IRANDAM ULAGAM First Review

Anushka is a doctor and Arya is a lecturer and an altruistic person. Anushaka falls for Arya’s philanthropic nature and proposes him. A similar story runs in parallel in another world. Irandam Ulagam Anushka is a tribal girl and Arya is the son of the commander in chief of a kingdom on a different planet. Arya falls for Anushka’s independent nature and tries to woo her. Will Arya accept Anushka’s proposal ? Does Arya succeed in winning Anushka ? The movie is all about what happens during the course of their love journey. Performance Only two actors in the movie and they are Anushka & Arya. Arya did awesome work in first half and Anushka givien her best for her Character. Selvaragavan worked with our indian CG designers and good vishuals but with lack of story. Both Anirudh and Harrish did their part in good manner. My verdit: Experimental love movie in high budget.

“இரண்டாம் உலகம் “செல்வராகவனின் படம் என்ற ஒரு காரணத்திற்காக மட்டுமே படம் பார்க்க சென்றேன். “ஆயிரத்தில் ஒருவனை” இயக்கிய இயக்குனரின் மற்றும் ஒரு ப்ரம்பாண்ட படைப்பு. இந்திய தொழில்நுட்ப வல்லுனர்களை வைத்து எடுக்க பட்ட படம் . கதை காதலை இரண்டு உலகத்திலும் பெண்கள் எவ்வாறு உணர்கிறார்கள் என்பது தான் கதை. இதில் ஆர்யா அனுஷ்க காதல் புரிகிறார்கள் பின்பு வேறுஒரு உலகத்துக்கு செல்கிறார்கள் படத்தின் முற்பகுதியில் நகைசுவைடன் கதை நகர்கிறது பிற்பாதி fantasy எனும் இரண்டாம் உலகம். படத்தில் நிறைய வேலை பாடுகள் இருந்தும் கதைக்கான வேலை பாடுகள் குறை. படத்தில் CG கிராபிக்ஸ் பெரும் பங்கு ஆற்றுகிறது. இசை, கேமரா, குறிப்பாக விலங்குடன் சண்டை போடும் காட்சிகள் போன்றவை ரசிகர்களின் கவனத்தை ஈர்க்கிறது. அனுஷ்காவின் நடிப்பு அருமை, ஆர்யா முர்ப்பாதில் கவர்ந்திளுகிறார். மொத்தத்தில் இப்படம் பார்க்க வெடிய இரண்டாம் உலகம் தான் கதையி சற்று பிடிப்பு இருந்திருந்தால்.***/5

Read more at: http://entertainment.oneindia.in/tamil/movies/irandam-ulagam/user-reviews-1476.html

 

SINGAM II- My Review- EXCLUSIVE

Continuation of Durai Singam‘s mission in thoothukudi followed by SouthAfrica..
As witnessed in the ads it is an in and out mindless masala movie with the routine route of a fight follwed by a song and comedy sequence and sentiment
in the whole first half.
There are so many ribtickling serious scenes in the movie as well.
Suriya- He performed well indeed. Fire in acting.Few scenes were really powerful especiallly the interval block and first 20 mins
of the second half.
Apart from it drug smuggling,gypsy chasing,hero flying, etc., etc., blah blah you can predict the next scene well in advance..
Hari‘s route is this but there are so many obstacles he should have seen it. Trying to make the scenes jet speed is ok but it should
have continued throughout the movie.
Santhanam does the humour part,nice but silly dialogues and Vivek did a role similiar to sathyan in thuppaki.
Hansika was so cute. Her role is heavier than Anushka who filled the glamour portions in songs.
Coming to DSP the music is below average and the singam theme was ok for few moments. “Singam Dance” song was the best of the worst.
There are lots of starcast among them Mukesh rishi and rahman doing the Villain role followed by Danny the Afrian drug leader who was disgusting.
Graphics and VFX works horrible,
V.T.Vijayan failed to cut a lot of unnecessary scenes.
Priyan’s cinematography was apt for the movie.
It is nothing wrong in doing masala and commercial movies but it should satisy atleast fans of the hero.
If it doesn’t satisy even the fans then it is no use in marketting, still the makers of this movie
are keen in telugu market value and i believe that they overpowered the hero with tons of masses and ultimately it reversed against the
hero.People however will be forced to go to the theatres in the first week by the promotions.After that it may run only in tv ads as superhit.
And the movie is very lengthy almost close to 3 hrs.. you need some patience as well..
On the whole to sum it up there are some noteworthy scenes then and there you can surpass it by those saviours.

