Dec 14 2017

Nenjil Thunivirunthal

Published by under Review,Tamil Cinema


Suseenthiran is one of our more versatile directors switching easily between romance, drama and action films. His thrillers like Paandiyanaadu and Paayum Puli had a bigger star in Vishal but still managed to be quite grounded without getting mired in commercial masala. In Nenjil Thunivirunthal, he goes with a couple of actors with a lot less star wattage and delivers another watchable thriller.

The movie starts off looking like another one(after Mersal) about the medical practice as Kumar(Sundeep) loses his father on the operating table because of a doctor’s mistake. But that’s not the main thrust of the movie(medical malpractice does figure in the proceedings later but is brought in through a different route) and is only brought up in passing much later. Instead we meet Mahesh(Vikranth), Kumar’s friend, who has earned a few enemies because of his habit of questioning injustice.

Mahesh is ultimately responsible for both the film’s drama and thrills. He and Kumar’s sister Anuradha are secretly in love. The three aspects of this, the friendship, the sibling relationship and the romance, are handled without any melodrama and so the track doesn’t have the loudness of the proceedings in Kannedhire Thondrinaal, which was based on the same conflict. Only Thulasi, playing Kumar and Anu’s mother, leans towards being melodramatic but this works since it makes the situation more dramatic when it precipitates.

With Mahesh earning his share of enemies, the film moves easily into low-key thriller territory as we see Duraipandi(Harish Uthaman) go after him. There are a couple of interesting situations brought on by mixed identities but the big twist that comes later is a good surprise even if it is brought about in a roundabout way. Beyond this, things are resolved in a predictable and cinematic manner as Kumar turns into an action hero, thanks to his unbreakable hold on others.

The mix of drama and thrills should’ve been enough for the movie but Suseendran for some reason saw the need to lighten up the proceedings. As a result we get some painful scenes inserted solely for laughs. This comedy is scattered with a couple of bits about Soori as a henpecked husband, an auto driver who Sundeep saves from suicide and who then shows up at a couple of inopportune times, etc. Absolutely none of these bits work. Kumar’s romance with Janani(Mehreen) is also awkwardly inserted and never fits in.

One response so far

Dec 12 2017

Ippadai Vellum

Published by under Review,Tamil Cinema


After the failed attempts to become an action hero, Udhayanidhi Stalin seems to be gravitating towards roles where he plays a common man caught up in situations beyond his control. In that sense, the hero’s role in Ippadai Vellum is a perfect fit for him. Unfortunately what could have been an interesting thriller is derailed by the director’s attempts to inject comedy into the proceedings.

Its nice to see a Tamil cinema hero who is not completely in control of everything around him. Madhusoodhanan(Udhayanidhi Stalin) lost his job as a software engineer recently but hasn’t informed his mother(Radhika, playing the first woman bus driver) and so has racked up a big debt as he borrowed money to make payments on the house he bought. Madhu is shown to be the brainy type – we get visual clues as he thinks up ideas while on the run to obstruct his chasers –  and the film remains faithful to this till the end. He uses his brain a few times and even a fight sequence ends up becoming a scuffle where he takes help and then subdues rather than beats up, the bad guy.

Manjima Mohan plays his lover Bhargavi(their names – he is Madhu and he calls her Bar-u – lead to a joke but there is nothing intoxicating about the romance itself) , who wants to get married at the earliest at the register office since her  brother(R.K.Suresh) is opposed to the romance. When on his way to the wedding, Madhu runs into a dreaded terrorist Chotta(Daniel Balaji), who after a prison escape in UP, is on his way to Chennai to engineer some bomb blasts. Something similar happens to Kulandhaivelu(Soori), a mimicry artist, who is traveling to be with his pregnant wife and has a run-in with Chotta. This eventually leads to Madhu and Kulandhaivelu being suspected of being Chotta’s gang members.

The film relies on coincidences every step of the way to move the story forward. These plot points are acceptable initially as characters are introduced and the connections between them are established. But past a certain point, as the coincidences begin to pile up, it starts to feel like lazy writing as they are used to push the story along, tie up loose ends, etc. A couple of them(like the place where Madhu and Chotta are holed up) are good surprises but many of them(like an accident that involves 3 key players) feel too convenient.

