Enakkul Oruvan Movie Review

Non-linear narrative films have rarely worked in Kollywood, as they've fallen to bad execution, logical loopholes or other blips in the making. Taking the paperwork from the Kannada blockbuster Lucia, Prasath Ramar's Enakkul Oruvan hits the screens today. Lucia was a complicated film which needed a lot of clarity to be represented, does the remake live up to that?

Enakkul Oruvan follows Vignesh, a torch light shiner who also happens to be an insomniac. The incidents that take place when he goes in search of his sleep is what the film is all about. Taking charge of a multi layered screenplay, newcomer Prasath Ramar has taken immense care to avoid any open turns which leave the audience in a confused spot. Shifting back and forth between two stories, the proceedings never lose their path and stay coherent until the end. Apart from the director's work, the award worthy editing helps the movie in a huge way, without which there would have been a lot of questions arising in the mind of the viewer.

When it comes to performances, Siddharth walks away with all the glory, as he is absolutely brilliant in the contrasting roles. Showing great variation between the two characters, he manages to pull off both the acts of a star and a low-man easily. Sid can be proud of Enakkul Oruvan, a film worth boasting as his 25th. Deepa Sannidhi isn't the best pick for this role, but manages to pass muster with her performance. The film has a notable ensemble cast with the likes of Naren, Ajay Ratnam, Srushti Dange etc who put up a good show.

Technically, the film is rock solid with stunning cinematography, music and DI. Gopi Amarnath's commendable camerawork is evident in the black and white scenes where he aesthetically captures the surroundings without losing focus on the main characters. Editing by Leo John Paul is the linchpin of the film, maintaining a perfect flow in the narration and juxtaposing both the stories in tandem. The beginning of Poo Avizhum Pozhudil is an example of what is being talked about here. The artwork deserves a special mention for bringing in the required aura without spending too much.

Music by Santosh Narayanan is top notch, both in terms of the songs and the BGM. While the songs recieve good visuals, the BGM is nothing less than eerie and haunting, sometimes alarming. Sound designers Vishnu Govind and Sree Sankar have put in their efforts to purify the ambient noises, thereby providing a surreal experience.

Enakkul Oruvan is a convincing product from CV Kumar and team. Almost every individual has put in his best and the result is a positive one. While the slow pace of the film remains an issue for some, a few others may find it confusing and over-the-head. Drawing comparisons to the original, Enakkul Oruvan finds itself a tad behind. However, Prasath Ramar manages to join the dots, making this a film which deserves your eyes. Go watch it. Do not forget your brains.

Verdict: Refreshing cinematic experience.

3.25 / 5

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Uttama Villain Music Review

Loveaa Loveaa: Singers – Kamal Hassan, Sharanya Gopinath, Anitha, Nivas

Ghibran starts off things in wondrous fashion with Loveaa Loveaa, a fast-paced love number. The buzzing chorus is a first of sorts along with the interesting interludes which are drum heavy. Kamal Hassan’s energetic vocals sync so well with the music and are well aided by the other singers. Ghibran has a Telephone Manipol of his own now.

Kaadhalam Kadavul Mun: Singer – Padmalatha

Ghibran brings in Padmalatha of ‘Aruvakaaran’ fame for a solo melody in Kaadhalam Kadavul Mun. Along with a lilting chorus, the singer takes centre stage in a typical Gibran track which impresses with the simple instrumentations.

Uttaman Introduction: Singers – Subbu Arumugam, Kamal Hassan

With a native tune and ethnic lyrics, Subbu Arumugam and Kamal Hassan put together an impactful intro song for the Uttaman. Ghibran must be lauded for the lavish use of live instruments which do help in bringing out the actual essence of the song. The final moment is a scream with the ‘Thangara Thangara’ beat upping the ante.

Saagavaram: Singers – Kamal Hassan, Yazin Nizar, Ranjith, Iyappan, Ghibran

In Saagavaram, you have Kamal Hassan with a handful of supporting singers who work as a chorus. The end result, is a moving track which is packed with sword sounds, innovative musical cues and what not. With added listens, the track grows on you and makes you love it even more.

Iraniyan Naadagam: Singers – Kamal Hassan, Rukmini Ashok Kumar, Performed by Sofia Symphony Orchestra

Kamal Hassan puts his pen to captivating use in Iraniyan Naadagam, a track which is the soundtrack of a live play. Without going off track, the symphony is blended beautifully with the orchestration. Strings, keys and drums come into play in flawless tandem, working its way to a fine finish.

Mutharasan Kadhai: Narrated by Kamal Hassan, Additional Vocals – Yazin Nizar, Ranjith, Iyappan, Padmalatha, Performed by Sofia Symphony Orchestra

This track traverses through the story of Mutharasan, and narrates an episode in his life. Though it is wholly film oriented, the track offers some well panned out music if you lend your ears along with some concentration. Sure to work with the visuals!

Uttaman Kadhai: Narrated by Kamal Hassan, Additional Vocals – MS Bhaskar, Yazin Nizar, Ranjith, Iyappan, Performed by Sofia Symphony Orchestra

With grand musical arrangements and the use of the Uttama Villain theme, Ghibran pulls off a coup in Uttaman Kadhai. After a slow start, the track rises tempo halfway and jolts towards an impressive finish. The song ends with some lighter keynotes, pretty neatly.

