Tamil Movies Reviews http://tamil.way2movies.com Way2Movies.com -Tamil films news, Hindi film news, Telugu film updates, film news, film review, Movie review , actress photos, trailers, videos , telugu movies, tamil movies, hindi movies, bollywood, actress wall papers, hindi songs, telugu songs, tamil songs, bollywood movies, video songs, funny videos, download hindi songs, download telugu songs, download tamil songs, latest movies Mon, 18 Apr 2011 11:31:09 +0000 http://wordpress.org/?v=2.8.4 en hourly 1 <![CDATA[Irudhi Suttru Movie Review]]> 2016-01-29 16:25:40 aditya When was the last time a leading star played a grumpy, foul-mouthed and ill-mannered womaniser in Indian cinema? In "Irudhi Suttru", director Sudha portrays Madhavan (Prabhu), who plays a boxing coach in the Indian squad, in ways most heroes won't be willing to see themselves on the screen.

In his introduction scene, he wakes up with a woman in bed who cribs about travelling 20 km to spend time with him, only to be humiliated by his actions. He's used to sleeping with random women ever since his wife eloped with another boxer. Cut to next scene, charged with sexual harassment, he's transferred from Hisar to Chennai. As a viewer, one quickly forms an opinion about Madhavan's character and that's what Sudha wants from her audience.

In Chennai, Prabhu finds a potential boxing champion in Madhi, a fish dweller, who is grumpier than him. He wants to train her and is willing to pay her Rs.500 per class. She gives in to the lucrative deal, not because she aspires to be a boxer, but so that she could buy her mother a new sari. Early on, Prabhu pays women to sleep with them. Now, he pays a woman to train her.

Unlike the regular template in sports films where the mentee goes the extra mile to get noticed by the mentor, here the latter identifies the hidden talent in the former.

Sudha beautifully explores the mentor-mentee relationship against the backdrop of boxing and merely uses the sports angle as a metaphor. The story is about a washed-out coach's shot at redemption when he finds a protege with all the qualities of a champion, but the spotlight also stays on the unison of two eccentrically diverse personalities and their common goal.

At one point, you're almost convinced that they might fall in love, but Sudha duly avoids taking that route and stays faithful to the script.

One thing that's not clear is whether Madhi is really interested in boxing or not. While she says she has been training from the age of 3 and idolises Muhammad Ali, there's no sign of anything aspirational from her side.

Initially, she agrees to get trained because she can support her family financially and later on, for her sister, who has been boxing for many years with the hope of earning a police job in sports quota. Towards the end, she fights for her coach. Never do we understand clearly what really motivates her to box.

Though it's tough to shake off the predictable story, what still works in this sports drama is the way it's treated. Extremely well-written, the dialogues will be etched in your memory and so will the performances be.

Madhavan breathes life into the role of a grumpy coach with ease and elan, while the extremely impressive newbie Ritika Singh steals the show with a knockout performance. Both of them complement each other with the kind of raw acting we've rarely seen. There's no way any other actress could've done a better job than Ritika in this role.

<![CDATA[Rajini Murugan Movie Review]]> 2016-01-15 10:56:28 aditya Cashing in on the Rajinikanth sentiment to the T, Sivakarthikeyan, a real life Rajinikanth fanboy, saves a very ordinary and regressive film from turning into a boring and unbearable experience. While it is partly entertaining, and thanks to Sivakarthikeyan and Soori for that, this is the kind of film you forget the minute you leave the cinema hall.

Even with its predictable storyline, Sivakarthikeyan makes the film work, and only he can save a film like this. And it goes without saying; he's a man of the masses and knows exactly what will work with his fans. Luckily for him, it works yet again in "Rajini Murugan". It may work again given his immense following among the youngsters.

If there's somebody to watch out for in the film, it has to be Keerthy Suresh. Though she doesn't have much to do, the ease with which she essays her character in her own voice, is an indication of a confident young actress. She's a delight to watch and shines in her scenes but it's sad that talented artistes like her don't get to add much value.