Some humor is acceptable and sometimes even welcome in a thriller as it helps ease the tension. But when humor becomes the main goal, tension becomes non-existent. That’s the case here. The issues themselves are serious with elements like a dangerous terrorist, an imminent bomb blast and two wrongly accused innocent men. But the film’s tone doesn’t allow us to take anything seriously. Fart and urine jokes transform otherwise serious scenes like interrogations and chases into farcical sequences and most scenes are treated purely for comedy.

The film has some interesting segues between scenes and this, along with some quick editing, leads to some semblance of suspense in the closing portions(the trick Madhu uses to pinpoint Chotta’s location is nice, especially since it is hinted at by Bhargavi’s offhand comment earlier). Some thought has also gone into the technology aspects as shown in the way Chotta and his gang use email to communicate. Unfortunately this is offset by the ridiculous scene where Madhu and the cops find the password for the account.

One response so far

Nov 27 2017

Theeran Adhigaram Ondru

Published by under Review,Tamil Cinema


Cop movies in Tamil movie have mostly been masala movies that showed our heroes taking on powerful enemies – usually politicians or rowdies – though there have recently been some that opted for realism and took a darker, deglamorized look at the police and their workings(Visaaranai comes to mind). Theeran Adhigaram Ondru, successfully walks the line between the two. With some masala trappings but not enough to damage the seriousness, it is focused and intense for the most part and one of the more impressive police movies to come out of Tamil cinema in recent times.

A key reason for the film working so well in that middle area between masala and serious drama is that Theeran(Karthi) is a supercop but not a superhero (something similar could be said about Karthi, who fits the role since he is a star but not a superstar). Theeran gets his share of slo-mo shots, one-sided fights and supreme deduction skills. But there are times when he is human, like the time when he and the other cops are forced to acknowledge that their plan didn’t work and beat a hasty retreat from a village in Haryana. So there are several suspenseful moments, something that rarely happens in a movie with a big star.

The film’s biggest distraction is the romantic track. On its own, the romance between Theeran and Priya(Rakul Preeti Singh) is cute and has its share of laughs. His tuition sessions are fun and Rakul flirts close to the line but doesn’t cross it when it comes to acting cutesy. Some good laughs are extracted from Priya’s interest in studying and both Manobala and Sathyan have a couple of funny lines. The problem is that these romantic sequences are interspersed with the really violent acts of the dacoit gang as they break into houses and kill the inhabitants before taking off with the loot. So some tonal whiplash occurs as the two sequences alternate. But compartmentalization is something we are used to in Tamil cinema and since Theeran is still not involved with the case, the romantic interludes are easier to take. Priya isn’t around a lot once the case becomes Theeran’s primary focus but the director handles her exclusion differently and even if not physical, her involvement in the events is palpable.

A lot of research has gone into the events behind the film(it is based on actual events). The most obvious is the background information and history of the various violent tribes and groups that ties in directly with the dacoits Theeran goes up against. Though delivered rather unimaginatively(Theeran narrates the story as a voiceover when questioned), the newness of the information and the striking graphics of the animation spice things up. But its not just in these history lessons that the film’s research stands out. We are given a primer about many things that are usually taken for granted. Take for instance Theeran taking over as DSP at a police station. This is usually shown with the officer simply walking into the station and taking charge. But here a series of quick shots that show him perform some mundane duties to understand how things work at the station before taking over the DSP post.

The violent dacoit gang present a formidable group of adversaries for Theeran. They gives the film the intensity that a corrupt politician or a powerful rowdy can never give. Theeran’s single-minded pursuit of the group, which is jump started by a single fingerprint, spans multiple states and involves the police from those states, is gripping and suspenseful. It reveals the way the cops grab at straws hoping for a clue, the painstaking work that is sometimes needed to get a single but key breakthrough in a case and showcases the sacrifices that they have to make to get that breakthrough. The way they follow the clues to gradually get more information about the gang is clearly charted and thrills are many as they close in on them.

In keeping with tone of the film, the action sequences are raw and earthy also. The one inside and then atop a bus is a standout, being the rare action sequence where the end is not obvious and the intensity is maintained throughout. The climax is similarly staged well with Theeran’s tactical thinking and sharpshooting skills showcased well in a situation where he and his team are outnumbered in an unfamiliar setting.

2 responses so far

Nov 16 2017


Published by under Tamil Cinema


In most of our masala movies, particularly those starring a big star, the biggest problem is usually the absence of a strong villain who can go head-to-head with the hero. The need to showcase and amplify the hero’s heroism usually results in weak, neutered villains who are little more than sounding boards for the hero’s punch dialogs and punching bags for the hero’s punches. Spyder has the reverse problem. It has a fantastic, larger-than-life villain but a weak hero and so the battle between them fails to enthuse.

