The story starts with searching a missed friend by the other two friends who were studied in Engineering college. The college run by Boman Irani in Delhi area. The friends are from different economic family background. Ameer from royal family, Madhavan from middle class family and Sharman from poverty family. The routine college life of these three friends, and other important and interesting things related to their college life is on screen for fun.

They started impressing us when introducing every character, like for Madhavan’s father explains their life condition by showing old airconditioner, on the other side for Sharman by showing with a sick dad, teary-eyed mother and unwed sister is shown in black and white in the fashion of the ‘50s movies. You sympathise with his situation while smiling at the stroke of delicious black humour. The film trails their life during the four years in college and after. A couple of scenes are truly memorable. Like the one where Rancho asks the examiner for five extra minutes to finish his exam paper and describes his reaction “as if he had just been asked for both his kidneys”. The part where we see students feverishly praying and “striking deals with God’ is also realistic. The ragging appears over-the-top, but it’s amusing nevertheless. The Aall iz well anthem, too, is pretty catchy.

The second half is totally cuckoo, complete with a never-ending scene around an emergency baby delivery that has zero relevance to the story and surprisingly loud melodrama. The finale is coincidence-driven and is too much of a stretch for the viewer to be delighted. And, yes, at three-and-half-hours the film is too long, especially since it’s laden with scenes like the ones mentioned above that could have been done away with.

The humour is average – most of it is juvenile and will tickle those who find the repeated mention of balatkar funny. Characterisation is sketchy and one-note. Aamir is the flawless do-gooder ‘hero’ who is a genius student, dependable friend and expert advice giver all in one. Heck, he can even look at a girl and magically guess that she’s wearing her late mother’s watch and is missing her at the moment.

Boman Irani does the grumpy principal act again after Munnabhai, this time with less charm. Despite the cast’s stellar performances, they don’t completely take you into their stories. Aamir playing a 20-something student is dependably good, though one can’t help question casting older actors to play roles half their age. Sharman Joshi gives an earnest performance and Madhavan, too, is impressive.

Excellent performace by ameer, he showed 20 year youth person’s body language, style and activities (remember that his age is 44 now). Similarly madhavan acted well equally to ameer, because of his father he left his dream of wild life photographer, joins in engineering. Sharman plays a character that does a complete volte-face towards the end, good-naturedly blabbering about all his faults to a stern interview panel and impressing them with his honesty (unintentionally hilarious, this). This is the ending so we can also guess whether he lands the job or not. Kareen did well for her role, but she has less scenes to appear on screen when the story is about to run three heros. The slogen of the movie well impressed at the time of watching – ALL IS WELL.

Omi playing Chatur, an ambitious student, has the best lines and is the source of most of the humour. The actor playing Millimetre leaves you with an endearing performance. Technically, the film is functional. The editing could have been more alert, of course. Music is alright – a slight disappointment as Hirani’s films always have memorable music.

Totally Entertainment Guaranteed coz of 3 Idiots.

Vijay is back in the easy comfort of the FORMULA – one that is all about a larger-than-life character, an adrenalin pumping introductory song, dream duets in studio sets and foreign locales, comedy , punch dialogue, action and sentiments. So, if you have seen earlier films of the superstar, you may strive hard to find anything new in Vettaikaran, which is old wine served in a new bottle, with a different label.

The success of such films depends purely on how a director is able to keep his audience spellbound without a script and give him a time-pass entertainer. Vijay is a young do-gooder who wants to be a police officer but is forced to change his course and take on the very goons he wanted to eliminate wearing the uniform. Ravi (Vijay) is in Tuticorin. He aspires to become a cop like police officer Devaraj (Sri Hari), his role model. After great effort, he manages to pass plus two and he joins a college in Chennai. During the course, he meets Suseela (Anushka) and falls for her instantly. Thanks to her grandmother, he succeeds in wooing Suseela. In Chennai he takes up his studies in a college and also earns his living plying an auto rickshaw. It is here that his life takes a turn.

He comes across a baddie Chella (Ravishankar) who tries to play spoilsport in the life of his classmate Uma (Sanchitha Padukone). Ravi bashes him up. His troubles start as Chella’s father Devanayakam (Salim Ghouse) with the help of greedy police hatches a conspiracy to kill him in a special encounter. It is now a cat and mouse game between the two. And it leads to a predictable climax.