Original Soundtracks

The Uttama Villain theme is a fitting theme track for an album of this calibre. With a haunting chant and a surreal mood, this one is a complete winner.

Guru and Sishya is probably the background for the early scenes involving Kamal Hassan and K. Balachander. Decently planned and executed.

Father and Daughter is a simple track which is mostly played out by the symphony instruments. Harmless!

A flute-dominant starts then turns into a fairy-tale jingle in Uttaman and Karpagavalli. Ghibran adds a Disney-like flavour to the song at the end, making it a touch different from the others.

Piano comes into play in Father and Son, where a rather pedestrian tune receives an eerie female hum.

Letter from & to Yamini is a theme which brings forth a lovely aura to the scene. Ghibran has gone places with this one!

Dr. Arpana is a good closing note to the OST from Ghibran, albeit being similar to the other themes.

Summary: Without concentrating on the hit quotient, Ghibran has transcended barriers to provide a sublime OST. The songs boast of innovation, brilliant use of instruments and a striking coherence between the vocals and the orchestration. Uttama Villain is truly gen-next music from the composer!

Verdict: Impressively inventive music!

4.25 / 5

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Kaaki Sattai Movie Review

There's always a time when an actor decides to wander out of his comfort zone and find a place in a film which will both satisfy his fans and shut his critics. In the case of Sivakarthikeyan, comedy has always been his playground. With Kaaki Sattai, the actor tosses a stone at something across the boundary. How has that worked out? Find out in our Kaaki Sattai review. 

Kaaki Sattai is the latest addition to the long list of honest cop stories in Kollywood. The film follows Mathimaran, as he finds a so called strong case and solves it. Unfortunately, the end product only entertains in parts with nothing new to offer. Director Durai Senthilkumar has a palette of comedy, action, sentiment and romance. But somewhere into the film, the mixing is inappropriate. Here is where the director draws a thin line between a comic cop and a serious one, finally failing to walk the tightrope.

Sivakarthikeyan plays the role of the cop with elan. Fit as a fiddle, the actor never looks out of place in a film with enough action and 'mass' scenes. His comic timing and bubbly mannerisms are a joy to watch at all points of the film, as usual. There are a lot of enjoyable pull-ups like selfies, dialogues from other films and even the viral Hara Hara Mahadev Ki which are executed by the star in a superb way. Sadly, it is the characterisation which takes away the excitement from the offering. Sridivya is a doll in this film, and looks absolutely alluring in the flashy costumes and songs. However, her role isn't meaty in the second half as she is ostensibly absent from the proceedings. While Imman Annachi recites some catchy one liners at times, Vijay Raaz as the villain is pretty ordinary. The rest of the supporting cast are adequate, with a special mention to Prabhu who makes a mark in his role.

Kaaki Sattai is technically so cool, with stunning frame presentation by Sukumar. Be it the songs or the action sequences, the film looks bright and is captured very well on cam. Editing by Vivek Harshan is good, still some more scissors on the runtime would have helped this one. Stunts are neatly done, the rain fight is undoubtedly the pick of the lot. Music by Anirudh is a big plus as the synth themes work superbly with the flow of the film. If not for him, Kaaki Sattai would have been a squirm.

With impressive dialogue writing by Pattukottai Prabhakar, Durai Senthilkumar packs a decent entertainer in Kaaki Sattai. But it does have its limits. The film is made on the tried and tested commercial formula, with little or no big surprises in store. Had the director concentrated on providing a serious cop story in the second half atleast, Kaaki Sattai would have been so much better. What we get now, is fun at places and stale at the others. You can meet Mathimaran, once.

Verdict: Selectively entertaining!

2.75 / 5 

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Badlapur Movie Review

Sriram Raghavan’s Badlapur draws a line between the usual run-of-the-mill revenge sagas and the psychological effect that mishaps have over individuals. After the completely crappy Agent Vinod, the director returns to make a film with revenge as the plot. But how different is it from other films, and is that difference worth your two hours at the cinema hall? Read on to know.

Badlapur takes you through the life of Raghav, aka Raghu. As seen in the trailer, Raghu goes on finding the guys who killed his wife and son. What happens over the journey, which lasts for a period of about 20 years is what Badlapur is all about. When the title card says ‘Don’t Miss the Beginning’, they did mean every bit of it. The best part of the film is its opening 15 minutes, which is a terrific live sequence captured efficiently on camera. Once that is done, the film starts to crawl on a slower note. Badlapur has its fair share of moments, but the film does miss out on a lot of opportunities where it could have caught up on some really exciting sequences.

Varun Dhawan isn’t the perfect pick for a role of this sort, as he looks like a misfit in the latter half of the movie where he plays the 40 year old. Though he has worked on his physical appearance to depict the time-gap, his facial expressions are stale and fails to evoke emotions. Nawazuddin Siddiqui is a scream, for he has a brilliant role in which he performs pretty well. The girls are probably the USP of the film, especially Huma Qureshi and Radhika Apte who are lucky to have some powerful scenes to enact. The rest of the cast is apt, and fit the bill well.

