics : Pa.Vijay

Rahman. You keep asking him for more, and he keeps gifting you. Sollividu Sollividu is Rahman's revisit to his own Sakthi Kodu, on a classical terrain. A song where the mythical character Arjuna pleads toLord Krishna, asking him to stop the war. Mukesh's talent blooms out in epic proportions, and he must be appreciated for his diversity which is evident in this track while differentiating between Karna and Kanna, also the moving Karnamotcham at the end of the song, leaving you in tears. If this song doesn't create an impact on you, I don't know what will.

Thiruppugazh : Singer - Vaani Jayaram, Lyrics - Saint Arunagirinathar

This little but pivotal song comes off from the Thiruppugazh itself, written by Saint Arunagirinathar. A completely classical bit, sung to perfection by none other than Vaani Jayaram. Rahman keeps the instrumentations minimal along with the timely use of chings, but this is otherwise a song which is dominated by the charming rendition.

Alli Arjuna : Singer - Haricharan, Bela Shinde, Lyrics - Vaalee

Written in length by the late Vaalee, this is a ten and half minute long play which has been delivered in the audible format, beforehand. It occurs in eight parts, as highlighted.

Haricharan starts off with Vandhanam Vandhanam which is the welcome song to the play, belted with nadaswaram and melam sounds. InYaadhavanam, Haricharan narrates the romantic episode betweenArjuna and his love Alli. The music is mostly basic, leading to a light drum beat at the end. Rahman brings in his talent in Alli Varugiraal, which speaks about the beauty of Alli, and the man's reactions towards her. Alli responds through the voice of Bela Shinde in Priya Sakhiyae, aided by a  minimalistic tabla beat which stays tamed to the rendition. The tune gets heavier as the song moves on, transforming into a perky beat. In Kanna Kanna, Arjuna asks Krishna for help to get him united with Alli. The flute stays dominant here, musically. Naan Annathooviyil is a short poignant track where the challenges are thrown against Arjuna. Up next are the Gettimellam sounds, which are the usuals in every marriage. Rahman saves his best for last with Nenju Porukkudhillayae, which is lion range in terms of the lyrical verses. Drums come into stunning use here, finishing the album on a high. Haricharan does conquer the vocals for the long space of ten minutes, and this is surely a breakthrough in Indian music for both the singer and the composer. Take a bow!

To sum up, Kaaviya Thalaivan is nothing less than a musical masterpiece. If you haven't noticed, there are no picks as I have had a really hard time trying to figure out which is the best song in the album. Every song blossoms out in flying colors, with its own share of uniqueness and grandeur. Rahman must be definitely appreciated for his wildly exclusive choice of musical instruments which are nowhere to be seen in this computerized musical universe. At the same time, the importance given to the vocals too is something to look out for. Kaaviya Thalaivan is a pinnacle in Indian music, an album which proves that Rahman is not just about electronic finesse, but has a sea of classical knowledge streaming through him. If the film even provides half of what the songs have, we are in for a treat. Thank you, dear Rahman.

Treasure this forever, world class stuff! 

5 / 5

Anjaan

14^th August 2014. 2pm. I book my tickets for Anjaan, but there lies a dilemma within me. After all those doubts, discussions, confusions and computations, I drive myself to the theatre, only to hear that the movie is on. There’s a curve on my face, and I go into the theatre happy, smiling like a little kid with a bucket of popcorn. What I get, is this.

Anjaan is a film which bangs onto the screens with a huge noise. The heavy publicity, colourful posters and the pre-release buzz had all put the expectations on a see saw. When the film started off with some impressive title design and an intriguing theme track, the crowd went berserk. But right there at the end, there were a few gloomy faces walking out of the cinema hall. The film kicked off on a positive note, with Suriya taking all the attention. Right from frame one, this man is in full form when it comes to action, dance, dialogue delivery or just that daring look. The first half runs away with an interesting intro, the supercute Samantha and some neatly made action sequences. Lingusamy’s trump card is played at the interval scene, which brings out what he is truly capable of. The stage is set for a fast and furious second half. But to everybody’s disappointment, it doesn’t end up being what it intended to and finishes off at the cliff of a pit.

Lingusamy’s paperwork is decent. It is the execution which ticks off the fun. Well written scenes clubbed with interesting twists could have rocketed Anjaan to another level. Unfortunately, his packaging which sticks to the age old formula of fights, songs and punch lines is a bummer. Captivating tidbits like the coin spin and a transformation do not rise up to what it has to be. In the second half, there is a fight every ten minutes, each time with a different character. Good dialogues are used time and again, taking away the impact.

Anjaan is driven by its main leads, Suriya and Samantha. The duo together make it a gala in the combinational scenes which are enjoyable. However, the Suriya – Vidyut relationship hasn’t been given its importance, as we are left pondering as to how it came into being in the first place. Vidyut is tremendous talent, and the ease with which he performs his stunts are laudable. The rest of the cast is mostly alien, filled with Bollywood actors with bad diction. Soori, oh no.

There are two departments in Anjaan which are flawless. One, the camerawork. Two, the music. Santosh Sivan’s cinematography cuts through the locales of Mumbai with a bang, as his camera does the talking in the stunt sequences. I cannot leave without mentioning the combined shot of a bird catching its prey and the goons getting caught. Anjaan’s lens has witnessed true professionalism. To be honest, Yuvan has thrown eggs at his haters with his BGM. The score adds life to the film, he has totally nailed it. The songs however, deprive the flow of the film in the second half. On the flipside, the length of the film is a big turn down, and requires immediate trimming.

Anjaan is not a bad film. I’m just sad that hasn’t turned out to be the film it could have been. Suriya carries this on his shoulders just like he always does, but you do need some help from the others if you wish to churn out a stellar product. The don here is dapper, but his story? Good. And that’s about it.

Dapper don, who is dumb too.

2 / 5