The film works due to Vijay, his charisma and immense screen presence. He takes the cake, cream and cherry and plays to the gallery, with abandon and underlines his over-the-top character with an infectious sense of fun. Anushka has nothing much to do and hence goes unnoticed. Sri Hari is wasted while Sayaji Shinde does his usual comedy act. Ravishankar and Salim Ghouse are adequate.

Though Vettaikkaran seems to have heavily borrowed from many movies, the racy narration makes you hold through. A major plus for the movie are the five peppy songs tuned by Vijay Antony which are choreographed well. The introductory song Naan Adichal… has lot of energy in it and the cute bit with Vijay’s son Sanjay dancing with him rocks!

The action scenes by Kanal Kannan are superbly choreographed. Gopinath’s camera is slick and editing is fast paced, despite the film running into two hours and 54 minutes.Produced by AVM Balasubramaniam and B Gurunath and presented by Sun Pictures, ‘Vettaikkaran’ is an out and out action movie Vijay fans would lap it up.

Totally Vettaikaran is a mix of perfect, action, comedy film from his previous movies

The story begins in Madurai and travels to Renigunta, a suburb of Tirupathi in Andhra Pradesh. It is all about friendship, male bonding, one of the friends doing the comedian role, full of inhuman cops and petty politicians, contract killers unfulfilled love, song in narrow by lanes, item song by the roadside, all’s well friendship song and final bloody climax ending in a railway station.

Sakthi (Johnny) lives in Devakottai and is the only son of middle class parents. His father is a PWD clerk and mother is a serial addict. His parents want him to be an engineer but the 19 year old boy loves football and neglects his studies. One day a local politician and goon kills his parents in the market area, as his father was to be the main witness in a murder case involving the thug. Sakthi decides to take revenge but due to his middle class upbringing falters and is caught by the goon and with the connivance of police is sent to Madurai juvenile jail, where he is brutally beaten up by the cops. Taking pity on him Pandi (Nishant), Dabba (Theepetti Ganesan) , Mari (Tamizh) and Micael (Sandeep) who are in their late teens all cold blooded murderers befriend him.

They escape from the jail and board a train to Mumbai without any tickets. They are caught by the TTE and forced to get down at Renigunta. An old contact Bangaru now working for a faction leader, makes them hired killers. A deaf and dumb girl (Sanusha) whose sister is a commercial sex worker takes a liking for Johnny. The friends realize what love and affection is from the girl. But it is too late as nemesis catches up with them.

Johnny has been very impressive. His body language and dialogue delivery besides emotions sit apt for the character. Sanusha is not just cool and cute on screen, but has also performed with grace. Among the boys Nishanth and Theppati Ganeshan has been outstanding. He not just evokes terror while committing murders but successfully manages to evoke laughter in few scenes.

A former associate of filmmaker Lingusamy, Panneerselvam’s ‘Renigunta’ is a violent tale on the lives of young criminals. The director stress the need to manoeuvre children well and sends a strong message that criminals are not born but made. Teenage boys turning hardcore criminals and contract killers is no ordinary thing and the need to halt it seems to be the mission behind the movie.

The music of Ganesh Raghavendra is ok, though it has been picturised in the Sasikumar style and settings. Good cinematography done by sakthi a former associate of Jeeva. All the newcomers are impressive, the characterization of the comic Dabba is the pick of the lot, and Johnny has not been given much dialogue while Sanusha makes a decent debut as heroine.

The movie Produced by Mahendrakumar, On the whole the film drags big time post interval and is too long at 2 hours, 35 minutes.

Totally Renigunta – Thrilling and Enjoyable journey to the destination

Sashi Kumar (Jagapathi) is brutally practical in his thinking. He is a first-rate Entomologist at Harvard University, who is never carried away by meaningless coincidences of life. So, if his female co-passenger in the plane en route India thinks that they should both marry, because not one but three tastes of theirs are similar, he bombards her irrationality in two seconds. For him the masterpiece Power Of Now could be trash Warm Capuccino, he likes it for a different reason.