Sudalai(S.J.Suryah, playing the bad guy in another high-profile movie after Mersal) is not after the usual bad guy goals of money or revenge. His affliction is more deep-rooted and psychological since he simply thrives on other people’s grief. The flashback that shows his birth, the reasons behind his abnormal desire, the beginnings of these psychological stirrings and the slowly worsening consequences of their gradual development is probably the film’s best sequence. Without any of the polish that usually characterizes Murugadoss’ filmmaking, it is grim and unsettling and wouldn’t be out of place in a Bala film. Suryah too plays the character with the required manic rage.

After dreaming up such a terrific villain, its sad that Murugadoss couldn’t deliver a hero who is even half as interesting. Almost everything about Shiva(Mahesh Babu) feels wishy washy. As an Intelligence Bureau employee, his job is to listen in on people’s conversations to identify threats but unofficially, he has written a software that hones in on the word ‘help’ in conversations. The sheer magnitude of this task, considering the prevalence of a common word like “help”, is mind-boggling and he is supposed to do this single-handedly. The completely misplaced hero introduction song(part of a terrible Harris Jayaraj soundtrack) and the sight of Shiva taking on bad guys on a boat in regular masala fashion don’t help matters either.

But the film doesn’t feel like hero worship all the time and is a good mix of smarts and action. Shiva’s chase of Sudalai proceeds with some logic even if the initial red herring and subsequent twist are easily foreseen(Bharath has a rather inconsequential role). Their first face-to-face meeting is staged well(it involves a good shock) and also ends on a surprising note. The way Shiva remotely saves his family from Sudalai is another clever scene.

Shiva’s “help” fixation also leads to the romance with Shalini(Rakul Preet Singh), a girl who is looking for a one-night-stand the first time Shiva – and we – hear her. That seems mildly progressive at first but there’s nothing progressive about her role which suffers the same fate as the heroines in star vehicles.

Murugadoss draws up some interesting scenarios but goes overboard with the execution. So we start off being interested but then begin to roll our eyes as things quicky become over-the-top. A chase/fight aboard a roller coaster is the first example. A unique setting, it is nicely done initially but soon becomes too unbelievable. A longer sequence where Shiva employs some housewives to engineer an escape is another such scene. It is interesting to see housewives as action heroes but as their actions become too cinematic, the realism of the scene fades and it becomes silly. The climactic fight between Shiva and Sudalai amidst a crumbling hospital is done well though. The special effects are seamless and the action choreography as huge blocks keep falling around is impressive.

2 responses so far

Nov 13 2017


Published by under Review,Tamil Cinema


If Atlee’s Theri was based on the Baasha template, the director goes back even further to one of the oldest stories – sons separated when young and later uniting to take revenge on the man who killed their father – for Mersal, his second film with Vijay. He injects a few topical issues, throws in some social commentary and packages it all with some rich production values and an eye on entertainment but all that can’t hide the fact that the film is still old, unoriginal wine in a new bottle.

If the fact that Vijay was playing three roles in the film wasn’t trumpeted before the release, the first half could have worked better in misdirecting the viewer and making the proceedings suspenseful. We see a doctor Maaran(Vijay), who treats patients for Rs. 5 back home in India, talk passionately about humanity and free healthcare for all at a conference in Belgium, interact with his mom(Kovai Sarala) and woo a doctor Anupallavi(Kajal Agarwal). But we also see him perform magic as he beats up some robbers and then target a senior doctor(Hareesh Peradi), who he proceeds to kill in front of a big audience during a magic show.

The humanitarian doctor/vengeful magician is is an interesting combination that could have piqued our interest. But knowing about Vijay’s triple role beforehand, we simply wait for the twist that we know is coming. The way the twist is revealed is perfunctory and makes little impact(a little more time could have been spent on showing us how we were tricked until then). Before that we are given another superficial romance, this time between Maaran and Tara(Samantha), a reporter who interviews him. Like Kajal, Samantha sticks around for the obligatory duet and has nothing more to do.

The superficial way in which the screenplay is handled leads to several logical loopholes in these places. As in Aboorva Sagotharargal, one brother gets in trouble for the doings of the other but the situation leads to neither comedy nor suspense as it is hardly given time to develop. It is simply used for a single fight sequence before being used as a lead-in to the obligatory flashback.

