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Archive for 2013

Written by Hariharan Anbazhagan in , , , , , , , ,


Endrendrum Punnagai (Everlasting Smile) - All Smiles!!



How long has it been since Kollywood churned out a real feel-good film that was devoid of action or sleaze or unwanted punch dialogs? After watching Ahmed directed Endrendrum Punnagai (EP) I can only remember it as an ode to late director Jeeva who was known for directing films like these. We were presented a bouquet with love, emotion and comedy in more or less the right proportions.

Gautham (Jeeva), Shri (Vinay) and Baby (Santhanam) are thick friends since their childhood. A sour experience during Gautham’s childhood with his mother makes him label all women are betrayers and consequently he hates the concept of love and marriage. He also infuses the ideal to his friends. But to his dismay, his friends decide to go about their own life by marrying their loved ones. How life kindles the ‘Romeo’ inside Gautham through Priya (Trisha) was told in a very lively way.

The narrative had nothing special but the first half greatly leveraged Santhanam’s expertise in moving the story at a gentle pace. Neither each character had a special introduction nor did they have a very significant role, but together they made it a special one. The characterization was good, especially that of Jiiva as the angry young man with a ‘king-sized’ ego and Trisha as a gentlewoman who knows her balance. The same cannot be said for Vinay as his role could have been done by any other actor. Santhanam has made a comeback as his last few movies appeared to be rehashed, but in this one he made it look really fresh and his character was also given an emotional appeal at some places. Nasser as Jiiva’s father was an obvious selection and one cannot get surprised if I say that he has carried it well. Andreah in an extended cameo as an arrogant model was perfect and fitted the bill.

Cinematography by Madhi was flamboyant and added beauty to every frame. The songs were picturized well. Editing by Praveen and Srikanth was also good except a few extra songs that slowed the pace in the second half.

Music by Harris Jayaraj was above average. “Vaan Engum Nee Minna” was the only number that was hummable and had his trademark tune but was catchy.

Director Ahmed should definitely be credited for having crafted a cool and breezy script without much fuss that was entertaining and also lingers with us for sometime as his take on simple emotional overtures like ego and love would always find a special place in audiences’ hearts barring the timeline of the movie’s release.

Verdict: Good

Rating: 3 / 5

Written by Hariharan Anbazhagan in , , , , , , , , ,


Biriyani - Yummy, even without the ‘leg piece’!



The very name ‘Biriyani’ would tease your taste buds upon hearing it. That was the sort of curiosity that this film garnered at the time of its announcement. Moreover it comes from the stable of director Venkat Prabhu who has had a dream run at the box office with a string of hits in the past including a massive hit like ‘Mankatha’ which was his last. Even the stars were aligned both on and off screen for Venkat Prabhu, thus allowing him to deviate off the track only a wee bit, but largely the film was well conceived and executed with his unique style that he has maintained since he debuted!

Karthi and Premji are thick as thieves and partners in crime who go about in their very own ways of luring girls with a happy-go-lucky attitude. Karthi’s quest to have the quintessential ‘Biriyani’ after a heavy booze puts the duo in a soup whereupon they become the most wanted criminals as they are on the run for the charges of murdering a business tycoon (Nasser). The way in which Karthi comes out victoriously washing away the slime forms the story for this sweetly made entertainer.

This movie had many cliches that was typical of any of Venkat Prabhu’s previous movies - a string of guest appearances, an item number that was way too hot, scenes depicting liberal use of alcohol and party animals who live their life for that; but everything was spun pretty well barring the logic (leg piece?!) and the narrative keeps one hooked with an element of suspense that lingers with the audiences till the end.

Karthi as a casanova was quite impressive. He needed to break the jinx and get the monkey off his back after a string of flops. In that context this movie might be a harbinger of good ones that is about to come. His performance was all the same, but his look was dashing. No comments on Hansika’s performance as there was nothing in it for her. In fact Mandy Takhar in a supporting role made her presence felt with a sizzling appeal when compared to Hansika who is supposed to be the lead in this movie. Venkat Prabhu had his usual beeline of supporting cast along with Nasser and Ramki in key roles and they were good enough.

Yuvan’s music was a big let down. Being his 100th project, the expectations were quite high, but there was not a single number that one is able to remember. Even the BGM just manages to pass muster.