Cinematography is the pillar of Badlapur, for the film does possess some praiseworthy camerawork. As for the editing, the film does suffer some abrupt cuts at places. But that does not wind the flow of the movie at any point. Music is decent, with a special mention to Jee Karda which is arguably the song of the year so far.

Badlapur is not bad. But at the same time, it isn’t good either. Sriram’s direction might earn him some brownie points, but it is the screenplay which lacks finesse and is lightly haphazard. It is left to the viewer to make or break his verdict on the film, based on his thoughts after the climax. In my case, it didn’t work so well.

Verdict: Decently written, badly executed.

2.75 / 5 

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Anegan Movie Review

However solid a script may be, the final product will not be upto the mark in the absence of stellar execution. After a leggy offering in the name of Maattrraan, KV Anand hits back with Anegan, a well engineered psychological thriller. By taking immense care in the scripting department and maintaining complete clarity with his ideas, the director has achieved what he set out to, quite convincingly.

Anegan traverses through four different avatars of the lead pair which are interconnected to each other. Though one has to watch the film with utmost concentration, the end result is a compelling one with all questions answered. The ability of the director to keep his vision clear while dealing with a complicated screenplay is the king's move here, as KV Anand delicately mixes the core story with the everyday commercial elements. The film gets better and better with the passing minute, only to suffer from a slight drag in the pre-climax sequences. However, the intriguing tug of war between Dhanush and the villain in the climax emits laughter, thrills, spills and what not.

The three musketeers in Anegan's cast card are Dhanush, Karthik and Amyra who come up with knockout performances. Dhanush is extremely comfortable enacting the avatars, thereby doing full justice to his roles. His portions as Kaali along with the Dangamaari number in the second half will surely excite audiences, revoking whistles and claps. Amyra equally stands up to her counterpart with cute expressions and emotions, wherever required. More fun on the table when Karthik joins the party, as the veteran provides a fresh angle to the film and is a scream towards the end. And we just cannot leave out the other important characters who chip in with defining performances at the right places.

Kudos to Om Prakash for wonderfully aiding KV Anand with the visuals. The film has a rich and vibrant Bollywood feel overall with a special mention to the songs. The cuts are decently done in a film which could have easily been spoiled by bad editing. Harris Jayaraj's music is apt and is thankfully not overdone at any point.

Amidst a flurry of biggies, Anegan comes in as a whiff of fresh air. Writers Subha and KV Anand have to be applauded for their paperwork which is devoid of a loose end. Albeit being a little confusing, Anegan ends up on the safe side and is a comeback of sorts for the director. While watching Dangamaari, I realized that it is much more than a kuthu song. Anegan too, is much more than just Dangamaari. This film, might make merry.

Verdict: An engaging, cerebral ride! 

3.25 / 5

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Shamitabh Movie Review

First posted on ONLYKOLLYWOOD.COM

Ever since Dhanush forayed into Bollywood with Raanjhnaa and bagged awards for it, the actor has made heads turn and look forward to his next outing on the upper side. As lucky as he could get, Dhanush landed himself a role with none other than Amitabh Bachchan himself, where Akshara Haasan too makes a debut. What does the movie offer? Time to find out from my Shamitabh review.

As we all know, Shamitabh is the story of a mute bus conductor who aspires to become a hero. With the help of Akshara Haasan and some technology, Dhanush befriends Amitabh Bachchan and convinces him to lend his voice for his films. What follows is the rise and fall of the new character called Shamitabh. Director R.Balki had a stellar cast, strong technical team and the Maestro's music. But one does feel that he did not put the talent to best use here, as the end result is slow paced and predictable. There are a lot of interesting moments throughout the film, here and there. But at the same time, the infusion of a few inane Bollywood sequences make you question the intention of the director. What is the need to introduce unnecessary elements into a story which could be beautifully molded between the three top characters?

Dhanush and Amitabh Bachchan have truly competed with each other to perform better onscreen. When Dhanush emotes laughter without saying a word, Amitabh hits back with a strong riposte in his drunk, hung over voice. His voice is the USP of the film, more than anything else. You just cannot afford to miss the scene where he recites a dialogue from Mughal e Azam. Only veterans hold their place for long and Shamitabh shows you why he is one. Dhanush's role too, requires a lot of homework and the actor has given his best for the film, just like every other. But the show stealer definitely is Akshara Haasan who throws in a surprise with her act. Enacting long shots looks like a cakewalk to the little girl, for she has made her mark standing between two powerhouses. There are a lot of other faces and cameos in the film, but nobody seems to care when these three are on song.

PC Sreeram's cinematography is once again a treat to the eyes. Each of his frames are wallpaper material and capture the proceedings from a different perspective. Editing is apt for a film of this kind, and a special mention for the costume designers too. Ilaiyaraaja's music complements Balki's visions superbly, as the maestro brings in lovely cues in the background score. The mesmerizing music gets better onscreen with the impressive visuals.