The seed for medical malpractice has been laid earlier since the film begins with the kidnapping of some people connected with the field of medicine. The transformation of medicine into business eventually turns out to be the film’s crux as the film touches upon a number of subjects like forced cesarean births, doctors hiding patient deaths(this was shown in Ramanaa too), collusion between different people working at a hospital, etc. Recent tragic news items related to the field are also used to drive home the point. Barring the opening sequence, which is eventually traced back to some unfortunate deaths, the events related to medical atrocities happen in the flashback as Vetrimaaran(Vijay) and his wife(Nitya Menen, who has a little more to do than both other heroines) establish a hospital in their village and are then duped by Daniel(S.J.Suryah), a rich doctor. The flashback is really violent and lays the sentiments on thick but is also the segment that resonates somewhat since both Vetrimaaran and his wife are fleshed out more than the other characters.

As a star Vijay dances(the Mersal Arasan… song is the pick of the lot), fights and delivers punchlines with gusto but as an actor probably at the peak of his career, its disappointing that he makes no effort to distinguish between the 3 characters he plays. Being bearded is as far as he goes to differentiate one role from the other two and he plays all three roles in the same manner(he did this in Azhagiya Thamizh Magan too where he played the bad guy in the same style that he plays all his other roles). He doesn’t even go as far as he did in Kaththi, where he played Jeevanandham as a pacifist throughout. But here the doctor, who we first see being harassed at a foreign airport, saving a woman and then accepting a humanitarian award, initially looks to be calm and dignified but he becomes thara local when threatened by a senior doctor and ends up fighting too when the opportunity presents itself.

10 responses so far

Oct 11 2017


Published by under Hindi Cinema


Rape and revenge dramas can easily cross the line and feel lurid and/or exploitative. But Mom doesn’t feel that way since it treats the subject with the sensitivity it requires. But the revenge part of it pushes it from drama to a masala film.

The titular mom is Devki(Sridevi), a stepmom trying hard to earn the affections of her stepdaughter Arya(Sajal Ali) at home and a biology teacher at school. The dynamics between Devki and Arya are subtly done. Devki doesn’t try too hard to earn Arya’s love but her disappointment is obvious while Arya isn’t blatantly rude but her coldness towards Devki is expressed through small but significant actions. The dad is a mute spectator most of the time.

Arya is kidnapped and raped after a party she attends. The rape itself is not shown though there are enough hints to make us aware of the horror she is going through. The way Devki indirectly plays a part in the whole episode further pushes Arya away from her and Sridevi is terrific in these portions as she breaks down and later cares for Arya. The rapists are set free by the court and that pushes Devki to punish them on her own. Helping her is a private detective DK(Nawazuddin Siddiqui, almost unrecognizable) while a cop(Akshaye Khanna) is unhappy about the rapists being set free but isn’t about to let them be killed either.

It feels good to see Devki turn avenger and go after the people who destroyed her daughter’s life. It starts off plausibly enough as she takes some help to perform a kidnapping and some surgery. But things get overly cinematic. It becomes difficult to accept when she correctly finds and destroys hard drives from security cams, hacks into computers, modifies search history and fixes the time setting. Some background, some setup to lead up to all this would’ve helped. Maybe a background in computers. Maybe a quick lesson from Nawaz. But a biology teacher suddenly transforming into this cool, meticulous, multi-talented woman is difficult to swallow and takes away from the thrill of her actions.

A family vacation allows the climax to unfold in a snowy landscape that is both beautiful and bleak. Almost every step of it is predictable. But since the stepmom-daughter dynamics play as important a part as the revenge track, there is a particular moment among those steps that is crucial and that we know is coming. But it is still beautifully done and impactful, both in the way it is built up and in the immediate aftermath.

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Oct 04 2017

Puriyatha Puthir

Published by under Review,Tamil Cinema


Vijay Sethupathi’s stardom is in a rather mystifying phase. After steadily rising up the ranks with several BO hits, the audience response and his charisma saw many critics and observers anointing him a superstar after Vikram Vedha. But the actor is appearing in so many movies that most of his movies still hit the screens without the hype or publicity that one associates with a film from a leading actor. Puriyatha Puthir is one such film (while production delays could have contributed to the lack of interest surrounding Puriyatha Puthir, even as I’m writing this review, another VS film Karuppan has already been released and hasn’t created any noticeable ripples).