Singam II-Mission failed to fullfill

Ratings

Story                   –   3.5 / 5

Direction           –    3.8 / 5

Acting                 –    3.7 / 5

Other areas       –     3.5 / 5

—————————————

Overall               –     3.6  / 5

Related articles

• SINGAM 2 Exclusive Review by Martin Kuruvila (kochipost.com)
• ‘Singam 2′-JULY 5TH (adithyaentertainment.wordpress.com)
• This Singam is on an African Safari (thehindu.com)
• Singam 2 theatre reports (theatrereport.wordpress.com)
• A roaring start (thehindu.com)

Annakodi – Review

It was a rather disappointing term, as it took five years and further delay for director Bharathiraja to deliver his next bout of creativity. As he quotes often, across the length and breadth of Tamil Nadu, many of the small towns and villages have a tale of their own, narrating their part of the world with staunch beliefs, faith and customary practices. Known to boldly highlight that which is often either taken for granted or shied away from, Bharathiraja usually ensures that he has left no stone unturned, in each of his movie. This is what guaranteed him six national awards, for his classic yesteryear entertainers.

A journey that began in ’16 Vayathinile’, awarded him a choice award right in his debut. Proceeding on a journey through ‘Kizhake Pogum Rail’, ‘Sigappu Rojakal’, ‘Nizhalgal’, ‘Oru Kaidhiyin Diary’, ‘Tik Tik Tik’ and many more, Bharathiraja became a brand name. With National Award winning films like ‘Mudhal Mariyadhai’ and ‘Karuthamma’, he brought out the best that Kollywood can deliver. Among most of his movies, there has been a fine thread of similarity, that brings out one of the deadliest plague of the society – caste bias and discrimination. Expressed vividly in ‘Alaigal Oivathillai’ and ‘Karuthamma’, the typical Bharathiraja touch has been about love that blooms and flourishes beyond societal stereotypes like caste, creed and money – which, disappointingly, falls emotionless and flat in ‘Annakodi’.

First there was speculation about the name, then the release date and then the movie itself; all this had only increased the expectations movie, for when there is a controversy, there’s bound to a success story. Unfortunately, none of that marketing worked the trick here. First things first – the film is period set, probably close to independence, which is evident in the police’s half pants. Two small villages that nurture the hero and heroine each, and as predictable as it can get, the two populus are eternally at customary loggerheads. And there begins the saga of love. Starting off at a mutual taunting misunderstanding, as it most often happens, the two fall madly in love with one another. There is a bad yet influential man in the village, who composes the rest of the story, and who gets who in the end, is ultimately all ‘Annakodi’ is about. Well, easier said than done.

Bharathiraja has always defined love in new and out-of-the-box the box explanations. This one is also an off-beat portrayal of how the lead pair influence the life of one another and change their lives forever. Set in the backdrop of draught stricken village that thrives on farmer and shepherd population, forms an easy excuse for the love birds to join hands stealthily every now and then. This delivers a definite earthen feeling, where the director scores high, as always. Add to this, there are a lot more twists in the story, than you can ever imagine. However, despite all this, it is quite monotonous.

The second half is quite a balm, but not sure whether it is because there is a much needed break in between, or because there is actually more stuff per scene than the former. The last hour brings out most of what was intended to be a part of the movie – it ranges between love, separation, angst and anger. Going further, the movie gets highly predictable at every frame, and the story is no suspense. As if caught up in a drama competition, running out of time, climax is quite sudden, but comes as an entertaining relief.

On the other hand, everyone is advancing and becoming up to date, and our dear director is no exception to the rule. The bad side of the advancement is exposure and raw details, a glimpse of which was served in the teasers. Although the government cleared the film with U/A at the Censor Board, no adult may want the a child watching it, even under their supervision. Since it is a big director’s movie, Lakshman Narayan, Karthika and Manoj are to get a big break, but their contribution on this regard seems too little. GV Prakash has done a good job with regard to background score and music, and justifies the movie to the best extent possible, from his side of work. Picture is crystal clear, so make up could have taken care of, a little better. If the teaser made you squirm in your seat, then please be informed that it was after all only the teaser, while the whole movie lies ahead of it.

In all, the movie is a hard core love struggle, the burden of which reaches the audience by all means. After all the painful wait and suspense about the movie, the output is not quite satiating; and it is disappointing that this comes from one of the most sought after directors. To savour your earthen tastes, and for your love for the director, you can try and sit through the two hours odd long story once.

Verdict: You may like it for Bharathiraja

Rating: 1.75/5

ORU KAL ORU KANNADI – REVIEW

RED GIANT MOVIES UDHAYANIDHI STALIN PRESENTS:

ORU KAL ORU KANNADI****

A Movie Story & Directed by Rajesh M who has done the film neatly in commercial and full of comedy.
The producer Udhayanidhi himself is the Hero of the film with Santhanam making full comedy. Heroine is Hansika, Saranya Ponvanna Udhayanidhi mother, Uma Padbhanan Hansika’s mother and father is Shiyaji Shinde. With varadha rajan and others.