Cinematography by Shakthi Saravanan was above average and editing by the duo of Praveen and Srikanth was just about okay as there was a drag in the second half.

This movie sparkles with it’s slapstick humor, burlesques spiced all over the script that triggers some funny moments every now and then and above all a decent script. On the downside, the move is devoid of any logic - to put it simply, it is like having a bowl of Biriyani in a hurry and then struggling with way too many burps because of that. So the movie engages you while you are in the theater, the minute you come out, you’ll start thinking about your sensibilities being taken for a ride. But that’s the name of the game and Venkat Prabhu should be given credit for creating such an illusion and so this Biriyani is well worth a watch.

Verdict: Time Pass Entertainer

Rating: 3 / 5

Written by Hariharan Anbazhagan in , , , , ,


Ivan Veramathiri (He is Different) - Not too different!



The story of ‘Ivan Vera Maadiri’ (IVM) is a rehashed one, been in existence since time immemorial and has been the darling of many screenplay writers and directors who have attempted and succeeded in making a mark for themselves starting from SA Chandrasekhar to Shankar to Lingusamy.

Director M.Saravanan who made a brilliant debut with ‘Engeyum Eppothum’ has decided to enlarge his canvas by swiftly drafting a commercial thriller. IVM is the story of a young man (Vikram Prabhu) who rises up in order to cleanse the society from the scumbags who ruin it. In this case he decides to take on a wicked politician (Hariraj), who happens to be the law minister, who settles his score in order to climb the power ladder with the help of his younger sibling (Vamsi Krishna). The sibling who is imprisoned and let out in parole, gets abducted by our hero in order to bring the politician down. When the sibling finds out about his abductor, he decides to go on a rampage by targeting our hero’s love interest (Surabhi). Whether our hero was able to overpower the evil forces and unite with his lady love (?!) is a no-brainer that was told in a not-so boring way!

IVM had its share of thrills and the script had an innate pace, but it was not very well exploited by the director. Had the script’s full potential been used this would have been an edge of the seat thriller. However there were quite a few scenes that were smartly spun and packaged. Also there was a rather naive twist that did not do any good to cater to our senses.

Vikram Prabhu was somewhat stiff and rugged in his role as he was meant to be, but for the promise that he displayed in ‘Kumki’, this role required him to do very little. I believe he deserves much better role in order to showcase his potential. Surabhi is beauty exemplified. Her tall stature and skin tone greatly compliments to the chemistry that the lead pair share. Hariraj as the wicked law minister was majestic and Vamsi Krishna as his virulent younger sibling was aggressive.

Music by Sathya which was a highlight in the director’s previous movie was way too ordinary in this one. Cinematography by Shakthi was good, especially the aerial shorts towards the end was convincing. Editing could have been better especially towards the climax wherein there was some unnecessary lag in the narrative.

This movie almost reaches the finishing line but fails to impress the way it was meant to, largely due to a half-baked narration and a loose packaging.

Verdict: Average

Rating: 2.5 / 5

Written by Hariharan Anbazhagan in , , , ,


Thagararu (Dispute) - Scorpion without the sting!



How cliched would it be when I label this movie as a ‘violent melodrama’ that is deep-rooted in Madurai? Well, 90% of the movie had those cliches, but a twist in the tale towards the climax made it a well-attempted thriller that had the twist under the wraps for the most part.

‘Thagararu’ is the story about 4 small time dacoits who indulge in dacoity through new techniques in the suburbs of Madurai. One of them, Saravanan (Arulnidhi) falls for Meenakshi (Poorna), who is the daughter of a loan shark, ‘Kanthuvatti’ Rajendran (Jayaprakash). His love faces stiff opposition not only from parents of Meenakshi, but also from his own companions who discourage due to an incompatible match. Then suddenly one of the 4 friends get murdered and the other three want to crack on the murderer and avenge for the injustice done. Finally when they discover the murderer its too late and realize that they could do very little about it!

What worked towards the climax was the twist that was camouflaged pretty well before it was unveiled. But otherwise, the movie was way too ordinary, especially the gimmicks by Arulnidhi which is supposed to make us laugh had us yawn many-a-times. He lacked the screen presence that ought to be there for a lead. There is lack of pace in the screenplay and songs that were intermittent spoilt the proceedings.