Like Lens, Puriyatha Puthir is also a film about the dangers of voyeurism – particularly the increasingly prevalent problem of videos being disseminated and the devastating consequences to the unwitting participants. It is a timely and topical issue though the film’s screenplay prevents it from being as hard hitting as Lens.

Kathir(Vijay Sethupathi) is an aspiring music director who also runs a music store that is owned by his friend. It is at the store that he meets Meera(Gayathrie), a music teacher. Their romance is sweet with both casual conversations and light-hearted flirting – mostly from Kathir. VS shows us that he can be a convincing romantic lead also and as always, conveys his feelings, whether its giddiness after a phone call or mock pouting after he is rebuffed, with subtle expressions.

The troubles start when Kathir gets a sexy photo of Meera and quickly escalate as he gets more vulgar videos. Meera too gets the feeling that she is being stalked at her apartment complex. Meera’s situation is scary and Kathir’s paranoia feels real as he desperately tries to find the person sending these messages. The film doesn’t have too many characters to function as suspects and that dilutes some of the suspense but it does create curiosity about who is targeting Kathir(the bit on the bridge is particularly nasty) and what their motivations are and that keeps us involved.

The reveal is a very good surprise and the director does a good job by sidetracking us in a somewhat abrupt and disappointing manner before the actual twist. But the obligatory flashback that follows isn’t that successful. First it asks us to swallow a pretty big contrivance about a character having absolutely no memory of another character. And second, with the major suspense already broken, it takes too long to tell a story that we are easily able to guess a short while into the flashback.

5 responses so far

Oct 02 2017


Published by under Review,Tamil Cinema


Vikram Prabhu plays Guru, a fireman in Neruppuda. He and his 4 friends have dreamed of becoming firemen since they were in school and are now trainees with only a written exam standing in the way of becoming full-fledged firemen. Though the film’s title directly addresses fire and the hero is a fireman, the profession hardly makes any difference to the story. I wasn’t expecting Backdraft but its still disappointing that fires and fire-fighting play no part in the main story. The job helps give Guru a heroic introduction(he saves a kid from a burning hut) but that’s about it. There is a token fire at the end that is used for an important reason and is then put out by him but that hardly justifies the film’s emphasis on fire through that title and his job.

The only aspect it somewhat plays a part in is Guru’s romance with Vasumathi(Nikki Galrani). But its one of those romances that the director felt the need to insert since a masala movie isn’t complete without it but then wanted to get it over with quickly to focus on the main story. Her “I love you” is too soon and sudden even with her story about idolizing him and she is quickly shoved aside after a duet and has little role to play until the usual “damsel in distress” part at the end.

The primary track sees Guru clash with a rowdy Pulianthoppu Ravi(Madhusudhan Rao) after an unfortunate altercation between one of Guru’s friends and Sadha(Vincent Asokan), Ravi’s friend. This clash is kept interesting as Guru keeps trying to get out of it and keeps getting pulled back in by one misunderstanding after another. So the proceedings aren’t always predictable and there is suspense and and even a few laughs in the ways in which Guru and Ravi end up running into each other. But there is always the feeling that this battle between the two of them isn’t hefty enough to prop up the full movie and so the story feels stagnant notwithstanding all the small twists in Guru-Ravi story.

The expectation that there is something more turns out to be valid but it is a case of too little too late. The suspense about a major massacre isn’t maintained long enough to be built up and the big reveal isn’t strong enough to be a good payoff even for the little suspense. The proceedings – the location, the dialogs, a key performance – all feel a little over-the-top after the low-key nature of the movie till then.

4 responses so far

Sep 12 2017

Jab Harry Met Sejal

Published by under Hindi Cinema


What is it about the pairing of Shah Rukh Khan and Anushka that drives directors to dream up their most moronic scripts? First there was Rab Ne Bana Di Jodi, where both of them played characters who were mean, selfish and unlikable. I don’t remember much about Jab Tak Hai Jaan but I do remember there was a scene where the two of them talk about love when he is dismantling a bomb. Those were both movies by reputed directors. The former was from Aditya Chopra who gave us DDLJ and the latter from Yash Chopra, who has delivered several romantic hits. Now Imtiaz Ali, the man behind films like Jab We Met and Rockstar, delivers another clunker with the same pair.

We’ve had movies where girls who are engaged fall for someone else. But for the storyline to work, the girl’s change of heart needs to be convincing with the sense that she tried to resist falling for the hero but couldn’t. That’s not how it is here. Anushka plays Sejal, who is engaged to be married. On a group tour of Europe, she loses her engagement ring and with no idea where she lost it, she wants to visit the places she could’ve lost the ring in and asks Harry(SRK), the tour guide, to accompany her on the quest.