A decade ago… Sasi and Sailaja were classmates in a college. Packs of guys were after Sailaja, the college beauty. But, Sasi believes that marriage is like meals and that love is like a soup taken prior to dinner. Sailaja was averse to this philosophy. Failing completely in wooing the modern Pravarakhyudu, Sailaja gives up the idea and go her way. Afresh, Sasi enters a college as lecturer in biology. There, Sailaja is the principal. What a terrific reunion? Whey does Sasi join the college? What follows next? These questions would form an interesting climax.

In the film, Jagapathi plays an interestingly mature character. Each line of his in the first half seems a sermon. He goes on a hunt for the right girl with his family and college buddy Ravi (Sunil), and on the expedition, and Priyamani (playing Sailaja) as the film goes back a decade’s time, a traditional girl who thinks that the reason she is flooded with love letters every day is because she is a champion in possibly all extra-curricular activities than an average Indian student can conceive of (elocution et al). Sashi, the Supra-practical Rascal, enlightens her that it is not because she is cerebral or intelligent, but because she is, well, sexy that everybody is infatuated to her. Madan’s sensual touch comes on again, off again.

Performance-wise, Jagapathi and Priyamani do justification. Most of the footage is consumed by the twosome and they make good pair on the screen. Brahmanandam as a Yes-man to Priyamani is good. Sunil, Dharmavarapu and others have not much to display.

The story is developed with a simple concept about human relationships with an extra dose of love. The director has given importance to project that each and every individual will have his or her own moorings about certain concepts like love or hatred. The exposition of one of the logics that the longevity of love depends on the longevity of hormones in a human body is something ridiculous.

Technical aspects of the film are perfect. Songs and music synch well with each other, while selection of the scenic locations are a plus. MM Keeravani’s background score is very pleasing to ears. “Neela… Neelimabbu Nelakocche” song would provide a pleasant sojourn to the audience. Dialogues are good. On the whole, the film is okay but it could have been better if the length is trimmed and more comedy is included.

Totally Pravarakhyudu is a different high way with confused cross roads

In De Dana Dan Johnny Lever plays a hitman named Kala. He sits down in a coffee shop and introduces himself to someone: “hello, I’m Kala. The guys says: toh maine kab bola gora hai. This low-IQ, college canteen humour made me laugh, and it is as good as it gets in the film. The movie starts out funny but gradually becomes more and more exhausting. The film sticks to what seems to have become the standard formula for Bollywood comedies.

Nitin [Akshay Kumar] is a butler, cook, driver, watchman, gardener to a wealthy female industrialist [Archana Puran Singh] in Singapore. Like any young man, Nitin too dreams of a better life. He desperately wants to become rich and marry the love of his life, Anjali [Katrina Kaif], who supports him financially.
Ram [Suniel Shetty], Nitin’s best friend, also came to Singapore with the dream of striking it rich, but ended up a courier delivery man. He falls for Manpreet [Sameera Reddy], but her high society parents will never approve of marriage, not unless Ram has lots and lots of money.

In the midst of all this is Harbans [Paresh Rawal], a shrewd businessman, who’s looking for ways to multiply his income and avoid his debtors. He decides the best way would be to marry his son [Chunky Pandey] off to a girl whose parents can give him a large dowry. He is introduced to Manpreet’s parents at a function and is impressed by their social status. He introduces himself as a well-established businessman, impresses them and they decide to get Manpreet and Harbans’ son married.

With several factors working against them, Nitin and Ram soon reach a dead end in their relationships. When both receive ultimatums from their girlfriends, they realize that only a life of vice can help them out of their misery. They come up with an audacious plan to kidnap someone important and demand a ransom. The kidnapping goes awry and both hide at a local hotel while waiting for the ransom money. But misfortune is never far and the kidnapping spirals out of control. For remaining story please wat on screen

Many characters with different agendas get together in one location. What follows is misunderstood identities, slaps, Tom and Jerry style chases and cartoonish violence. You recall Daddy Cool, Do Knot Disturb, All the Best – De Dana Dan is one more from that school of laughter. Akshay Kumar, the reason this film got made, plays Nitin, a glorified servant who works for someone called Singapore’s Cruella de Ville, playted by Archana Puran Singh. The only thing she loves is money and her dog named Moolchand ji.