From the beginning itself the movie moves in the comedy track and full of comedy mixed with stunts, songs in foreign locations. Songs are all good, music by Harris Jayraj, Camera Balasubramniam, Lyrics Na Muthukumar, Arts: Jacy, Choreography: Dinesh, Stunts Rajasekar, Editing Vivek Harshan PRO: Nikil

Very neatly and in commercial and comedy fully with excellent timings by both Udyanidhi and santhanam speaks about the story. Udhayanidhi being produced many films is hero in this and does not looks like a new actor and done his part in very good manner with Hansika a beauty fitted perfectly for the Hero.

An wonderful comedy mixed commercial movie with all credits.

Kumar srinivas
Photo/video journalist

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vela vela song Lyrics from Velayudham

ada vela vela vela vela velayudham
nee otha paarva partha podhum nooraayudham

coming down town, coming to the sea
he is the man like shiny bee
breaking to the barriers …..
gonna come and carry us
don shout out
come get some
you cant get down, he is velayutham

ada vela vela vela vela velayutham
nee otha paarva partha podhum nooraayudham

chillax chillax song Lyrics From Velayutham

Image via Wikipedia

chillax chillax chillax chillax chillax..
chillax chillax chillax chillax chillax..

manjanathi marathu katta
maiya vechi mayaki puta
naatu katta townu katta
rendum kalandha semma katta
kaiyu rendum urutu katta
kannu rendum vetta vetta
nenjukulla ratham sotta
eduku vara kitta..

sooriyane thevaiyille vithudalama
rathiriya inga mattum inga vachukalama
thirupachi meesaiyile sikkikalama
neeyachu naanachu paathukalama

manjanathi marathu katta
maiya vechi mayaki puta
naatu katta townu katta
rendum kalandha semma katta
kaiyu rendum urutu katta
kannu rendum vetta vetta
nenjukulla ratham sotta
eduku vara kitta..

dheem dheem thananam dheem dheem thananam
ah ah..ahhaaa..ah ah ahhaa

en odhattu sayathula
ottikolla vaada ulla
patthu veral theekuchiya
pattha veika vaadi pulla
kattabomma peran ne katthi meesa veeran
muthan vechu kuthi kollu sethu poren
mayavi tha neeyum inga mayangiputta nanum
athangara moginiyum vaa nee enna katti pudikka

chillax chillax chillax chillax chillax
chillax chillax chillax chillax chillax
chillax chillax chillax chillax chillax
chillax chillax chillax chillax chillax
chilllllaaaaa….x chillax baby

en odambu panju metha
kitta vandhu kaatu vitha
un iduppu vaazha maata
naa pudicha thaanga maata
sandhu pondhu veedu nee vanthu vilayadu
patta vaanga thevaiyilla kotta podu
vetiya na sethu un marapula korthu
ennanamo pannuriye nenjukitta ketta kanava (ketta kanavu..)

chillax chillax chilla chilla chillax
chillax chillax chilla chilla chillax

manjanathi marathu katta
maiya vechi mayaki puta
naatu katta townu katta
rendum kalandha semma katta
kaiyu rendum urutu katta
kannu rendum vetta vetta
nenjukulla ratham sotta
eduku vara kitta..

sooriyane thevaiyille vithudalama
rathiriya inga mattum inga vachukalama
thirupachi meesaiyile sikkikalama
neeyachu naanachu paathukalama
chillax chillax chillax chillax chillax..
chillax chillax chillax chillax chillax..
chillax chillax chillax chillax chillax..
chillax chillax chillax chillax chillax..
chillax chillax chillax

Mankatha Preview

Banner:	Cloud Nine Movies
Cast:	Ajith, Arjun, Trisha, Lakshmi Rai
Direction:	Venkat Prabhu
Production:	Dhayanithi Alagiri
Music:	Yuvan Shankar Raja

There is a lot of anticipation, there are a host of stars, then there is ‘Thala’ and this will be his 50th innings in Tamil!

Venkat Prabhu’s ‘Mankatha‘ has raised expectations by leaps and bounds among Ajith fans and film buffs. The film sees Ajith in a first-time ever full-fledged negative character, suggest reports closely associated with the film. Trisha will play female lead with Arjun chipping in as a CBI officer.

Andrea Jeremiah, Lakshmi Rai, Premji Amaran, Vaibhav, and Anjali will be seen essaying important roles. Even the smallest incident from the sets of ‘Mankatha’ has garnered a lot of media attention and we have updated you regarding many interesting aspects which took place on-location as well as while the shooting was going on.

A single from the music album ‘Vilayadu Mankatha…’ which released on the eve of Thala’s birthday was lapped up by Ajith and Yuvan fans alike and is topping music charts. Now the team has confirmed that the rest of the songs, nine tracks on the whole, will see a grand release on July 18!