Poorna as the lead, has made a good comeback, given the context of her role in this movie. Jayaprakash as the loan shark had a look that was out of place and brought in some mild laughter as his costumes resembled that of a villain from the 80s. The 3 companions of the hero were impressive and each of them had a unique character spun around them.

Music, Editing and Cinematography were average and given the milieu, the technicalities demanded were not far too great and so it was an average fare.

A tested milieu, proven Madurai dialect, blood and gore, careless and haphazard hero with shades of grey and a revenge story with a twist makes this one a below average fare that neither can be passed as a hit nor a complete miss.

Verdict: Below Average

Rating: 2 / 5

Written by Hariharan Anbazhagan in , , , , , , ,


Kalyaana Samayal Saadham (Wedding Feast) - Sans Taboo!



KSS as it can be shortened as, it clearly falls into the adult rom-com genre that had a decent script which brought about some thought provoking laughter and wry smiles throughout! A toast to the debut director RS Prasanna who has handled such a delicate subject with care without compromising on the double entendre dialogs that lets loose of a spark or two every now and then.

KSS narrates the story of a big fat Tamil wedding and its associated age-old customs and traditions with a “twist” that puts the lead pair in jeopardy. The narration was such that we tend to take a walk down the aisle of the actual happenings as the dialogs and scenes were so close to real life.

Another aspect of the movie was that it did not fail to take a dig at the customs and rituals that has become a part of a Hindu marriage. Things like horoscope match, fixing a marriage hall for the auspicious day, ‘Puthira Paakiya Homam’ and other subtle gestures from the both the bride and the groom’s sides on various aspects on marriage gets the spine tickling at times.

Such adult-themed subjects have been handled in the past by noteworthy directors like Balachandar (Manmadha Leelai), Bhagiyaraj (Chinna Veedu) and SJ Suriya (New) - while Balachandar was treated like a revolutionist, the other two basked more on comical connotations of adult themes, but SJ Suriya added an element of sleaze to it only to be ousted by the conservative Tamil audience after prolonged impatience. So this subject comes with its price tag of “make or break” - RS Prasanna has handled it pretty well and also had a screenplay which was by and large engaging.

The casting was good and the lead pair of Prasanna and Lekha were supported by a slew of supporting cast who were tailored to perform such caricaturish roles that evoked laughter and farcical humor.

Music was used merely to beautify the narration - the song that was picturised and narrated with a Facebook theme was a sample to denote that an age-old custom like marriage has come-off age. Cinematography was easy on the eyes and the editing made the movie crisp at a little over 2 hours.

This is a sort of movie that can be enjoyed along with friends and is a clear signal that Tamil movies are trying to break the shackles and are coming off age beating the ever-so brutal and iron-clad fists of the censors that does unnecessary moral policing.

Kudos for the effort!!

PS: Adult Theme Alert!!

Verdict: Worth a Watch

Rating: 3 / 5

Written by Hariharan Anbazhagan in , , , , , , ,


Vidiyum Munn (Before Dawn) - Dark Shades on a Blackboard!




Till date only a bunch of directors in Kollywood have had the knack of executing a thriller with a gripping narrative and finesse that the story deserves. Mysskin for one had done it thrice (‘Anjaathey’, ‘Yudham Sei’, ‘Onaayum Aatukuttiyum’) in the past and everytime he has tasted success, predominantly with a critical acclaim than a box-office triumph. Here comes a debutant director who oozes brilliance in the way he has handled a very sensitive subject and at the same time has been triumphant enough to draw decent crowds (read it as urban crowd) to the theater with an engaging narrative that was taut and thought provoking as well - extending a warm welcome to director Balaji K. Kumar who has made a bold and daring debut with ‘Vidiyum Munn’.


A story based on child trafficking and prostitution, the events unfold in a day wherein 2 females are on the run as they are about to get victimized by a bunch of thugs who want to chase them down for different reasons. Are they saved from the clutches of darkness remains to be seen.


The strength of the movie rests heavily on the narrative and the characters woven into it. Not a single character appeared to be odd and everyone played their role with ease. Pooja has made a belligerent comeback - great to see a very sensible heroine in the current context of Kollywood where heroines crave for ‘loosu ponnu’ kind of role that requires bubbly emotions and running around trees. The other two characters that were as impressive were that of Amarendran as ‘Singaram’, the pimp and John Vijay as ‘Lankan’, the deceitful and wicked detective. The duo added a sort of dark streaks that had quite a lot of emotions ranging from dread to some goofy slapsticks and kept the ball rolling.