On the whole, Shamitabh is belted with impressive performances which will steal your heart. What it lacks, is the heart in the screenplay, without which the film doesn't connect very well at the end. While Shamitabh should not be missed for the cast, it could have scaled higher with a better second half. A good film, but not a great film.

Verdict: Power packed performances in a slow narrative.

3 / 5

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Yennai Arindhaal Movie Review

First posted on ONLYKOLLYWOOD.COM 

The wait is over. After tons of conclusions and postponements, Yennai Arindhaal finally hits the screens today, with expectations at the zenith. This is a film where Gautham Vasudev Menon finishes his cop trilogy with a man who he had originally planned to start it with, Thala Ajith. Does the film manage to fulfil the expectations of the innumerous cinephiles worldwide? Lets find out in our Yennai Arindhaal movie review.

Yennai Arindhaal traverses through the life of a man named Sathyadev. The film dwells into his dreams and ambitions, love angles, friends, enemies, frenemies and much more. Walking through this film with the central character and Gautham Menon's narration, the viewer tastes a little bit of all the joy, sorrow and challenges that are thrown at Sathyadev. The director has taken immense care in carving out an action thriller which satisfies all sections of the audience. After getting off to a slow start, the proceedings accelerate and halt at a likable interval block. Post the interval, breakneck is the word for the pace at which the screenplay flies. Gautham Menon throws in one surprise after another with a strong emotional connect. Albeit the film being devoid of a mindwhacking twist, it never goes off track or tries too hard.

Thala Ajith's performance in Yennai Arindhaal is nothing less than fantastic. Present in almost every scene of the film, he swoops into the skin of the characters and literally lives the role of Sathyadev. Be it the young and local character or the matured man with the salt and pepper hairdo, Ajith's acting is near perfect and easily helps you connect with the cloak. Frankly speaking, Yennai Arindhaal is one of Thala's best, coming at a great point in his career. While Ajith scores on one side, it is Arun Vijay who equally complements him on the other. To grab some attention while standing with a man like Ajith is a herculean task in itself, and that will definitely take Arun Vijay's career upwards from here on. Gautham Menon's films have strong feminine characters, and Yennai Arindhaal is no less. Be it Trisha, Anushka or the petite Parvathy Nair, all of them have made their mark in the film. While Trisha leaves an impact with her performance, Anushka takes the cake in a light role. Vivek has been aptly used with the right amount of one liners at the right places. Finally, it is Baby Anikha who is a heartwarming addition to the cast. Touchy, from the little one.

Yennai Arindhaal is good on the technical side too. Dan Macarthur's cinematography is on par with Hollywood films in the action sequences, and he skillfully brings in a dreamy flavour to the song montages. Watch out for the action sequences in the second half. The guerrilla run surely deserves a pat on the back of the cinematographer, in addition to GVM. But Yennai Arindhaal surely deserved some better editing for the flow is affected with some sloppy jump cuts at many places.

Music by Harris Jayaraj is just over the line. While the songs work well thanks to the visuals, the BGM is loud, noisy and electronic. Probably the pressure to finish the film has taken an adverse effect in these two departments. Without forgetting, we have to give it to Silva for the raw and realistic stunts which prevent the film from going over the top.

Gautham Menon's homework for Yennai Arindhaal is the key to the good result. By keeping the script strong, the director stands up to his reputation of directing solid action films. There are a handful of beautifully executed scenes in the second half. Some get you teary-eyed, some push you from your seat, but not one will make you squirm. I'm not sure if your respect for GVM will rise after Yennai Arindhaal, but I can guarantee that it will stay intact.

Yennai Arindhaal is not a flawless film. There are blips here and there like an unwanted song or a clichéd scene. But they are negligible keeping the fact in mind that this is a honest attempt from the director. GVM completes his cop trilogy in style. Its just the beginning, of good things to come. 

Verdict : Solid and satisfying action thriller.

3.75 / 5

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Looking Back at 2014 - Ten Favourite English Films of the Year

2014 was the year where I kept chasing English films. There were a truckload of movies which caught my attention, for I just couldn’t keep myself off the marquee and finally ended up watching more than I actually planned to. While a lot of films were good while they lasted, few left an impact on me and called for a re-watch or a discussion with a buddy. Down below, is the list of my top ten personal favourites of the year. These films aren’t just films, they are ‘special’.

10) The Guest – Directed by Adam Wingard, Written by Simon Barrett

This film is a cracker, right from the word go. Coming with the little twists thrown in at the right instants, the director manages to keep you guessing for most parts of the film. Playing the lead role, Dan Stevens as David Collins is terrific. The attitude which he flaunts adds some more spice to the film, along with the calm and composed dialogue delivery. The music comes off as another asset, albeit being simple and not too noisy. With something in it for everybody, The Guest offers entertainment on high levels. Badass is the word.

09) Nightcrawler – Written and directed by Dan Gilroy

Undoubtedly the surprise package of 2014. Helmed by a first timer who has taken care of both the writing and the direction, Nightcrawler belts you with two hours of exhilarating fun. Jake Gyllenhaal is simply superb in this film. Stitching himself into the shoes of Lou Bloom, he delivers a fantastic performance in a role which is hard to like. The cinematography is flawless too, as it easily sweeps you into the mood of the scene. Though the film is devoid of twists and possesses a linear narrative pattern, it gallops at a solid pace and ends on a high. Crawl is just in the name.