The fans expectations are mounting, and with Yuvan scoring the music we can expect some chartbusting numbers on its way.

Ajith committed himself for a rigorous 90-day shooting schedule. The actor has done a lot of hard work for this film which is evident from the way some scenes have shaped up. The racer has also performed some hair-raising car chases without using a body-double (do you remember the 360 degree rotation he did on a Swift?).

Another aspect that has received a lot of attention is the look that ‘Thala’ will sport in this film. The actor has decided to have a natural hairdo sans any colour-the salt and pepper look which Ajith will be seen sporting in ‘Mankatha’ will urge many men to shun hair colour, reveals the director of the film.

The film has been shot extensively from Chennai, Mumbai (particularly Dharavi), Hyderabad, Bangkok, and Macau. Ajith wrapped up his final day shooting from Hyderabad.

Even before the release of ‘Mankatha’ there are some rumours doing the rounds that some producers are eager for a Hindi remake, though nothing regarding this has been confirmed yet.

The film which deals with the gambling game will have the IPL matches as the backdrop and is expected to hit theatres around the Independence Day weekend.

Image via Wikipedia

Singam Movie Review

Cop stories doesn’t necessarily mean the hero bashing goons, mouthing punch dialogue or standing stiff. The cop can be simple, straight forward and still accomplish his mission.

Filmmaker Hari and actor Suriya, who come together after ‘Aaru’ and ‘Vel’, have laced ‘Singam’, Suriya’s 25th movie, with such events that sustain the attention of masses all through. Both have a major responsibility on their shoulders as their earlier cop stories (‘Samy’ and ‘Kaakha Kaakha‘ respectively) did raise the bar in Kollywood. ‘Singam’, which sounds a masculine title, is a pukka commercial entertainer.

Though the story may sound similar to many mass masala movies before, Hari’s pacy treatment to the screenplay and Suriya’s screen presence gives necessary pep.

A collage of action, song, romance and comedy at right mix has always been a safe bet. With Suriya at the helm of affairs, the commercial cocktail straightaway sticks to our heart. The movie comes with a huge star cast as in any of the Hari film before.

Besides Suriya, it has Anushka, Vivek, Prakash Raj, Nasser, Sumitha, Manorama, Vijayakumar, Bose Venkat and ‘Nizhalgal’ Ravi to name a few in the cast.

The movie tells the tale of a simple and sincere police officer Duraisingam alias Singam (Suriya), a sub inspector in Nallur in Tuticorin district. He wants to run the family business – running a provision shop and convert it to a huge departmental store. But his father (Radha Ravi) fantasizes him to become a cop. He lives up to his father’s words and becomes a sub-inspector in the local police station.

An amiable family, Singam lives at peace with everyone. Obviously their family is respected a lot in the village. Enters Kavya (Anushka), on a vacation to the village to her grandparents’ house. She comes across Singam and his upright manner and righteous nature attracts her. It’s romance between them.

There is ‘Eatu’ Erimalai (Vivek), who works as a head constable in the police station. Fate now enters in the form of Mayilvaganan (Prakash Raj), a dreaded baddie in Chennai who is into evil acts to make money. He is aided by his brother Vaikundan (Aadhi). He bumps off an old man in Nallur village when he denies parting with money demanded by him.

The old man was constructing a house in the village thanks to his sons’ money from abroad. His death has severe repercussions as his sons shoot a mail on the death to the embassy. This leaves in the arrest of Mayivaganan, who manages to get a conditional bail that he has to appear at Nallur police station and sign everyday.

Mayilvaganan comes face to face with Singam and his upright ways increases his wrath. He uses his might to get Singam promoted as inspector and brings him to Chennai. It’s now a cat and mouse game between Singam and Mayilvaganan.

Singam comes across another side of Mayilvaganan – that he runs a kidnap racket and gets away with ransom. By bringing to books the nasty side of Mayilvaganan, the Home Minister (Vijayakumar) promotes him as ACP –Anti Corruption Squad operations. Meanwhile Singam’s chase begins. How he accomplishes his mission forms the climax to a movie that begins in Nallur, (TN) and ends in Nellore, (AP).

Its out-and-out Suiriya show. He plays a cop who is in total contrast to Anbu Selvan in ‘Kaakha Kaakha’. If Anbu was stiff and serious, Singam is cool but furious. The latter is friendly and has strings in his culture. Suriya is flawless in his expressions and delivers his best body language.

Anushka is more than a regular heroine here. She romances with Suriya and got a few scenes to perform too. Prakash Raj is the scene-stealer back to do what he knows the best. He is menacing with his eyes and does a good role that he has done many a time before. Vivek as head constable evokes laughter.

Devi Sri Prasad‘s racy music is another highlight. His fast songs compliment the swift screenplay. Priyan’s cinematography is cool and pleasant.