Some of this strictly low-brow humour is fun. Akshay, in full throttle, energises the lame scenes and keeps the momentum going for the first half. But in the second, he does a disappearing act. He gets shut in a cupboard and the film goes into free-fall. We see Shakti Kapoor attempting to bed Neha Duphia who in turn attempts to bed Vikram Gokhale.

Meanwhile, Johnny Lever is trying to kill the wrong man; lots of money is being tossed around in suitcases, everybody screams and there is a wedding in progress. The film gets more tedious as the plot gets more convoluted and by the climax, in which everyone floats around as the hotel gets flooded, I could barely keep my eyes open. The humour is so labored that I felt like someone was beating me to laugh. And I finally understood why the credits in many Priyadarshan films say filmed by Priyadarshan instead of directed by Priyadarshan.

Because there is little sense that someone is actually directing this circus. It feels like the actors are in a free-for all and a camera is filming the chaos.

Totally De-Dana-Dan – Expectation of satisfaction will be guaranteed

Allu Arjun and Navadeep are friends since childhood. Allu Arjun is always obsessive to be with Navadeep. After some years Navadeep becomes businessman, and Allu Arjun as ‘software engineer’ in his company. Once Kajal Agarwal enters into the office and soon dramatic things happen.The both heros are loving her, To avoid Arjun, she starts loving Navadeep. But suddenly, her father Mukesh Rishi settles her marriage with Ajay a son of factionist. As per Navadeep Allu Arjun goes to her her village and disrupt the marriage. Once he setting his steps in the village, more dramatic things happen. Rest of the drama is all about how Allu Arjun gets Kajal in the end as his lover.

It starts off well, but post-interval it completely sidetracks. In much of the scenes, the film’s protagonist looks like ‘villain’, and heroine behaves like she doesn’t have a character of her own. She says she’s loving Navadeep because she doesn’t like Arjun. Once she gets ready for marriage with Ajay because of her father, then she marries Arjun because of her marriage with Ajay called off in the last minute, she readies to go off with Navadeep again because of Arjun. Hence the heroin character no seems like and intellectual. Such are the plot and scenes created by director Sukumar.

In the actors side, Allu Arjun plays the maniacal and psychic friend and lover to the hilt. He plays out the dual roles – that of a software engineer and a ruffian like character with ease. Allu Arjun also makes his fans happy with his stylish dance steps. Kajala Agarwal is as beautiful as ever and suits the role of a girl torn between two lovers perfectly. Navdeep does a good job as the weak and subdued friend of Allu Arjun. Sraddha Das oozes some glamour. Brahmanandam manages to spill some laughs. Sayaji Shinde and Mukesh Rushi are convincing in their roles as factionists. The rest are okay.

The music is too good and especially the song Ringa… Ringa…will make the audience dance the floor, and the another cool song ‘I Love You’.

Director Sukumar fails both as writer and director as his plotline is confusing and his hero’s characterization is negative. The ending may be in tune with the characterization of the hero but it does not really impress the audience.

Totally Arya 2 – the impression less entertainer.

First, the theme itself makes the film worth more than just a look. Set in Wayanad (the northern part of Kerala) in the late 18th century, the movie traces the path of Pazhassi Raja (Mammootty) who showed the courage to defy the powerful colonial forces that were threatening to take over his motherland. While kingdoms around him were making hurried alliances with the foreign forces to avoid war, and bending to every wish and whim and rule laid down by them, Pazhassi Raja felt it unacceptable that people who were allowed into the country for trade should begin to dictate terms. His defiance obviously doesn’t go down too well with the forces and a clash is inevitable. The colonial forces, armed with guns and cannons expect to overrun the sword and spear-wielding army of the Raja. The Raja does suffer losses, and is eventually forced to seek refuge in the thick jungles of north Kerala about which the British don’t have a clue. But, this is not before the very core of the British forces has been shaken by the valiant resistance that was put up, when they were expecting a meek surrender in an unevenly matched battle.