08) The Imitation Game – Directed by Morten Tyldum, Written by Andrew Hodges & Graham Moore

Benedict Cumberbatch. Now this guy is an absolute freak. Acting runs in his blood, and that is evident in The Imitation Game, where the man comes up with arguably the best performance of the year. Reliving the role of the infamous Alan Turing, the film traverses on an interesting path built with strong performances, good making and a few uncanny jolts. Really wish the director had concentrated on the detailing to make this a better film, rather than the over-emotional final moments.

07) Fury – Written and directed by David Ayer

Unlike the majority of war films, Fury dealt with just a short episode in the lives of five soldiers and a Sherman tank. However, what makes this click is the brilliant performances of Brad Pitt and Logan Lerman, in addition to the healthy emotional connect that the film leaves you with. The war scenes are skilfully choreographed; there are a couple of edge-of-the-seat moments too. Except for the logic tosses, Fury is a highly recommended watch which is definitely worth your time.

06) Enemy – Directed by Dennis Villeneuve, Written by Jose Saramago & Javier Gullon

After watching this film, the reaction on your face will be nothing less than a ‘WTF’. Even a 100 re-watches will still leave you pondering over the actual plot of the film. Mind-numbing to the core, Enemy deserves a non-distracted viewing, some brain boggling and finally a debate to arrive at a conclusion, which still might be wrong. Jake Gyllenhaal knocks you out with his stupendous performance in a dual role. The body language, facial expressions and the confidence levels which he exhibits are on a different level. The gloomy and yellowish tone of the film is yet another bullet in this gun which will shoot you off your seat, sans a doubt.

05) Gone Girl – Directed by David Fincher, Written by Gillain Flynn

An intense, disturbing and impactful film about marriage and its darker side. David Fincher’s ability to keep the audience glued with the dialogue driven narrative is the USP of the film. The twists are unveiled in brilliant fashion, as the director keeps you guessing on what is going to happen next. Ben Affleck and Rosamund Pike come up with career defining performances, for I wouldn’t be surprised if the latter goes on to win the Oscar. Visually stunning too, Gone Girl will scare you on the very thought of marriage. You have to watch it to know it.

04) The Grand Budapest Hotel – Written and directed by Wes Anderson

Wes Anderson’s films are known for their peculiarity. The director has a style of his own. The Grand Budapest Hotel walks in as a film which is wonderfully scripted, narrated, edited and presented. Boasting of a breath-taking act from Ralph Fiennes, the film brims with light humour all the way. The colourful tone of the film and the aspect ratio do bring in the feel of the olden days, along with the music which deserves a special mention. With interesting cameos at the high points, The Grand Budapest Hotel deserves a watch, for the making if not for anything else.

03) Interstellar – Directed by Christopher Nolan, Written by Jonathan Nolan

A 100 words aren’t enough to describe this film. Acclaimed worldwide on various terms, Interstellar takes you on a journey of a lifetime within the three hours at the cinema hall. Christopher Nolan’s idea of combining science with the undying concept of love worked wonders in his favour, as the film turned out to become one of the biggest success stories of 2014. Matthew McConaughey’s performance will leave you smiling, crying and rooting at different instances; nothing less than a spellbinding one that. Interstellar, truly an out of the world experience.

02) Whiplash – Written and directed by Damien Chazelle

Shot over a span of just 19 days, Whiplash is a tense and gut-wrenching tale packed with goosebumps. With the astounding performances of Myles Teller and JK Simmons, the director pulls you into the film and drops you into the room of the proceedings. While the music of the film is highly professional, the editing truly deserves an Oscar. The climax is an ultimate ripper and immediately rings bells for a re-watch. Whiplash is sublime, it is something much more than a good job.

01) Boyhood – Written and directed by Richard Linklater

Boyhood follows the life of a young man from age 5 to 18. Thoughts of that going to be boring, and here comes the twist – Boyhood was shot with the same characters over a period of 11 years. Yes, Richard Linklater and his team deserve every bit of appreciation and more for this painstaking, herculean effort which is unfortunately one of the lesser known films of the year. The film is so close to reality that it actually feels like the events onscreen have taken part on the other side of the globe. The amount of detailing and the point that the director never makes a single wrong move is absolutely amazing. Boyhood has to be watched for the effort. It has to be watched for the perfection. It has to be watched for the experience. You just, have to watch it.

Reaching the end of the list, there are a few films which deserved a place on the list but just missed the cut. Here they are,

Locke – Two hours of Tom Hardy driving a car and you don’t get bored for a single minute. The Buried of 2014.

Dawn of the Planet of the Apes – Though I badly missed James Franco in this one, it was a highly compelling biggie.

John Wick – Plain, hardcore action. Kickass comeback for Keanu Reeves.

Million Dollar Arm – Always loved the Indian connect in Hollywood’s films. This one was a harmless watch.