Replete with cliches and almost everything that you may have already seen in Sivakarthikeyan's films - unemployed wastrels, stalking, punchlines that are delivered with great timing and the village milieu - his latest offering "Rajini Murugan" works solely because of the actor's presence.

<![CDATA[Maalai Nerathu Mayakkam Movie Review]]> 2016-01-02 14:35:03 aditya An incompatible couple - Prabhu (Balakrishna) and Manoja (Wamiqa) - get into an arranged marriage courtesy their parents and one's expected to believe that they've fallen in love by the end of the film.

While that remains the goal of this story, we never get the feeling, especially from Manoja's side that she's in love with Prabhu. So when they finally come together in the most intimate, yet romantic and happy ending, you're not really convinced.

The only time Manoja realizes she misses Prabhu is when they're separated and she has trouble sleeping, so she finds comfort in listening to his snore, which she had recorded to irritate him when they used to stay together.

We get the point that sometimes even the smallest things about our partners make us miss them, but this is slightly awkward. Does this brief moment really prove that Manoja is into Prabhu, particularly after getting raped by him for not allowing physical intimacy between them?

It reminds me of those cases in some Indian villages where, when a man rapes a woman and is eventually caught, he's forced to marry her. How convenient, right? This is exactly why this is such a regressive love story, even though there are some good moments.

Originally written by filmmaker Selvaraghavan, and directed by his wife Gitanjali, one wonders why all his heroes have to be losers and social outcasts. Prabhu, here, is an introvert, who dances to the tunes of his father and absolutely has no clue about how to behave with women.

He works in a call centre, has a decent sense of dressing, but makes a mess of the toilet when he uses the tissue paper. Although Selvaraghavan had said on several occasions that most his stories are a reflection of the society and we truly appreciate the effort, but mind moving on to other type of stories?

What we get in "Maalai Nerathu Mayakkam" is what we've already seen in Selvaraghavan's films - at least most of it, like, love, sex, stalking and additionally arranged marriage.

We also get to see a variety of men - a boyfriend who wants to sleep with his partner to know if she's worth being committed to, a husband who wants to know (with details) the distance his wife has gone with her ex partners and a father-in-law who doesn't like that his daughter-in-law drinks and conveniently blames her parents for the way she's raised - in this story where the fulcrum revolves around a heroine.

It's a shame that we live around such men who are judgmental, selfish and lack the minimum trust one needs to have in their partner. Among some of the film's best moments, this one will certainly stay with you along with the sporadic humour that's used, not forcefully, but very smartly to evoke a chuckle or two.

The film was originally supposed to feature Dhanush, and with them in the lead it would've worked out extremely well.

Balakrishna Kola, however, doesn't rise to the occasion in portraying the tragedy usually associated with Selvaraghavan's heroes. Debutante Wamiqa, who has had two back-to-back great debuts (including last week's Telugu film "Bhale Manchi Roju"), is here to stay and she's a talent to watch out for.

"Maalai Nerathu Mayakkam", if not for the regressive part, works to an extent and it's tough to discard the effort that has gone into its writing.

<![CDATA[Pasanga 2 Movie Review]]> 2015-12-25 11:58:40 aditya There isn't much to rave about in Suriya's "Pasanga 2", which is fun in parts but otherwise feels like a long-drawn counseling session for audiences on how to treat children with Attention Deficit Hyperactivity Disorder (ADHD), and is strictly targeted at the middle and upper middle class families. This leaves us with the question whether this disorder is highly prone only in kids raised in an urban environment? As a doctor points out, the kids in the film - Kavin and Nayana - are hyperactive only as they are devoid of any physical activity.

When we're first introduced to the two seven-year-old protagonists, who are extremely mischievous and make their parents' lives nightmarish, we don't quite understand if they're really suffering from ADHD, and if you're a parent watching the film and have no idea about the disorder, you might leave the hall in a state of confusion. From what I gathered, the film isn't actually about kids suffering with the disorder, but about parents who mistake their child's irregular and partly eccentric behavior as ADHD, and that's very common in most cases. While it's good that this angle is being addressed, sadly it doesn't get articulated in the way it's supposed to be.

