Thank you!

Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown ...

Minimal Design

Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown ...

Download high quality wordpress themes at top-wordpress.net

Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown ...

Easy to use theme admin panel

Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown ...

Archive for August 2012

Mugamoodi (Mask) - Super-Hero Unlimited!




Director Mysskin has his fantasies and surreal epitomes in place, be it an action or an emotional flick. Mugamoodi which is the first super-hero flick in Tamil, is no different as far as the shots and scene making is concerned, bearing Mysskin's favorite stamps all over. 

The story was tailored for a superhero movie - a boy next door due to circumstances gets in the cross-fire between the good and the bad. Obviously he dons the super-hero's role to eliminate the baddies from the scum of the earth. In this case, the super-hero is "Mugamoodi", a name that obviously personifies the man behind the mask and also goes to show that a hero need not have any unique identity and there is a super hero within everyone. 

The costume in a super hero flick plays a vital role and it gives out the right signals and adds to 50% of the image of the super hero. The costume here drew some inspiration from Batman, though the mask had some subtle variations which was hard enough to get convinced. 

Another thing that would strike us with a super-hero are the gears and gadgets that would be used. Here there was hardly anything like that and augured well for the Indian version, where there is a budget constraint in everything. 

The highlight of the movie was the Kung-Fu action scenes and the manner in which they were choreographed. For a lame person, every move was perfectly in sync with the  thuds and punches and more than anything the speed in which they were performed should be lauded. Also a lot of research has gone into making it a largely believable affair. 

The first half of the movie was light hearted in parts due to the love and hate scenes between the lead pair and the story took sometime to gather some pace with a parallel thrilling narrative hogging the limelight, creating an element of suspense in the minds of the audiences. 

The scene where Mugamoodi clashes with the baddies, especially the chase during the night was awesome and everyone were literally on the edge of their seats. 

The script had enough surprises to unwind then and there, but one got a feeling that it was too many in a short span of time. 

Jiiva, as Mugamoodi, the super-hero was top class. He was in song throughout. His dedication and hard work to learn the subtle nuances of Kung-Fu has paid off handsomely. Well done! 

Pooja Hegde, made a fair debut in Tamil and was a kind of relief from the usual dumb heroine, but still imparted a feeling of an eccentric girl next-door. 

Naren, as the antagonist was a master stroke in casting and he was suave and belligerent for the super-hero. He did not have shades of grey and his character was pitch black throughout - be it the scenes where he was merciless to all his victims to the scene where he discards the helping hand lent to him before his last breath. 

Nasser had a stereotypical role of an assistant commissioner who often loses to his enemies and hands over the responsibility to our super hero at the end. 

Selva as the Kung-Fu master was subtle and sufficient. 

The supporting cast of Girish Karnad and others were there to glorify Mugamoodi and held him high from falling down flat. 

Music by 'K' was good in parts. 'Vaaya Moodi Summa Iruda' was the only duet in the movie and was choreographed well in a foreign locale. Apart from that the background score was largely lifted from the Hollywood 'Saw' series. 

Cinematography, as in all Mysskin movies had some unique angles - during most of the scenes, the camera remained stable while the characters and other objects in the frame moved. Though it was engaging in his earlier movies, this time it was tedious, especially the low angle shots focusing the legs was a bit boring. 

Editing by Gaugin had the movie's length under control for the most part of it, but for the latter half. 

As in most of the action flicks, here too the cops were reduced to a bunch of duds and going a step further, they handover the entire responsibility of taking the baddies to justice to Mugamoodi during the climax. 

Also the second half lacked fizz due to some weak scenes towards the climax like fighting some well trained Kung-Fu gangsters with 2 old men and a handicapped eccentric made hardly any room for logic. 

But considering the fact that we have seen so many 'unlicensed' super heroes in the past beating more than a dozen men to pulp and bursting transformers with a glance, Mugamoodi, taking on the baddies with some well choreographed Kung-Fu moves and with an official super-hero license was largely engaging. 

Verdict: Engaging 

Rating: 3.5/5 

Naan (I/Me) - Subtlety Crafted Thriller!




Debutante Jeeva Shankar directed 'Naan' is one of the finely crafted psychological thrillers in recent times featuring music director Vijay Antony in a lead role for the first time. The story of the movie chronicles the life of an individual - Karthik, who is forced to be a child convict due to circumstances, spends time in child welfare prison and gets released as a grown up man. Once he is out, he switches identities by taking advantage of an opportunity that comes his way in order to shield his true identity and starts eliminating people who comes to know the truth. 

The pretext of the story made room for a good thriller. One should say that the director had a well-woven script with some subtle connections between characters that created some interesting ripples along the way. The narrative also had an engrossing appeal which is an essential ingredient for a thriller. There were neither mind boggling dialogs nor some over-the-top performances, but every character did their bit in a measured way in order to elevate the movie to its desired level at the right time. 

Vijay Antony in his debut has offered more than a decent performance. Though this role only demanded some subtle emotions, he is an actor whom we should keep a tab on in his future ventures too in order to determine his worth. Though he had similar expressions for varied emotions, he managed to pass muster as the script took care of the rest. 

Siddharth as a rich and spoilt brat was apt for the role. His last outing in 'Aanandha Thaandavam' might not have ticked as he would have wished, but this time, the role was spot on and the brief time that he spent on screen was well conceived and augured with the story.  