Others who were there to support the cause were Lakshmi Ramakrishnan, Vinodh Kishan and last but not the least, the child artist Malavika, who was the axle around which the story revolved. She is a natural and had that charm, angst and a languished look in her eyes pinned at once. Vinod Kishan in a negative role was stone faced, but managed to carry the surprise till the end where he unleashed it with a cool head.


Technically the movie had a lot to offer in terms of coloring, wherein a blue tint was used to usher in that eerie feel every now and then, flamboyant cinematography and chic editing.


The movie also had a handful of loose ends and left some questions unanswered as to who kills who and for what purpose. But overall, this movie needs to be watched for the way a dark  subject has been handled so neatly and brilliantly, devoid of sleaze, even though the story had much room for it.


Verdict: Very Good!


Rating: 3.5 / 5

Written by Hariharan Anbazhagan in , , , , , , , ,


Irandaam Ulagam (The Second World) - A Vile Mess!


What would one expect from a creator who has delivered films like Kaadhal Konden, Pudhupettai and Mayakkam Enna? Selvaraghavan’s leap to auteurship has hit a rigid roadblock with this really awkward and mindless journey across two worlds where misery for the audience goes on a continuum.

The movie opens with Arya crashing into the water (à la Kaakha Kaakha ’s opening scene), about to be drowned, wherein he decides to narrate a romantic tale that happens on earth and on another planet where life exists similar to earth. A death causes both the worlds to cross paths wherein Arya on earth lands up on the other planet only to infuse the feeling of love, thereby making the planet more colorful as the flowers begin to blossom there (?!).

The only positive outcome that I can interpret from this wilted piece of narrative was the implicit representation of Tamil being the mother tongue even on another planet that has been shown to exist in an unknown place in our galaxy. Apart from that, all the bells and whistles that were added to represent the foreign planet was only an exhibition of mockery towards futuristic film making. This one coming from a much respected filmmaker like Selvaraghavan who hardly misses a chance to assail stereotypical revelations in Tamil cinema, even if it means to stir a hornet’s nest was the most disappointing revelation.

The movie never had anything going for it at any point during its course, neither the narration nor the much talked about CG and VFX work. A blatant and tacky rip off from the creatures that adorned Avatar was a huge let-down. Even Selva’s strength, an intense romance, also took a back seat in this one. Depicting Anushka as the bold and daring woman in the second world and a demure girl on earth was convincing. But the same cannot be mentioned about Arya, as his acting skills have been diminishing and has taken a beating off late. Supporting cast were not significant enough and hence not worthy to mention.

Weaving a story for the second world, with some white men/women running here and there, rendering dialogs in Tamil with some perfect and imperfect lip syncs, a Goddess and a bunch of men trying to abduct her were all goof-ups that none would buy at any point.

The vision of the director to represent an unconventional world that is devoid of love and to infuse it with love thereafter is to be appreciated, but the visuals and narrative should have supported him like pillars. Sadly there were no pillars at all and the director had to lose the game that was not played in the first place.

Technically the movie was very bad, especially the scene where Arya was supposed to fight with a creature that was called as ‘Lion’. A director like Selvaraghavan approving such a pathetically drawn out CG sequence was really disturbing. Even Ramanarayana’s movies would be having better VFX and CG works.

The music was good, but the BGM by Anirudh was out of sync with the narrative. The movie at 2:40 hrs was a total drag and nowhere did it seem to appeal.

Its advisable for Selva to make a hard stop at making such painful and really expensive experiments and instead concentrate in narrating down-to-earth subjects with a riveting screenplay where his strength lies unperturbed.

Verdict: Avoidable

Rating: 1 / 5

Written by Hariharan Anbazhagan in , , , , , ,


Pizza II - The Villa - Thin Crust!






Apart from the name and the genre there is not much of a similarity between the first and the second part of the ‘Pizza’ franchise. In fact the producer would have wanted to establish ‘Pizza’ as a brand for all the horror movies from the production house; apart from that, there is nothing much to construe. I went into the movie with little expectations as the pre-release buzz for this one was average and came out with nothing much lingering in my mind. Just an average or a below average movie that passes by without creating much of an impact that it was meant to create.