As much as you want to appreciate director Pandiraj's effort to address an important issue, which he could've have done with little more subtlety, you can't help but wonder why do all these filmmakers always show what we already know but rarely offer a different perspective to look at things. Along the way, "Pasanga 2" becomes a film about social reform and targets the educational system, especially the way schools function.

It makes both cheeky as well as blatant digs at private schools by pointing out how they favour only smart kids, in a bid to boost their reputation, and how life in a hostel is nothing less compared to the one behind bars. Does this mean government schools are any better? There's a lovely dialogue in the film and it goes like this - a father says that he believes in his daughter and not the school she's sent to. Or you could also say a kid who wants to learn will do so irrespective of the school he's put in. As parents, the decision to send their kids to the school of their choice totally rests with them and nobody has the right to correct them. It also depends on their spending capability, because education doesn't come cheap nowadays.

The film goes a tad overboard in making a point about schools and in the process becomes too preachy, and that's where it all goes downhill. Wish it focused more on the lives of the kids and made "Pasanga 2" even more entertaining and children-friendly and less educative. Even the scenes featuring Suriya, who plays an extend cameo, are a delight to watch, but there's still some sense of pretentiousness in his portion.

<![CDATA[Inji iduppazhagi Movie Review]]> 2015-11-30 11:32:49 aditya In "Inji Iduppazhagi", Anushka Shetty plays Sweety, an overweight woman who finds solace in eating - from keema samosa to jalebi - anything and everything she can stuff herself with.

She almost eats through the entire first half; much to the worry of her mother whose only concern is to get her married off to an NRI. Her partner in crime is her diabetic grandfather, who likes to feed her everything he's not supposed to eat. At one point, you get the feeling that this old man could be really responsible for her weight.

With weight struggles as the core theme of the film, the makers could've handled this story in two ways - attempt a full-length spoof with no compromises, or address the issue as sensitively as possible.

The film, directed by Prakash Kovelamudi, achieves neither of these things and ends up making a mockery of even the little promise it displays sporadically, like the wonderful scene between the father and young Anushka at the very beginning.

While the first half is fairly engaging even with the cliches, the film almost turns into a fitness commercial post interval, especially towards the end, featuring cameo appearances by a bevy of stars such as Nagarjuna, Rana Daggubati, Jiiva, Simhaa, Kajal Aggarwal and Hansika Motwani among others. The things that get great mileage out of the film are the Clean India campaign, a weighing machine, jalebi and laddoo.

Despite all the pain she went through to gain weight, Anushka couldn't save this one from turning into a largely boring experience. And to add to the woes, the makers fooled the viewers into believing that it's a bilingual, which the film definitely isn't as it mostly appears like a dubbed Hindi serial on Tamil channel.

<![CDATA[Puli Movie Review]]> 2015-10-02 16:38:35 aditya The bigger the film doesn't always mean the greater it is, and there can't be a better example of this than Vijay's big-budget fantasy drama "Puli", which isn't a bad film, but worse.

The film, unlike Vijay's most outings, comes from someone who loves to experiment and even though not all his attempts have succeeded so far, he's always given us the feeling that he isn't a lousy filmmaker. With "Puli", however, all that seems to have changed and that's not a good sign.

It's tough to understand whether "Puli" is a fantasy film or one that's intended for children, because with so much of violence, it sure doesn't qualify to be called a children's film. But with fantasy elements like talking birds, talking troll, talking tortoise, magic potion and Lilliputians, you're almost convinced that it's a fun fantasy entertainer.

Sadly, it quite isn't the entertainer you anticipate it to be as most of the time is spent on glorifying its star hero and his image. So, automatically everything you expect him to do in commercial films is checked - from breaking into duets in exotic locations to romancing two heroines and having all the time in the world to deliver pages of dialogues.

"Puli" uses the fantasy angle to merely tell us a regular revenge tale that gets so predictable at a point that it becomes the new cut-off for mediocre filmmaking.

If you can't give audiences the best, give them something mediocre, and that seems to be the mindset of most southern filmmakers. Strangely, most of us are satisfied with mediocre content because we assume that it's due to the lack of budget, time and technology that a film is made the way it is.