In the jungle, with his faithful followers consisting of his trusted lieutenant Edachena Kunkan (Sarath Kumar), Pazhassi Raja gathers his forces for a powerful retaliation. He finds willing and able allies in the Tribals, led by Thalakkathu Chanthu (Manoj K Jayan), who know the jungles like no one else does. They devise a hitherto untried plan to counter the firepower of the British, guerilla warfare. In the thick cover of the jungle, the plan is perfect as the foreign forces don’t have a clue about who is hitting them and from where. It looks as if bow and arrow might ultimately get the better of the gun. But, treason lurks and it turns the course of events. But, the fight is not over yet. The Raja’s men shall not drop arms until none of them stands. That is what Pazhassi Raja is all about, a tale of martyrdom.

As said above, the theme itself makes the film worth more than just a look. To go nit picking the faults of such a movie could amount to a disservice to the sacrifices that sparked off the struggles that ultimately earned us our freedom. Yet, from a very objective point of view it can be said that the movie is perhaps a trifle too long. There are places where one feels that the screenplay (M.T. Vasudevan Nair) could have been a bit tighter, though it is flawless for most parts. The climax makes one feel patriotic with the Raja and his men making the ultimate sacrifice. The dialogues adapted to Tamil by Jayamohan convey the right emotions most of the time. The dubbing from Malayalam to Tamil has been done without many noticeable glitches which are commendable considering that the original uses the more classical, pure Malayalam of North Kerala in the 18th century which has very little Tamil influence.

Everyone in the cast has given their heart to the role. It is not always that an actor gets such an opportunity. Mammootty lives the role of Pazhassi Raja. Majestic and commanding, one of his best performances. The points when he has to try hard to summon courage and resilience even in the face of heavy losses to motivate his forces bring out the best in the actor. Sarath Kumar is excellent as Edachena Kunkan. His confrontation with another regional king and final act of sacrifice makes a great impression. Manoj K Jayan too has delivered with distinction. Padmapriya makes her presence felt in a challenging role while Kanika is a constant presence throughout the movie without getting much of a chance to perform. Senior performers like Nedumudi Venu, Thilakan and Jagathi Sreekumar leave their stamp behind in small but important roles.

Music by Ilayaraja carries the Maestro mark as usual. Resool Pookutty contributes with a fine effort, sounds come alive. The camera effectively captures the green terrain of Kerala. The film has been made with lots of effort and planning. One can see it in the number of extras that have been used in every scene. The efforts taken by the cast in the fight sequences impresses.

On the flip side, the nativity factor goes missing in the Tamil version which is expected. The costumes, the architecture and everything are very much characteristic of Kerala and hearing Tamil dialogues in this setting takes a bit of getting used to.

Pazhassi Raja is a film that reminds us of the price at which freedom came. It is one great effort and definitely needs to be received with an open mind. A few shortcomings notwithstanding, it is an opportunity: for those who know about these heroes to remember them once again and for those young people who are yet to hear these names to get to know about them and their sacrifices. We would love to see more movies like these.

Totally Pazhassi Raja is Powerfull Raja

The film is borrowed from various coming of age films including scenes from Hollywood films like American Pie, You Got Mail and closer home Dil Chahta Hai, Socha Na Tha. It is more a multiplex film that is set in an urban city like Chennai. Besides directing, Arshad Khan has played the lead role. Popular TV anchor Prajin and a host of newcomers form part of the cast. Produced by Rajesh Khanna, the film has music by Abbas Rafi.

Some portions of the movie is highly influenced by Hindi hits like ‘Dil Chahta Hai’ and ‘Rab Ne Bana Di Jodi’. Double meaning dialogues and trivialising emotional moments take away the sheen from the movie. Three young men Keerthi (Prajan) an IT professional married to Jo (Sarah), Bala (Akshay) a rich guy who is in love with a TV anchor (Pinky), and Pal (director Arshad Khan) a student with a roving eye for ‘aunties’ live in the same area . They meet most of the time and discuss their love life.

Keerthi and Jo’s marriage is on the rocks due to their demanding work schedules and they end up chatting with strangers on the net leading to piquant situations. Bala does not find true love in the girl he loves and gets closer to the girl chosen by his parents.

Prajin and Sara’s episode in the film manages to sustain some interest. How a mobile phone friend can change a shy and introvert youth into a lovable man formed the crux of ‘Rab Ne Bana Di Jodi’. It has been used by the director for the Keerthy and Jo episode. Pal falls for a ‘aunty’ who runs away with her neighbour, leaving him stranded with a girl whom he does not like!