The story is about a struggling writer who finds its hard to get his first book published. His girlfriend and a few other friends are his only companions who support him in this cause. After his father’s demise, he finds out that his father owns a villa in Pondicherry and has hidden the fact from him. He decides to sell off the property in order to make money to publish his work. As soon as he moves into the villa, he is obsessed with its quaint charm and strange things start happening in his life. How does it affect him and his girlfriend forms the rest of the story.


The plot had so many open ended questions and the thrill that a film in this genre was meant to create simply fell flat as there were hardly any surprise elements. The only silver lining in the script was a minor twist at the climax and that was a bit of a cliche. The director tries to nudge the story every now and then with some special effects and sound but hardly succeeds in his attempt as he had nothing solid in the script.


I cannot help but compare it with the first part of Pizza that had a decent story and a gripping narration that worked big time and also Karthik Subburaj provided the much needed jerks in almost all the scenes with his brilliant screenplay. But here, it seems the newbie, Deepan had no clue about what he was trying to do. Had he mimicked some Hollywood thrillers, he would have made a decent movie, but he failed in that respect too. He tried to mimic a part of ‘Conjuring’, but due to lack of detailing in CG and VFX that attempt went for a toss and the director’s hat flew over the roof!


Performances from everyone including the lead cast, Ashok Selvan and Sanchita was average. Almost everyone in the movie tried to underplay their role due to the movie’s theme and so none of their performances stood out.


Music and editing were the two departments where the movie scored remarkably well. Santosh Narayanan’s brilliant title score and BGM were too good for this story. Hope he gets much better scripts in the future to showcase his work in a better way. Editing by Leo John Paul was slick and kept the movie well under 2 hours. Cinematography by Deepak was good in parts, but nothing much to brag about.


An attempt to make a slick and taut thriller under 2 hours is to be lauded but the director has to realize that horror movies need a solid premise upon which the narrative has to be carefully knitted - sound and visual effects should only compliment that! Better luck next time!!


Verdict: Below Average

Rating: 1.5 / 5

Written by Hariharan Anbazhagan in , , , , , , , , ,


Pandianadu (Land of Pandyas) - Old Wine Tastes Good!



One has to give a toast to director Suseenthiran for not only pulling off a well crafted thriller, but also he has managed to deliver the same stuff that he delivered a few years back as ‘Naan Mahaan Alla’, relabeled and managed to serve it afresh with his remarkable ability to pen a screenplay that was refreshing and equally engaging!

The plot is set down south as the name of the movie suggests and so not surprisingly we are given a slice of the lives of goons ruling the soil where they dictate terms! On the other hand there is a common man (Vishal) who also happens to be the protagonist for this story, whose life is given a spin by the baddies. The hero wants to take revenge and so does the hero’s father (Bharathiraja). How they manage to succeed in their agenda in having their revenge has been told in a well structured format without exploiting much of cinematic liberties in a typical ‘Suseenthiran’ style.

Though there are a lot of cliches in the movie, be it the southern ethos where the plot is set, a guy falling for the girl at first sight, a corrupt police official, a ferocious villain and some naive sidekicks, we tend to buy these only because of the plot in which they were convincingly woven into. Also the characterization of Vishal in the movie came as a whiff of fresh air as he was not given the license to explode until the climax, whereupon the director manages to convince the audiences that the threshold has been reached and its now time for the timid protagonist to unleash his virile instincts. In short, Suseenthiran creates an illusionary ‘real world’ that was much more convincing than the real world and that spelled the success for the scriptwriter in him.

Vishal, as mentioned before has carefully handpicked this role that was meaningful and believable. Hope he picks a cue from this smart move and rebuilds his career with much better roles.

Lakshmi Menon as the school teacher looked too young for the role and seemed like she was thrust into the uniform of ‘Kaakha Kaakha’ Jothika. Her outfits did not match her at all as she looked over-the-top for the ambiance of the script. My only worry is that she could do much heavier roles that demands a lot of performance rather than sticking to run-of-the-mill roles as this one in order to earn some quick bucks and fame.

Bharathiraja as Vishal’s father was a surprise selection. He brings in the angry old man’s role to the table who is hardly able to do anything at all for the injustice done to him and his family. Somasundaram as Vishal’s brother could have been used in a much better way as he is an actor who has done a memorable role in ‘Aaranya Kaandam’. Vikranth in a cameo was brilliant and made his presence felt as the angry young man. The new villain in tinsel town Sharath Lohitashwa was right on the money from the start till the finish.