Vijay as the man-on-the-mission-to-save-the-world character, does what's usually expected of him. He fights, dances, romances, mouths dialogues like he was a preacher in his previous birth, but otherwise doesn't quite impress as an actor.

As a star, he shines, and there are deliberate moments in slow motion just to send his fans into frenzy. The leading ladies - Shruti, Hansika and Sridevi - all look like they've come to participate in some fairness contest. This leaves one wondering why does the work of most make-up artists on southern actresses' feels like, guess who's the fairest of them all. Why this obsession for fairness?

Sridevi gets the meatier part and she's good, but it's the roles of Hansika and Shruti Haasan that end up giving you a migraine. Shruti plays a girl from a tribe, but she's dressed impeccably, and god knows how she has such beautiful, well-groomed eyelashes. Hansika, well, she plays a princess, so it's understandable if she looks pretty.

"Puli" has its moments but they're short-lived -- like the wonderful stretch where Vijay embarks on an Indiana Jones kind of adventure. It's a great idea that goes haywire in the execution. Chimbu Deven is a creative filmmaker, one with good ideas, but doesn't quite succeed in translating them on to the screen in a way it will appeal to everybody.

<![CDATA[Trisha Illana Nayantara Movie Review]]> 2015-09-18 17:40:19 aditya Debutant Adhik Ravichandran's "Trisha Illana Nayanthara", an A-certified adult comedy, was promoted as the boldest Tamil film of this generation, and as strictly intended for adults. It's bold to an extent, but not quite enough and that's disappointing, considering it was Tamil cinema's first attempt at the genre and I wish they had gone all the way.

I mean, with an A certificate the makers were so proud about, why not give us an unadulterated sex comedy; why dilute it with family sentiment?

G.V. Prakash plays Jeeva, a jilted lover stuck between Ramya (Anandi) and Aditi (Manisha Yadav). Their mothers give birth to them around the same time in the hospital. When they're put in the cradles, Jeeva mysteriously ends up in the middle with Ramya and Aditi on either side.

Jeeva's uncle jokes about it and from an early age, they like each other. The childhood sequences are fun to watch, especially the scene where the trio uses a cussword substitute to get back at a bully.

Adhik shows a lot of promise as a filmmaker with good understanding of what young audiences want. In a lovely scene, when Ramya offers her cheek for Jeeva to kiss, and when he does, water gushes upward from a nearby pipe.

It's his first kiss and one need not have to explain the water reference because it subtly hints at coming of age. In another scene, when Aditi invites Jeeva to her room at 1 a.m., he drinks a little out of anxiety. He goes to her room, tries to wake her up, but in vain. Aditi pretends to be fast asleep and when he leaves the room, her friend asks her why would she invite him and disappoint. Aditi says men drive aggressively when they're drunk and she's afraid of speed. She doesn't like men who drink and drive. Get the point?

It's a lovely scene and you can't stop yourself from laughing, even though it means awkwardly. But I really wish Adhik didn't restrict himself. I mean, why settle with these funny references when you had the license to go all guns blazing. Because when most youngsters today grew up watching "American Pie" and probably came of age watching Sunny Leone's X-rated films, what's the harm in giving them a localized version of Hollywood sex comedies?

When both the women dump Jeeva, veteran actress Simran comes into the picture. She plays Anandi's aunt and helps Jeeva to win her back. But I was expecting her to be a cougar; the kind of role we have mostly seen in such films.

The film respects and disrespects women at the same time. There's so much hatred against women, but Aditi's character stands testimonial to the equal freedom they deserve. It's nice of Adhik that he presents both point of views and expects us to not judge.

In a scene, when Jeeva finds out that Aditi drinks too, he lectures her about how unsafe it's for women to drink and what would happen if they are found drunk on road. Aditi enjoys her freedom and says she wouldn't stop drinking just because he doesn't like it. In another scene, Jeeva is heartbroken when he finds out Ramya has lost her virginity to someone else after they broke up.