Foxcatcher – Steve Carrell. What an actor!

The Fault in Our Stars – Probably the best romantic film of 2014.

The Mule – Interesting attempt from the Aussies.

Predestination – Except for Ethan Hawke who looked out of place, this film works.  

Notable films I still haven't watched - Selma, Inherent Vice

There are two films of 2014 which didn’t work for me, although it did for the majority of the people around me. They are Birdman and American Sniper. While the first one is appreciable for its concept and the cinematography, the second is a complete yawnfest barring a few war scenes. These two, were the biggest disappointments of 2014 to my eyes.

We have now reached the end of this long piece and it’s finally time to say thank you. I hope you enjoyed reading my list, and do go back to watch the films you’ve missed out. You can catch me on FB or Twitter to drop in your feedback. Cheers!

Siddarth Srinivas

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Baby Movie Review

Action thrillers in Bollywood aren’t many in number. And even when they come, they are spoiled by amateur execution or the forced infusion of commercial ingredients in order to break even at the Box Office. Neeraj Pandey is one of the very few directors who thought otherwise. Instead of following the tried and tested route, he upped the ante with a stellar cast and near perfect narration which left you on the edge of your seat. His latest offering Baby, is no different.

Baby is the story of an ATS group who are lesser known to the common public and work to prevent attacks and blasts in the country. When everything seems to be going right, things turn complex in a mission and it’s up to them to set it straight. Though the story looks simple on paper, the script is built with lots of facts, figures, subtle humour and a lot of logic. One must appreciate Neeraj for his clarity and the knack with which he manages to keep the audience guessing, pinned and smiling at the same time. Though the film is a little lethargic in taking off, it picks up pace post interval and finishes on a high. The final forty minutes are a treat to watch, albeit possessing traces of Ben Affleck’s Argo.

Akshay Kumar walks out of ‘Ajay Singh’ from Special 26 into the ‘Ajay’ in Baby. His script selection has become something interesting to watch out for, as he is ostensibly following the one-entertainer-one-thriller pattern. Present in almost every scene of the film, he comes up with a praiseworthy performance, full of guts. The rest of the cast are used very tactically by the director, with a scoring moment for each. While Rana Daggubati’s macho rises the tempo, Taapsee kicks some ass in her short but stamping role. Anupam Kher’s comics do bring in the occasional laughs as well as Danny and Kay Kay who fit the bill.

Swooping into Baby technically, one cannot help but notice the proficient cinematography with the right use of aerial angles. The chase sequences too, deserve a special mention for both the camera and the stunt choreo. The one and only negative in Baby is the background score which is stale and doesn’t aid the proceedings much.

Neeraj Pandey seems to be getting better and better with every film and Baby has turned out to be one of Akshay’s best too, if you manage to get yourself into the mood. The intensity and thrill has been maintained throughout, resulting in a fun and fulfilling cinematic experience. Watch off, immediately.

Verdict: Baby is both a must-watch and a masst-watch. Outstanding cinema.

4 / 5 

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The Crying Need for Subtitles

Being an ardent moviegoer and an individual who understands the language pretty well, one does not realize the true value of subtitles. But then, why do the majority of the lot run to SPI Cinemas Chennai on Thursday to watch Telugu, Hindi or English films? Yes, subtitles (or subs are they are colloquially called) are an important element to make you understand better, more than just comprehending the gist of the film.

With this write-up, I wish to throw some light on the importance of subs in regions outside Tamil Nadu and overseas centers, and also stress on the types of subs and the added reach that they take the film to. Now, put yourselves into the shoes of a viewer who wishes to watch Tamil films on the big screen but does not understand the language. There are a truckload of such people round the globe who want to watch Tamil films, as the changing age in Tamil Cinema does bring up the excitement thanks to the innovative storylines and rich visuals that Kollywood has now started to serve.

But problems begin right from the word go. On one side, there is the problem of the DCPs being dispatched without the subtitle files. On the other, there is the choice between the single sub and dual sub, which is ultimately in the hands of the producer. To add fuel to the fire, there exists cases where the subs are horribly synced, or are lost in translation. Let's dive a little deeper into these issues.

Prints arriving without sub files - This usually happens when the producer is either unaware or unperturbed over the importance of subtitle files in overseas prints. The DCP arrives at the destination without the file, and has to be resent upon personal request. The end result, is the subtitle arriving late or in a worse case where they are hurriedly written with a lot of errors. In such instants, the subtitle is discarded without notice and the film goes onto be screened without the subtitle.

Single sub and dual sub - This is a sad case in world subtitling where all the effort put in by the subtitlist goes in vain and doesn't find its place on the screen. In countries like UAE where Arabic subs are mandatory, the only way for the English subs to appear onscreen are if they come in a dual sub format where subtitles can be projected in two languages, one on top of the other. In case the file is sent in a single sub format, it is directly discarded in order to make place for the Arabic subs. While the dual sub format was employed in UAE for films like 7am Arivu and Lingaa, a majority of the films made it with the Arabic subs alone. It's high time the producers realize the importance of dual subs which will definitely pull in a larger audience who would like to watch the film with its original vocals, rather than a dubbed version.