We’ve had worse setups for romances but its Sejal’s characterization that’s the main issue here. None of her actions make any sense. There is no clear reason for why she wants to hang out with Harry even after he lays out the risks and suggests a safer option. And when she is with him she goes to bars against his advice, she flirts with him, cuddles up to him and asks him to think of her as his girlfriend(because he is lonely!). All this while talking lovingly with her fiance and proudly declaring that she will leave Harry with no emotions whatsoever the moment the ring is found. So at any given point  in the film she is comes across as being an idiot(the biggest moment being when she finds the ring), completely heartless, a flirt or a tease.

Harry comes across as more real. He misses home and jumps from girlfriend to girlfriend trying to fill the void in his life. So his character arc is more convincing as he slowly falls for Sejal and alternates between warning her, pulling away from her and getting closer to her. SRK delivers a mature performance though he has the advantage that Harry gains sympathy just by way of having to put up with Sejal’s actions.

The film takes us to several spots in Europe as the two go ring hunting but there are really no places or shots that make us go “Wow!”. And the film is proof that a bigger budget cannot get you foreign actors who act well. Radha… and Beech Beech Mein… are picturized with energy and are bright spots.

7 responses so far

Sep 07 2017

Anbanavan Asaradhavan Adangadhavan

Published by under Review,Tamil Cinema


With films like Vinnaithaandi Varuvaaya and Vaanam a few years ago, Simbhu seemed to have made a positive change in his career with some meaningful films mixed in with the usual fan-targeted, mass masala films(like Osthi). Our hopes were dashed a teeny bit with each new film he acted in but with his latest film Anbanavan Asaradhavan Adangadhavan, those meaningful films are now little more than a distant memory.

Director Adhik Ravichandran must be a really big fan of Simbhu or have an inflated idea about the size of the actor’s fan base. Almost every scene of Simbhu in the film is fashioned like a hero intro scene with slo-mo shots and people extolling his virtues before he makes an appearance. It doesn’t matter if he is simply sitting at a tea stall waiting to talk with his lover, walking away after talking to his boss or walking into a house to help his friend. His appearance is always accompanied by loud music and slo-mo shots.

For his part, Simbhu himself looks like he really enjoys all the attention. He sings songs praising his fans, swishes his fingers, refers to his old – and upcoming – movies, makes comments about his personal life, spouts philosophies and periodically utters the punch word Sirappu, an obvious rip-off of Kabali‘s Magizchi. It doesn’t take long for this hero worship to become intolerable.

After a small, amateurish segment in Dubai that sees an agent Ruby(Kasturi) take down a drug mafia boss, the story moves to 80s Madurai, where Michael(Simbhu) is a feared gangster working for Senthamarai. The 80s setting with the associated getups(unruly hair, beards, patterned shirts  and flared pants) remind us of Subramaniapuram but that’s where the comparison ends. AAA gives us a moronic romance which sees Michael, who is in love with Selvi(Shriya), locks lips with her dad(Y.G.Mahendran) more than with her(since the dad keeps getting electrocuted and has to to be revived with mouth-to-mouth resuscitation). The segment is little more than bad jokes(a given considering Simbhu’s friend is played by VTV Ganesh) interspersed with spiels about friendship.

In the second half, the film fast forwards to 2017 with Michael now transformed into a grayed but otherwise completely youthful Ashwin thatha. We are told that this transformation happened in Dubai where he became a dreaded don but there is not a single moment spent on how this happened. Its like this big hole in the story that was left out either because the director couldn’t come up with a plausible scenario(unlikely since that didn’t stop him from making the rest of the movie), they didn’t have the budget to shoot in Dubai or they just didn’t care. My money is on the third choice.

There is no hint of Ashwin’s gangster past after that either and the film once again follows the romantic route. This time Ashwin falls for Ramya(Tamannah), who works at an old age home. The film continues with the cheap comedy as Ashwin tries to impress Ramya and one of the old women(played, predictably, by Kovai Sarala) make the moves on him. A final twist leads to many things – a chance for Simbhu to play a different character, an opportunity for him to indulge in some villainy and a cameo by G.V.Prakash(the hero of Adhik’s previous film Trisha Illana Nayanthara). But the scariest consequence ends up being the promise of a sequel.

11 responses so far

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