Jeeva expects women to not drink and be a virgin until marriage. Imagine what would happen if women expect the same from men? Even though his approach to make a valid point may not be taken in the right spirit, especially by women, Adhik is a filmmaker you can't easily write off.

G.V. Prakash may not be a great actor, but he sure does know how to play to the gallery, even when the joke is on his character most of the times. He's definitely improved as an actor from his last film "Darling". He now delivers one-liners with ease and aces the dance moves. Anandi is decent as contemporary, middle-class girl while Manisha ensures to keep the glamour meter charged throughout the film.

<![CDATA[Yatchan Movie Review]]> 2015-09-11 15:53:20 aditya On paper, the premise of "Yatchan" -- a story about two guys whose lives are swapped by an accident when they cross paths -- sounds so promising. But on screen, it isn't half as promising because it's a film that doesn't take itself too seriously.

There's lot of black comedy, in the most serious scenes and at the most unexpected junctures of the film.

Take the scene where Krishna accidentally boards the car that's waiting for Arya for instance. Krishna plays an aspiring actor; one who's so enthusiastic that he reminds you of someone always high on adrenaline. On that particular day, he's supposed to take a car to a film studio where his future as an actor awaits. Krishna is mistaken for a paid killer, and the car he boards takes him to a market where he's asked to kill someone. He resists, and a fight ensues, ending the scene so predictably. But here's what I liked about it.

Even before Krishna gets to become a real actor, he does all that is usually expected of a Tamil cinema hero. In the auditions, he gets an emotional scene, and he aces it. In the market, he risks his life to save a girl. There's a fight scene in the rain. Some of the best action scenes in Tamil cinema have had rain backdrop. Unknowingly, Krishna gets to live the life of a hero, which he doesn't realise, but director Vishnuvardhan wants us to pay attention to it.

Arya plays a die-hard Ajith Kumar fan. He owes people a lot of money. A day before the release of an Ajith film, he borrows money to celebrate with much fanfare. He accidentally kills someone, flees the town and lands in Chennai. In the most unexpected fashion, he gets an opportunity to act with none other than Ajith himself.

It's a series of accidents that brings Arya and Krishna together. Their lives cross paths over their love for cinema. And that's precisely why they come to Chennai; the heart of Tamil cinema. When Arya auditions, he struggles to perform. And you realise talent is, after all, not a prerequisite to be an actor. Sometimes when you're in the right place at the right time, things just fall in place.

I wish the film capitalised on these promising moments. There's a sub-plot about politics and it shows how dirty people in it can get. The political references reminded me of last week's Tamil release "Paayum Puli", in which a son blinded by politics doesn't hesitate to kill his own father. In "Yatchan", for similar reasons, a brother kills his own brother.

Adil Hussain makes his Tamil film debut as the antagonist, and you wonder what must've attracted him most about the role that hardly makes any impact. Arya's potential is wasted in a role where he tries to be funny, but seriously isn't. Krishna and Swathi get the meatier parts and they're quite good, while Deepa is best ignored in her role with psychic powers.

"Yatchan" works in bits and pieces, but never on the whole. Even with an interesting premise, it's disappointing that the film ends so predictably.

<![CDATA[Paayam Puli Movie Review]]> 2015-09-05 16:32:22 aditya The problem with most police stories in Tamil cinema is that they're commercialized; tactic filmmakers here have been following for years in an attempt to woo the masses, who are not the same as they were a decade ago.

Suseenthiran's "Paayum Puli" suffers from the same problem and despite some solid portions; it eventually boils down to become your regular police drama with irrelevant romantic track, an item number and forced comedy.

One of the biggest letdowns of "Paayum Puli", which otherwise could've been an edge-of-the-seat thriller, is the role played by Kajal Aggarwal, and her scenes with Vishal. They meet for the first time on the road. Sowmya, a grown-up adult, is struggling to cross the road. This is not a joke, if that's what you're thinking.

She finds someone who is about to cross the road and walks to the other side along with that person, literally following in their footsteps. As Vishal looks on, a song describing Kajal as a rabbit plays on. Indirectly, Suseenthiran is telling us that Kajal is as fragile as the rabbit, and it all makes sense.