Due credit goes to Hari. The man in his 10th film has given a movie that has his stamp in the form of an entertaining and engrossing screenplay. Unlike his earlier films where there would be wild chase and men all over with aruvals, ‘Singam’ comes with a difference.

Produced by Gnanavel Raja and presented by Sun Pictures, ‘Singam’ is the king of the masses, who love action and commercial films.

 

Singam Review

Banner: Big Pictures, Sun Pictures
Producer: KE Gnanavelraja
Director: Hari
Star-casts: Suirya, Anushka Shetty, Prakash Raj, Nasser, Vivek, Cameo, Manorama…
Music Director: Devi Sri Prasad
Lyrics: Viveka, Na Muthukumar, And Hari

Hip Hip Hooray! Surya’s 25th film ‘Singam’ has its album arriving today at stores and we bring you the first exclusive music review on this film. The album has 6 tracks with a colossal touch of DSP factor in every song. A mass-hero portrayal followed by couple of romantic duets and a mesmerizing sole to melt down your hearts… Don’t miss Baba Segal’s queer Kuthu number with an eccentric take from Devi Sri Prasad.

The first song is a title number ‘Naane Indiran’ is a typical mass hero song taken by Benny Dayal. Manicka Vinayagam starts the song with his introduction about the hero. This has a social message about being well and good maintaining good relationship with all in the neighborhood. The song will be a sure hit once the Sun Pictures are starting to provide publicity for the film.

The second song ‘En Idhayam’ has happening pairs Suchitra and Tippu cheerfully adding the romantic feel to this duet song. Na. Muthukumar has written lyrics for this song and receives good attention. Suchitra and Tipp have done a great job and is expected that the song is shot in foreign locations.

‘Stole My Heart’ is a western type song that begins something like ‘Oh Maha Zeeya’ and hard metal rocks join the song. Shaan has got himself glued severely to this heart melting western type romantic song. It has some peppy tune just like DSP’s earlier music in Telugu. Megha has equivalently done a good job just as Shaan.

The following song ‘Kadhal Vandhale’ will be a mass commercial hit as we have an energetic song in the ‘Chandrababu’ type melodies. Again it is the singers with unusual combination that make the song sound good and catchy. Baba Segal, the topmost singer in Bollywood has rendered the song along with Priyadarshini. It has simple lyrics and rap lyrics with local Kuthu beats and will be on No.1 position.

‘Singam Singam’ is a theme song of Singam that is sung by Devi Sri Prasad… The stunning hard beats and continuous metal guitars rolling on the tracks make it more unique as on a signature song. Will this be a title song or a background song whenever Suriya is on the mission as a police ?.

‘Stole My Heart’ on the unplugged version has a melodic touch and has the same tune from previous version.

Finally, the duo combo Suriya-Devi Sri Prasad has accomplished with yet another album comprised with chartbusters. Make sure, you buy a copy of ‘Singam’ as it’s the best way to keep you engaged with enjoyable music.

Movie Review: Iron Man 2 – The Ironing

There was a lot of potential for Iron Man 2 to deliver what all the best sequels hope to offer, a darker take on familiar themes with unexpected escalations that send established characters reeling in whole new directions.  Instead, Iron Man 2 is a moronic and haphazard attempt at summer blockbusting that shares more in common with the uninspired sequel to Transformers than its own predecessor.  Iron Man 2 systematically disrobes and molests all fragments of credibility left over from the first film by choosing tongue-in-cheek “ain’t I cute” mugging over believable conflicts or interesting characters.  Rather than painting Tony Stark as the arrogant but charismatic hero we’ve come to expect, the Stark of the sequel is a buffoon, an egomaniacal preening nincompoop hellbent on destroying his legacy without a second thought.  The evolution of Stark’s character from self-obsessed warmonger to national hero was the backbone of the first film, but here Stark is so overconfident in his effortless charm that the whole thing reeks of hubris.  It takes “textbook narcissism” to expect even the most dull-witted observer to overlook the gaping narrative flaws, listless plot progression and lack of palpable drama in this picture.  Releasing this movie to the public is an even more egregious sin than Revenge of the Fallen, because deep within my heart of hearts I honestly believe that Michael Bay is ignorant enough to consider his own work art.  Bay has made epileptic editing, poorly framed shaky-cam, and incomprehensible plot structure into a viable career, and because of his alchemy-like ability to convert barrelfuls of feces into box office gold, his respect for his own work is tangibly plausible, at least to this outside observer.  The difference here is that the original Iron Man was palpably entertaining in spite of its flaws, and if the talent involved could be trusted as any indication, a sequel should have deepened and revised upon the universe in a way that could course-correct the missteps already in progress, similar to The Dark Knight‘s affect on Batman Begins.  No such luck for Iron Man 2. The movie nosedives toward tripe so suddenly and irrevocably that you’ll be lucky to notice before you’re knee-deep in dreck.