Lack of synchronization or bad writing – This is a case which is worse than the two mentioned above. In the above cases, someone who is interested can enquire with the theatre on the availability of subs and proceed to buy their ticket. But in this one, the viewer is presented with subtitles which are not perfectly synced to the dialogues onscreen, or are wrongly penned, thereby resulting in a forgettable movie experience.

Other smaller issues – There are a lot of other issues such as the theatres forgetting to screen the subs, incorrect coloring or unreadability. Though these are rare, the occurrence of such problems are nothing less than frustrating.

My fingers aren’t enough to count the number of friends, colleagues and common public who have enquired about the availability of subs for films in the UAE, and returned with a frown. While Hindi films have kept up their promise and continue to add dual subtitles to all their releases, Kollywood is yet to adopt the practice and still has to realize the importance of subtitles to be screened (not only sent) in the overseas shows.

With the rising worry for the unavailability of subs and the inconsistency to release the DVDs and the Blu-Rays just because they will be ripped and uploaded on the net the very next day, where does a non-Tamilian go to watch a film which interests him? The answer lies on the bottom of the screen. Fill that space up. 

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I Movie Review

Shankar is probably the only director in South India who has the talent and the expertise to churn out a perfect mix of story, dialogues, casting and grandeur. But unfortunately, I got only two out of the four from his latest offering – I.

Right from the start, the film rides on the performances of the lead pair – Vikram and Amy Jackson. Be it the localized bodybuilder, the model, the beast or the disfigured Koonan, Vikram has nailed it with a knockout performance which deserves awards. The level of dedication he has put in for I is herculean, and that is evident onscreen as he swoops into the skin of the character he portrays. The scene where he imitates Kamal and the near perfect Madras slang are some highlights of this career defining act. Yet again, Vikram puts his life into a film, only for a director (Shankar out of everybody) to come and topple things. Amy Jackson is perhaps the perfect pick for the role, she looks absolutely stunning and complements Vikram pretty well in terms of her performance. Thankfully, Santhanam’s comics don’t turn out stale, and do evoke laughter at regular intervals. Apart from these, there is not much of praise to gift the cast with.

I promises you of some world class visuals, thanks to the superior cinematography by PC Sreeram. The song and stunt visuals do bowl you over with some spectacular slow-mo shots which are a delight to watch. The veteran has stamped his class with innovative camera placements and must be lauded for showing the disgusting Koonan in the best possible way. Barring the China fight sequence which was an epic fail, all the stunts in the movie are rip roaring, aided well by AR Rahman’s stellar background score. Roping in Hollywood experts for CG and make-up has worked wonders as there not a single blip at any point. At a lengthy 180 odd minutes, I becomes a tad too long at the end and calls for immediate trimming.

Contrary to his entertainers which come hard bound with strong social messages, I is more of a romantic thriller. Stepping into something different, the director has failed to fulfil the towering expectations which rose up thanks to the stalwarts on board. This time, he has to take up most of the blame. With a long list of unnecessary snippets, I begins to crawl towards the end where it gets too predictable and cliché ridden. The poorly sketched villains add fuel to the fire, with the progressions falling flat at vital moments with scope to score. Shankar truly misses the writer in Sujatha and we do too. The overuse of ‘Adhukkum Mela’ says enough about it.

Coming to a conclusion, I has everyone except Shankar and writers Subha doing their job well. But yeah, what’s the point of cheese without the bread?

Verdict: Shankar’s least enjoyable product, still worth a watch for Vikram and the visuals.

3.25 / 5

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Tevar Movie Review

Tevar happens to be the first notable film to hit the screens in 2015. And to be frank, it is not a bad start. Brimming with punchy dialogues, heroism, loud fights and the clichés, the film provides what it promised to.

With the basic story grid taken from Mahesh Babu’s Okkadu (which was also remade in Tamil as Gilli), Tevar tells you the story of Pintu (Arjun Kapoor) and his encounter with Vijender Singh (Manoj Bajpai), who is forcing Radhika (Sonakshi Sinha) into an unwanted marriage. One-liners and stunt sequences galore, Tevar travels on a predictable path which is a squirm-less sitting thanks to its main starcast.

The film seemed like a cakewalk for Arjun Kapoor, who is tailor made for the role of a young lad from Agra. With his kiddish expressions and musings, he does know how to leave the audience asking for more. And it wouldn’t be wrong if I said that this is Sonakshi’s best outlook since Dabangg. Matured and trendy with a lovable charm, she fills up the eye-candy quotient albeit her role being a touch inferior to the others. The show-stealer however, is Manoj Bajpai who tears the screen apart with his menacing performance. See-sawing between fun and fury, the actor fits the bill to perfection, for if Tevar does go onto become a hit, he will be the main reason. Raj Babbar scores where he has to, especially a scene in the pre-climax sequence which surely did excite the audience.

Technically, Tevar has decent cinematography which is appreciable in the songs and stunts. The film would have been a yawnfest if not for the superior stunt choreo, which does up the ante at the right moments. Luck favoured the average songs which received grand picturisation, therefore saving you from the eyesore.