Roopa Manjari as Siddharth's love interest brought in the much needed vibrancy to the proceedings and she has matured and delivered a performance expressing finely tuned nuances of happiness, sorrow, jealousy and anger. 

Anuya in an extended cameo had very little to offer but has done a tidy job at it without making much impact and was used by the director to bring in the twists and turns in the script. 

Others in the cast were adequate to take the script to the finishing line. 

Technically the film was chic which in turn added to the urban flavor of the script. The camera which was also wielded by the director himself was vibrant, while the editing department has managed to keep the film to its desired length, though one would have wished that the second half was a tad shorter. 

Music by Vijay Antony was below average. Being his 25th film, he could have concentrated more, but no offence, as he has debuted as an actor and that has made this occasion special. 

On the downside, apart from the blatant switching of the characters which was a bit unbelievable at times mainly due to some far fetched coincidences, I was not able to sense anything other than that. 

Overall, it was a well scripted thriller and is one of the few movies in recent times which is driven by script rather by the characters. 

Verdict: Good 

Rating: 3.5/5 

Attakathi (Cardboard Knife) - Fake but Sharp!




Another promising debutante has knocked the doors of the ever evolving Kollywood filmdom - director Ranjith. Embellished with a clichéd script and narrative, Attakathi still proved to be refreshing largely due to its performances from its debut cast - Dinesh, Nandita, Aishwarya and a bunch of funny and not-so-funny characters. 

The story of the movie was set in the year 2000, which was somewhat of a nascent approach from the stereotypical stories that have been thus far told either in the retro 80's style or in the usual present day rural or urban milieu. Traversing through a not so distant past has opened a conducive platform wherein there was an ample space to digest the idiocy of the lead character, which otherwise would have ended up between stools. The movie travels through the life of Dhinakaran (Dinesh), an aimless youth who struggles to complete his secondary schooling to enter college only to realize his dream of becoming a BA history student. He encounters his love interest, transforms himself for her and ends up learning the meaning of life (Well, did he?). Attakathi has also portrayed the lives of the youngsters who travel from the nearby areas in and around Chennai, travelling by foot-board, singing 'Ghana' numbers, wooing their loved ones and other antics showcased by them. 

The film neither had very funny dialogs nor an interesting plot, but it largely thrived on its debutantes who hogged the limelight with their natural performances that gelled well with the proceedings. Dinesh's performance as a volatile and a flirtatious youngster gathered applause, while Nandita's performance as the timid yet chirpy heroine brought in warmth. So many other small characters were carefully handpicked and were made to perform with some fine-tuning done then and there. 

Another pillar for the movie was debutante Santhosh Narayanan's music and BGM. The melody number 'Vaazhkai Or Pulveli' was soothing, while the experimented ghaana number 'Aadi Pona Aavani' had a wonderful fusion of accordion, tabla and dholaks that created a retro feel and reinstated the humorous undertone of the script. He is a guy whom we should watch out for in his forthcoming outings. 

Editing could have been crisper, especially in the second half. There were so many dots which were left loose and disconnected that could have been edited for a crisper style. 

Cinematography was excellent, as the camera followed the characters in an intimate fashion thereby bringing the audience closer to the narrative. 

The weaknesses were the longer-than-usual scenes and dialogs. The dialogs that were meant to tickle the nerves only ended up being an old fashioned one liner creating little or no impact most of the times. 

The movie can be watched once for its fresh and feel-good appeal that could have so easily slipped down as a tragedy but ended up as a satirical take on love and other such flirtatious relationships. 

Verdict: One-Time-Watch 

Rating: 2.5/5

Mirattal (Warning) - Let me warn you!




Director Madhesh had so far enjoyed some carefree outings in Kollywood with movies like 'Madhurey', 'Jai' and 'Arasangam' which were notoriously known for their over-the-top masala content with hardly any logic. It seems he has not got out from this hangover and rightly so after his last venture with none other than our one and only Captain - Mr.Vijaykanth in 'Arasangam'.

'Mirattal', as it resonates multiple times in our eardrums is a remake of a Telugu hit 'Dhee'. Let me query my brain cells to ponder into the story and get it back.... well, it seems to be a no-brainer as there was hardly any content. A dumb 'dhaadha' (Prabhu) with a heart of gold employs a romantic guy (Vinay) in order to safeguard his sister (Sharmila Mandhre) from an even more dumb villain (Pradeep Rawat) on top of having brawny and loyal henchmen under his belt. If you are trying to make any logic from the above lines, you are only trying to kick yourselves. 

Performances from the lead cast was average and supporting cast like Prabhu, Pandiarajan and Uma Padhmanabhan were just splashed as essential ingredients in the already pungent 'Khadai Chicken Masala'. 

Santhaanam and Ganja Karuppu were paired here to fill the comedy vacuum. As I have been mentioning before in my earlier reviews, Santhaanam is becoming paler by the day though there were some flashes in the pan from him every now and then. 

The screenplay every now and then drew various references from movies like Prabhu's very own 'Chinna Thambhi' for covering up the marriage with the 'thaali' sentiment and 'Rajapaattai' for finding the heroine by turning the power on and off across the city within an hour or so (courtesy TNEB!!).

Music by Praveen Mani was a relief in the sense that there were only 3 songs and so it relatively did not bother us when compared to the movie's storyline. 

Though the movie was pacy and was narrated with the only intention to entertain us with the masala ingredients, it overdoes that and fails to fulfill any of its 'noble' intentions. 

Verdict: Warning for the audiences! 

Rating: 1/5