There’s no way to approach a film this disappointing without dissecting it scene-by-scene, thereby ensuring that the reader absolves to avoid contact with it at all costs, preventing further such monstrosities from happening.  From moment one, Iron Man 2 is an awkward mess of muddled tone.  Amongst all too dour re-broadcasts of the final press conference from the first movie we’re introduced to Mickey Rourke’s villain Whiplash, a Russian who hates Tony Stark for inexplicably poisoning his father with a hereditary disease that causes melodramatic overacting.  Once Rourke finishes belching out some Oscar-worthy melancholy, assumedly reacting to his own appearance in an off-camera mirror, we are greeted with the opening title.  What does this too somber villain have to do with our hapless protagonist?  Your guess is as good as mine.  Even after several mumbly interrogations by Stark, it’s patently unclear why Whiplash hates Iron Man so much, enough to make you question the screenwriter’s decision to make Rourke’s character so confusing.  If you’re going to bring up the history and troubled past of two antagonistic characters, maybe it would help if the two characters had ever met or interacted before. Once it becomes clear that Mickey Rourke’s hideous dental work is a character choice and not the result of a bad tinfoil make-out, we shoot over to the Stark Expo for a brief exercise in torture.

I’m not sure how many times screenwriter Justin Theroux has set foot inside an Expo center, but based on the sheer number of dialog references to Expos, scenes that take place at Expo centers, and flashback footage featuring father-figures relating their personal thoughts on Expo development, it seems like the guy really digs Expos.  There’s nothing wrong with Expos per se, and Theroux would have you believe that they are in fact the greatest setting imaginable for expositional dialog and needless dance numbers to take place, nearly out-edging Spider-Man 3 in terms of sheer masturbation.  They’re also a great locale for an action movie to lose all narrative momentum, get lost in its own ego, splatter some patter, and move on like nothing happened.  This would be well and good if there weren’t so damn many Expos to contend with, or if anything remotely interesting happened at any of them.  The first Expo is the one you’ve seen in the trailer, with an abbreviated version of the likable yet cut “kiss the helmet for luck” sequence.  Stark lands in the center of his own ego, delivers a wank-fest monologue and wanders off to his next booze-cruise in search of tail and easy choices.  Downey Jr’s reprehensible portrayal of Tony Stark is bookended by abject refusal to change or evolve, plus pointed ignorance toward the character’s previous arc.  Would it have been interesting for Downey to portray the thrill-seeking death-defying boozehound from the comics, whose personal problems wreaked havoc on his life in legitimate and dramatic ways?  Perhaps, but that opportunity is undermined at every turn by the half-assed, jokey dialog that permeates this picture.  Rather than dealing with problems in a realistic way, Stark is shuffled from set-piece to set-piece with an alarming disregard for pacing or consistency, often resulting in multiple scenes of asinine dialog justifying the previous terrible sequence.  At one point, Gweneth Paltrow’s character explicitly comments on what a huge waste of time the Stark Expo was, out loud, to both Stark and the audience.  You would think this dialog would have served as a clue to the filmmakers that maybe the sequence is unnecessary, and that this kind of ex-post-facto dialog is only beating a dead horse.  Somehow this foolproof logic fails to prevent the 30-to-50 tech Expos that barrage the audience with pointless spectacle over the next two hours.

Unnecessary is the key word with regards to Iron Man 2, and Justin Theroux’s arrogance and over-indulgence eradicates even the slim slivers of poetic language he manages to string together.  Rourke has a particularly stirring line about attacking Stark to “make God bleed,” but in a microcosm of his unique idiocy, Theroux decides to take the metaphor one step further and explain that once God’s blood is in the water, the sharks will come, as if we should have been praying to sharks, the silent God-killers, all along.  Must have missed the aquatic chapter of the Bible.  It reminds me of the priest at my high school. He used to mix metaphors and say things like, “Looks like the little boy scout’s got his tail caught in the screen door.”  Even that phrasing suffers from a sort of retarded brilliance absent in Iron Man 2, where subtlety and beauty are fleeting or beaten by the brunt of the movie’s ravenous marauding dialog.  My friend JP even scoffed out loud when Stark’s father posthumously commented on the technological limitations of “his time,” anachronistically implying a preternatural knowledge of things to come.  As if the fact that Stark’s dad is played by Roger Sterling isn’t distracting enough, now I’m expected to believe that the man was so smart he predicted the future but failed to prevent Tony Stark from being an utter fuck-up.  Any father with the psychic knowledge that his son would be involved in Iron Man 2 would inevitably abort the pregnancy.