Music by Imman was average and no song made an impact, be it a melody or a folk number.

Cinematography and editing were just about ok. Editing was fine for almost the whole movie except for a song in the latter half which was added only because of commercial reasons.

This movie is the dark horse that has emerged as the clear winner among the three Diwali releases (‘All in All Azhaguraja’s’ report seems to be bad) with Sussenthiran’s earthly charm simmering in the screenplay that classifies the movie as a certain ‘worthy watch’ entertainer, as the characters in the movie were much more humane and the script was also equally thrilling!

Verdict: Worth a Watch

Rating: 3 / 5

Written by Hariharan Anbazhagan in , , , , , , , , , , ,


Aarambam (Beginning) - All Style, No Substance!




“Keep it slick and stylish, no matter what” has been the mantra for all movies from director Vishnuvardhan’s stable. His second collaboration with Ajith in ‘Aarambam’ has a casting coup with Arya, Nayantara, Tapsee and Telugu star Rana Daggubati playing a cameo. The film was engaging to some extent, had style, more style than needed, but lacked substance that makes or breaks a film. Though this movie was not that badly broken, but certainly had some cracks wide open with obvious plasterings over it!


Ashok (Ajit) and Maya (Nayantara) are partners in crime who go on a rampage seeking revenge for the atrocities done to them. In the process, they rope in Arjun (Arya), a computer hacker and his dumb girlfriend Anitha (Tapsee) to help their cause. Cops and baddies are after all four of them as the heat picks up. Did Ashok and Maya have their revenge and at what cost is the outline of this stylish movie with retrograde stuff!


A scene was judiciously lifted off from the 2001 Hollywood movie, ‘Swordfish’, whereupon Hugh Jackman would be demanded to break into FBI’s secure network by John Travolta. Here Ajit and Arya trade places with Travolta and Jackman respectively, while Nayantara does a decent ‘Hale Berry act’ by just being a stylish witness to all these theatrics!


Vishnuvardhan has picked it up from where he left in ‘Billa’. Here too Ajit walks with his shades on in almost all the frames, does the chasing in cars, drives a Ducati towards the climax, delivers the punches both with his mouth and fist, drives a few scenes with his tongue-in-cheek humor but had no qualms in showing off his age with wrinkles below his eyes and an authentic salt-and-pepper look certifying that the actor is coming-of-age! But still he torched the screen with his electric screen presence and looked ravishing as the angry-middle-aged man.


Nayantara was not in her elements. She tried to put in some buxom glamor by exposing her thunderous thighs during a ‘wicked-seductress’ scene, but that was not as well received as her bikini-act that was in ‘Billa’. Acting and Nayantara have not gone that well and so its better not to ponder into that now.


Arya was loyal to his favorite ‘director-friend’ in his fourth successful collaboration by playing a good second fiddle and was not all that embarrassed to be sidelined for most of the movie. In fact he also was a part of a sight-gag in a whacky flashback that invoked little laughter. His love-affair with Tapsee was just an add-on offer to the movie but was not a definite need as neither of them looked serious even though the movie had something serious to offer to both of them.


Among the supporting cast, Kishore was noticeable because of his apt casting as the member of the ATS squad, Mahesh Manjrekar and Atul Kulkarani as baddies were stereotypes and Rana Daggubati in a cameo was supportive in his own capacity.


Music by Yuvan was another highlight and my pick of the lot would be "Melala Vedikudhu" which was choreographed very well and splashed a ton of colors on screen and brought in a festive mood. I have to admit that I really missed the ‘Arey Rama’ number which was there in the album but sadly did not make it to the screen. The BGM was also decent.


Cinematography by Om Prakash was vibrant and segued the movie’s discourse so well that everything blended well within the frame.


Editing by Sreekar Prasad was stylish and had an element of elan as the cuts looked sleek. Had the second half been tapered a bit, it would have been a great job altogether.


Director Vishnuvardhan has delivered a ‘mass-film’ as it is known popularly in the BO trade circles that has the potential to create the BO magic and make the producers and distributors happy. But if you’re looking out for something really different and thought provoking, then you’ll start to regret 10 minutes into the movie.


Verdict: Average - One Time Watch for its stylish presentation

Rating: 2.5 / 5