If you walk into Tevar expecting something out of the box, the joke is on you. But if you are looking for entertainment, this might be the go-to. Amit Sharma makes a passable debut, and he must thankful to his cast who have pulled it off with some style, if not much.

Watchable Bollywood masala.

2.5 / 5

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Looking Back at 2014 - Personal Favorites of the Year

2014 has been a decent year for Kollywood, where debutant directors have stepped up and carved a niche for themselves in the industry. Following the yearly practice, I've come up with my list of twenty personal favorites of the year. The films are 'ranked' according to my liking alone, and do not include the Christmas releases as I was not able to watch them.

1) Jigarthanda

High: Simha. Siddharth. Santosh and Subbaraj.

Low: That 'something missing' feeling.

2) Madras

High: Karthi's performance and Santosh's music. Also, Blue Boyz.

Low: Wish the climax had been a subtle one.

3) Goli Soda

High: Gritty, aggressive and real.

Low: Chinna pasangalukku heroism ah?

4) Sathuranka Vettai

High: Vinoth's dialogues, Natty's act.

Low: Melodrama in the second half.

5) Inam

High: A-one technical values.

Low: Yaaro poatta kodu.

6) Thegidi

High: Infusing lovable romance into a crime thriller.

Low: Predictable climax.

7) Arima Nambi

High: Superbly crafted action thriller.

Low: Except the climax.

8) VIP

High: Lovely mix of the 'Dhanush the star' and 'Dhanush the actor'.

Low: Run of the mill plot.

9) Oru Kanniyum Moonu Kalavanigalum

High: Screenplay. Screenplay. Screenplay.

Low: Deja-vu.

10) Kaththi

High: Nice tightrope walk between being preachy and massy. Also, Jeevanandham's characterisation.

Low: First 40 minutes. Yawn!

11) Vaayai Moodi Pesavum

High: Heights of creativity.

Low: Lil bit of a sloth.

12) Jeeva

High: Vishnu's commendable performance.

Low: Tepid love track.

13) Poriyaalan

High: Interesting twists and turns.

Low: Takes time to take off.

14) Poovarasam Pee Pee

High: The budget.

Low: The budget.

15) Pannaiyarum Padminiyum

High: Lot of heart.

Low: Its a Padmini, it will move slow.

16) Vallinam

High: Believable basketball. And Thaman did a good job.

Low: Heroine and whatever she does.

17) Naan Sigappu Manidhan

High: So bold. So bold.

Low: Goes haywire with the flashback.

18) Mundasupatti

High: Muniskanth.

Low: Lot of people say "perusa onnum illa".

19) Nedunchalai

High: First twenty minutes. Last twenty minutes.

Low: Everything in between.

20) Veeram

High: Exciting mass scenes.

Low: Commercial films have their limits.

Justu Missu - Kochadaiiyaan, Saivam, Ra, Naaigal Jaakiradhai, Kadhai Thiraikadhai Vasanam Iyakkam.

There ends my list for the Top 20 films of the year. If you think that I'm someone who has gone bonkers and would like to debate on this, feel free to catch me on Twitter. Wishing you a Happy New Year :)

Kaaki Sattai (Music)

Kaaki Sattai is the third album for the SnA combo. People expect entertaining songs from this combo, let's see what this one is upto.

Kaaki Sattai: Singer – Vishal Dadlani

Anirudh’s combo with Vishal Dadlani has always rocketed the mercury, and this one is no different. Though the title track isn’t the duo’s best, it does chip in with some much needed excitement to kickstart the album.

Kadhal Kan Kattudhe: Singers – Anirudh, Shaktisree Gopalan ( PICK )

One track where everything falls into place. Shaktisree bowls you over with her vocals, which work in tandem with Anirudh’s effortless rendition. Guitars and accordions come to lovely use here, this track will go on to top the charts. 

The Trooper: Theme Music

A snazzy theme track from the composer. Anirudh brings in the dubstep flavour to this minute-long music bit which will surely set the screen on fire.

Im So Cool: Singers – Anirudh, Sivakarthikeyan ( PICK )

Be it the foot tapping beat, the funky vocals or the catchy tune, Im So Cool is the next craze wave to hit Kollywood. With the flawless sound mixing, Anirudh’s vocals and Sivakarthikeyan’s funny one-liners make this an absolute belter to listen to. 

Kaaki Sattai: Theme Music

Featured in the motion poster, this one is a good go from Anirudh. Put your freaking hands up!

Kattikida: Singer – Anthony Dasan, Manasi, Anita ( PICK )

Being a commercial entertainer, a kuthu track is inevitable and here it is. Anthony Dasan’s lively rendition will keep you hooked to this one, which is otherwise just a passable number.

Shake That: Singer: Singer – Anirudh, Brodha V

Anirudh introduces a new bloke in Brodha V, along with whom he churns out a rip roaring party track. Sure to blast away in all pubs and discotheques, Shake That is a scream. 

Anirudh’s music has evolved over his albums with impressive variety and sound mixing. The composer delivers yet another exciting album for Sivakarthikeyan.

Energetic patrol beats!

3.5 / 5