Gweneth Paltrow and Sam Rockwell serve as this movie’s most likable characters in that they both seem to hate Tony Stark as much as the audience.  Rockwell loses some credibility at the three-quarter mark when he launches his own Expo and starts dancing across the stage, in order to meet the retardedly childish expectations set by the movie’s first act.  If you’re wondering what happens between the first and third acts, again your guess is as good as mine.  Claiming this movie tells a story is an affront to stories everywhere.  Three concurrent and unrelated plotlines collide in the last scene like revisions from earlier drafts, stumbling to the same boring set pieces you’ve seen advertised in the trailers.  There are so many stupid and ancillary scenes in Iron Man 2 that I would be remiss not to mention a few of the more glaringly bone-headed narrative decisions.  When Tony Stark meets Nick Fury, played by Samuel L. Jackson in all his eye-patched glory, the last vestige of hope for comic book fans looking to see an Avengers or Captain America cross-over movie in a relatively stable and realistic universe, Stark is sitting hung over in a giant plaster donut on top of the roof of a donut store, eating donuts.  Sam Jackson appears in this movie as a wake-up call to both Stark and the screenwriter, who forgot until this point that he had obligations to more interesting franchises.  While it’s funny to see Tony Stark flip the bird to the other Marvel characters, you can’t help but wonder if the “fuck you” quality of the joke is lost on the filmmakers. When so many problems abound, these potshots read like last ditch-efforts to make Iron Man 2 seem superior to something, anything.  If you think that’s ridiculous, let’s not forget the Ninja Turtles-esque scene where Tony drunkenly dj’s his own birthday party in full Iron Man attire, eventually reverting to exploding watermelons and dated Gallagher jokes to keep both his fictional and theatrical audience’s attention.  If the original Iron Man had any shreds of dignity, they’re long dead now.

You can stay after the credits to see a teaser for another Marvel picture, but the absolutely dreadful treatment of the Iron Man property makes this brief advertisement even more questionable.  Scarlett Johanssen looks hot yet bored throughout the movie, and Don Cheadle serves passably as replacement for his equally boring Traffic co-star.  There is absolutely nothing here that you couldn’t assume from the previews, and aside from the opening flight sequence there is relatively little special effects-wise to admire.  For a movie called Iron Man, there is a surprising dearth of Iron Man.  The movie generally follows Tony Stark’s smug expression as it meanders around town corroding paint and stripping wallpaper from local businesses. In spite of the few laughs he provides early on, Garry Schandling fails to escape the curse of the crud, returning at the end of the movie to present Iron Man with a needless medal of bravery.  No one considers that the only attack on American soil that Iron Man prevents in this movie was caused by a contract employee of the U.S. Government, or that the whole debacle was Stark’s fault from the get-go. And outside of Rourke’s psychotic mumbling there doesn’t seem to be a villain in the universe who can fight Iron Man for longer than thirty seconds without folding like a house of cards.  If your superhero is so overpowered that it’s not even interesting to watch him fight, I suggest you reconsider where you spend your hundreds of million dollars, let alone your ticket price.  There is absolutely nothing positive or memorable about this slapdash recreation of comic book spectacle, and the whole thing stinks like the literary equivalent of Marmaduke.  Not only are you bored, you don’t even realize how bored you are until it’s finally over, and by the time it’s over, it’s already too late. You’ve just wasted two hours on a movie whose greatest aspiration is to build a few rooms onto Robert Downey Jr.’s summerhouse.

Paiya Movie Review Online

Paiya Movie Review

Paiya Movie Review Online: “Paiya’ is an urban story and tells the interesting events happening in the lives of a pair of lovers (Karthi and Tamanna). Besides, Milind Soman and Sonia Deepti are playing pivotal roles. The movie was widely shot in Bangalore, Hyderabad and Mumbai.

Paiya is all set to hit the screens on April 2nd Worldwide. Paiya stars Karthik Shivakumar and Tamanna in the lead roles. Music is scored by mass Yuvan Shankar Raja.

The suspense element is when an unknown person joins their three days journey and unexpected twists and interesting things, happen during the journey.

The flashback of this movie is another key element which has been screened in a very colourful way.

A song “Suthudhey Suthudhey Boomi”, choreographed by Sabeena Khan, is expected to be one of the highlights of the movie. It was shot at Prasad Studios in Chennai, where a grand set was erected by art director Rajeevan.

However, thanks to computer graphics and visual effects, the background of the song will change to dense forests and lush mountain ranges, it is said. A rain song “Adada Mazhaida”, featuring Karthi and Tamanna, was shot at the Athirappilly waterfalls recently.

Get ready to watch the stylish, romantic, thriller ‘Paiya’ in 70 MM screen. Do watch the movie on theater and enjoy the full fun of entertainment. I’m eager to watch the Paiya movie and hope you all will enjoy the movie.