As Kajal tries to cross back, Vishal comes to her rescue. He takes a step, she follows, and it goes on. And these steps they take together are like the saptapadi; the seven steps people take in matrimony.

Kajal plays a learner in the film. She's always learning something. She's learning to cross roads, to drive a scooter, and sadly, she's still learning to pick up better roles.

There was absolutely no need to have a heroine in this story, but Suseenthiran, like most mainstream filmmakers, chooses to have one for reasons we never quite understand. And then, there's Soori, a regular in Suseenthiran's films, accompanying Vishal in most scenes and does what he's always expected to do, evoke some laughter even if it was unnecessary in the first place. The good part is he isn't as terrible as Kajal.

The twist, a very good one, comes towards the end of the first half. There's an interesting sub-plot about a political conspiracy and the film finally gathers some steam.

Post interval, you're involved in the thrilling story of cat-and-mouse and what's even more interesting about it is that the characters involved in it live under the same roof. The final face-off between these characters ends rather predictably, with heavy dose of melodrama.

Samuthirakkani lands a meaty role and he plays it to the hilt. His unexpected transformation is devastating and this is easily one of his best performances.

"Paayum Puli" could've been an engaging police thriller a la "Ab Tak Chhappan", but it sadly reduces itself to a police drama that fizzles out even before it starts to get impressive.

<![CDATA[Vasuvum Saravananum Onna Padichavanga Movie Review]]> 2015-08-14 17:35:45 aditya Friendship and booze are the two elements on which all Rajesh's films rest, including his latest rib-tickling entertainer "Vasuvum Saravananum Onna Padichavanga" (VSOP), which happens to be Arya's 25th film. But for some reason the spotlight shines on Santhanam throughout the movie.

Although Rajesh clarified in several interviews that the film's title VSOP has got nothing to do with the popular brandy label, yet the makers cashed in on it and how!

The title is neatly engraved on the cap of a liquor bottle and the title track has a line about the lead characters Vasu (Santhanam) and Saravana (Arya) being popular for drinking in several liquor joints in the city. There's a scene where Vishal, in a cameo, explains the major difference between men and women over brandy and beer.

Rajesh can't be blamed for the kind of films he's been making, for that's what is expected of him. When he tried to step out of his comfort zone, his attempt in "All in All Azhagu Raja" failed miserably and he was quick to realise it and bounce back strongly.

He plays to his strengths in VSOP; makes it funnier than all his previous outings. The jokes work, the lines are fresh and the camaraderie between the lead actors has been taken a notch higher.

Santhanam is Rajesh's trump card, and he can't imagine a film without him. They make a great pair and each time they collaborate, we get something funny, even if it is mostly the booze jokes and sexist one-liners.

Take the scene where Arya, after being rejected by Tamannaah, meets Santhanam at a bar. Arya isn't upset as he believes he has rejected her. Santhanam serves him beer, and three rounds down, Arya sobs like a child, coming to terms with his rejection. Santhanam says, "The truth that's not coughed out when police rough up young men, only comes out when booze goes in". And you can't stop yourself from laughing out loud.

Like most of Rajesh's films, VSOP too doesn't have much of a story. It follows the lives of two best friends -- Vasu and Saravana, who grew up studying and drinking together. Their lives turn topsy-turvy when they welcome women and what ensues is outright predictable and partly cringe-worthy.

The booze jokes are fine because the youngsters dig it. But the sexist jokes are annoying and shows how cheap filmmakers' taste of comedy has become. At the same time, Rajesh gives the women a chance to get back at men, and that's something worthy of mention.

Vidyullekha, for instance, has scenes where she's made fun of due to her weight, but there are moments where she gets to crack jokes at Santhanam and Arya. Vidyullekha chips in with a terrific performance while Tamannaah needs to be specially applauded for lip-syncing dialogues perfectly.

What really makes VSOP work, besides the jokes, is the lovely camaraderie between Arya and Santhanam, who make every scene thoroughly entertaining. Santhanam has teamed up with many heroes over the years but his on screen charisma with Arya is unmatchable.