Arshad Khan seems to have mimed a popular actor, while Prajin does a decent job. Ujjaini looks good for the role while Mithuna is ok. There are enough dull moments in the movie. Music is loud and jarring. The songs have a peppy beat. The music composer should have concentrated more on the background score. The trouble with the film is that there is no story to tell, it is just a few incidents strung together by a non happening script. Most of the scenes have been lifted from above mentioned films including dialogues. All the main characters seemed to be living in a la-la land, comfy in their designer outfits and posh houses.

The film lacks a true Tamil touch and offers little in terms of surprise or twists. The music is bad and the second half is repetitive and too long with a predictable climax, and all is well with the jolly good guys and girls.

Totally Saa Boo Thri the game is not with a perfect person ‘Story’

It was the first of its kind in Tamil cinema, talking about friendship between a woman and four youths. Nithin Sathya, Sanjeev, Abhinay, Satyan and Chams are your friendly neighborhood guys. Nitin is a righteous and honest guy who makes a living the hard way by driving an auto, Sanjeev is a duty conscious person who is bringing up his two sisters single handedly by selling savories and snacks to shops, Abhinay is a good for nothing local Casanova and son of a rich guy, Satyan is aspiring actor looking for a break in Kollywood and Chams is an associate of a criminal lawyer who treats him like his servant.

Enter Karthika, the bubbly young girl from Madurai, who is always happy and smiling. She bonds with the five and all of them nurse a soft corner for her. Like an angel she brings about a change in their life for the better. The twist in the tale is that she is suffering from a rare heart disease and her days are numbered, but keeps it a secret.

There have been many films with similar story line in our Tamil movies. Now, Thayalan has tried to resurrect the theme once again with a faithful remake of the 1981 film, resulting in the audiences jeering and laughing. Nithin Sathya has done his part well. Shouldering a major burden, he comes out in flying colours. He seems to have got under the skin and performed exceedingly well. He plays the role enacted by Vagai Chandrasekhar in the original. Karthika renders a decent performance.

Music by Bobby especially the remixes disappoint. At the end, one gets a feeling that original is always original. Thayalan and his teams handling of the story and presentation is way off the mark. We will be polite and not compare the acting capabilities of Suhasini and Chandrasekhar with the current set of actors in the 2009 version.

Each scene reflects the old movie and while comparing the both It seems like old movie is better with this movie. Anyhow It is a good effor for the team and one more advice to the remakers is please take the story from old movie, give different screenplays and different climaxes than the old movie. Otherwise the movie results reflects with the comparison of old one.

Totally the new Palavanacholai is make us to go in the old and experienced route.

Jai seems to have continued from where he left in ‘Vamanan’. He plays a jobless youth in ‘Adhey Neram Adhey Idam’ too. Vijayalakshmi, who shared the screen space with him in ‘Chennai 28′ does the same here too, however as his ladylove this time. Perhaps he was hinting about this M Prabhu directed film which was to be different in its plot and treatment. An unemployed ordinary guy Karthik (Jai) falls for a girl Janani (Vijayalakshmi) and it is love at first sight.

On his father’s (Nizhalgal Ravi) advice he goes to Australia for a year, with a promise he will not communicate with her till he comes back after finishing his course. Janani a more practical girl agrees to marry a rich industrialist Siva (new boy Rahul), as per her parents’ wishes. He is not only more handsome but richer than Karthik is her reasoning.

On the flight back from Australia, Karthik meets Shiva (height of coincidence) and they become good friends. Shiva’s advice to Karthik is that he should cause havoc in Janani’s life for betraying his trust and love. Karthik without realizing that his former lover is his friend’s wife (???) goes about harassing her till she agrees to sleep with him, leading to the climax twist.

The scenes that unfold in the movie have no logical sequence. Jai tries to live up to the proceedings but ends up in vain as he is complimented by a weak screenplay. Vijayalakshmi has taken to glamour as she appears in skimpy costumes in a couple of song sequences. Premji’s music is cool. The director’s desire for experimentation and the urge to break moulds blow up on his face as he has no proper script. How many times can you watch the same old clichéd love story in the first half and the second half it takes a bizarre turn with half a dozen loopholes in the plot.

Totally Adhey Neram Adhey Idam is – Journey in the same route with different persons thats all.