Do comments on movie Paiya in your point of view. Rate the movie: How much will Paiya movie Get out of 5 marks?.

Tamil Movie Unnai Pol Oruvan Review

Main Cast : Kamal Hassan,Mohanlal
Director : Chakri Toleti
Producer : Kamal Hassan
Banner : Raajkamal Films International
Writers: : Ee.Raa.Murugan,Neeraj Pandey
Music Director : Shruti Haasan
Rview by : Unnai Pol Oruvan
Rating: 3.5/5

It was the Kamal Haasan-starrer ‘Kuruthi Punal’, made years back and directed by P.C.Sreeram, which had made me much prejudiced. I was not at all impressed by the way the Govind Nihalani-directed ‘Droh Kaal’ was remade. And it was this prejudiced kind of thought that led me to expect ‘Unaipol Oruvan’ to be a pale copy of the Hindi movie, ‘A Wednesday’, which was simply astounding. But, to be honest, my prejudices were all shattered. Director Chakri, Kamal Haasan and Mohanlal have teamed up to give a faithful remake of the original Nasseeruddin Shah-Anupam Kher starrer, with the message intact. As the movie was beginning, I was telling myself that in ‘Unaipol Oruvan’, it would be Kamal Haasan who’d be the hero and not the ‘aam admi’ (commom man), whom Nasseeruddin Shah had so sensitively portrayed in ‘A Wednesday’ (once again prejudiced thinking!). But it has to be pointed out that the makers left the ‘aam admi’ element intact and didn’t disrupt the total fabric of the original theme.
Well, coming to the story, it all takes place in flashback mode. Raghavan Maraar (Mohanlal), who had been the Commissioner of Police, recalls an incident that had happened earlier and changed his outlook itself. It all began with a guy (Kamal Haasan) planting explosives at certain strategic places and then calling Raghavan Maraar and asking him to release four dreaded terrorists, who are lodged in jail. Maraar, who first doesn’t know whether to believe it or not, is forced to believe the guy when he finds explosives hidden in the police station just near his office. Maraar and his men swing into action. But the guy who contacts them over phone is clever enough to leave no traces of his location. And from here the story takes off.
The highlight of the film, as told earlier, is its theme, startling and even introspective. The credit of course goes to Neeraj Pandey, who had scripted and directed ‘A Wednesday’, but the makers of ‘Unaipol Oruvan’ too deserve to be appreciated, for having dared to remake such a startling and sensitive movie. Of course those who had seen ‘A Wednesday’ may not feel that ‘Unaipol Oruvan’ is as powerful. But this may just be a misconception as you are already familiar with the theme and know what’s going to happen finally. Of course the lacks, only to some extent the tautness that the original film had, but this happens during re-makes. Remakes rarely match up to originals.
Performances
Kamal Haasan is his very usual self playing the central role and gets into the skin of the character with perfection. It’s better not to compare his performance with that of Nasseeruddin Shah. Mohanlal as Raghavan Maraar is good. Of course you may like Anupam Kher in the original better, but it’s better not to compare the two films and the performances. The others fit into their roles well.
Technical aspects
Cinematography by Manoj Soni is good. And so is the art-work by Thotta Tharani. Editing by Rameshwar.S.Bhagat is also good.
Music
Shruthi Haasan, the young daughter of Kamal Haasan, who recently made her acting debut with the Hindi film ‘Luck’, makes an impressive debut as music composer scoring music for ‘Unaipol Oruvan’ in a very excellent manner.
Script
There’s nothing new or different to speak about the script here. It’s in fact almost a scene-by-scene adaptation of the original and even the dialogues are the same.
Direction
Chakri deserves to be appreciated. It’s not to be considered that a re-make director needs no talents. The director has to be in full control of things, whether it’s an original or a remake and it’s the director who makes the film or mars it. Many re-makes have been marred due to poor direction. And it’s hence that Chakri deserves to be appreciated as he has made an almost faithful remake of the original.
As a tail piece let me add something. One of my journalist friends recently remarked that if Amitabh Bachchan, who was reportedly first approached for ‘A Wednesday’, had done it, the film would have gone places and got more mileage too, on the commercial front. (No, he wasn’t underrating Nasseeruddin Shah, one of the finest actors that we have amongst us). ‘Unaipol Oruvan’ scores on this front, with Kamal Haasan having his own sway over the box office all over the South and Mohanlal being a decisive force at the Kerala box-office. Still doubts remain as to whether fans, who look for the usual commercial elements, would be satisfied with the film. The climax being greeted by booing in a release centre on day one makes you think on these lines. For a fan, it’s not the ‘aam admi’ aspect that matters. It’s the star that counts. So, how would the film fare at the box office? Let’s wait and see.

Overall verdict- Faithful remake; makes an impact!
Rating: 3.5/5