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  1. Vada Chennai

    December 9, 2018 by Guest Author

    Vetrimaran continues his exploration into the worlds of Shakespeare and gangsters. Only this time, he is a far superior filmmaker.

    Spoilers Ahead..

    “Vada Chennai” is divided into chapters and each one is part of a larger jigsaw puzzle that can perhaps never be solved. The best one is titled “Anbu, Rajan and the Hood”. It tells the story of Rajan (Ameer), his brother Thambi (Daniel Balaji) and underlings Guna (Samuthirakani), Senthil (Kishore), Velu (Pawan) and Pazhani (Boxer Dheena). They are smugglers, working for the powerful politician Muthu (Radha Ravi). In a sudden turn of events, Rajan takes a stand for his people, irking Muthu, who plots his fall using Senthil.

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  2. Sarkar

    November 6, 2018 by Ajay

    Murugadoss seems to have kept track of all the “issues” happening in Tamil Nadu in the recent past and has tried to write a story with one of those. As the issues keep piling up, he couldn’t decide which one would have the most punch in the gut feel so he decided to mix them all up to write a story. Who needs proper story boarding, script discussion, screenplay drafts and all that nonsense when you have issues+vijay in a movie? So he just went with it and wrote the scenes and dialogues on the flow and the end product is what you get to see on screen. Everybody in the cast and crew seems to believe solely on that aspect for the movie to get off and have put their lowest effort possible to get the whole thing together. Even I’m lazy to an extent but this is just taking it to another level.

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  3. Chekka Chivantha Vaanam

    October 5, 2018 by Ajay

    Mani Ratnam seems to be tired of people calling his films too mani ratnam-esque so he went out and made Chekka Chivantha Vaanam trying to be as least mani ratnam-esque as possible but he just couldn’t help but have his signature all over the film. Be it associating characters with colours (tones of red all over, monochromatic dresses for single tone and straight forward characters like Varadan, Chitra, Senapati, but more flamboyant for Ethi and Thyagu), the way people talk and respond to questions (as soon as Senapathi wakes up, Chitra tells about Lakshmi in a Kanden Seethaiyai way), power play of characters shown by where they are standing when talking with each other, the list keeps going. And when I have all these things on screen to keep me entertained, I can’t help but be impressed with a film even if the overall story is meh. But in case of CCV, even the story ties all these things together really well.

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  4. Kolamavu Kokila

    August 19, 2018 by Ajay

    I had a gut feeling that this would be a great film. The trailers and promos were on a style of their own. With a premise that was not that common in Tamil cinema. I was betting on how good this would be. It did turn out to be great but for reasons I did not think of. With Nayanthara killing it with her solo streak in Tamil cinema, Kolamavu Kokila is that kind of film that has something to offer for all kinds of audiences.

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  5. Kaala

    June 7, 2018 by Ajay

    I miss Ranjith, the filmmaker. I know it isn’t fair to compare someone’s previous works with their current one, but I really do miss the filmmaker who put more effort into story telling rather than using the medium to propagate his ideologies. Or maybe I’m not the right target audience for these kind of films. Kaala worked for me in parts but as a whole I felt it needed a little more effort into actually making a “film”.

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  6. Chithram – The Last Vacation

    March 13, 2018 by Guest Author

    Remembering the apotheosis of the Mohanal-Priyadarshan oevure.

    ‘Chithram’ is at surface the story of Purushothaman Kaimal (a superb Nedumudi Venu) hiring Vishnu (Mohanlal) to act as the husband of Kalyani (played by Ranjini), in order to please her father Ramachandra Menon (Poornam Viswanathan). Kalyani has recently had a heartbreak but doesn’t want her dad to know about it since he is on his last vacation. The result is a screwball comedy for most part, thanks to the antics of Vishnu, Kalyani’s cousin Bhaskaran Nambiar (Sreenivasan) and his sidekick. Towards the end, it becomes a gut-wrenching tragedy but the transformation is entirely convincing.

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  7. Naachiyaar

    February 21, 2018 by Ajay

    Bala prepares us for the nasty journey that we are about to witness by filling the whole screen with garbage for the most part of the opening credits. This merges on to what seems to be agricultural land, which then merges on to apartments in Pallikaranai(?). We get a deja vu of a similar auteur’s film Taramani that released last year but this auteur is rawer. A sea of metaphors run in our mind on what this movie might be about but Bala surprises us with something that not many would have guessed.

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  8. Conversation on Velaikkaran

    January 1, 2018 by Ajay

    Ajay: Sounds a little ironical that we want to do a conversation about a movie that is filled with just conversations right?

    Sai: Well, yes. After Visu’s movies, this is probably the one with most dialogues I believe :). What is your overall feeling about it though?

    A: I kind of liked it. It kept me entertained. But the filmmaking was lazy. He had a good story to tell but just didn’t tell it the right way, I felt. What about you?

    S: I see. I thought even the story went haphazard which is quite surprising because Subha are credited as co-writers. I loved some directorial touches actually – especially the mirror scenes with Arivu (Sivakarthikeyan) and Adi (Fahaadh Faasil), where they explain their ideologies for their audience.

    A: As BR said in his recent video, Mohan Raja has definitely evolved as a filmmaker. Or should I say, he gets his inspirations from the right place now?

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  9. Romance in Tamil Cinema

    December 29, 2017 by Ajay

    Selvaraghavan once said in an interview promoting his new film that he was going to show us what real love was because, in his opinion, all other Tamil films deceive us with filmy love stories. Then he went on to release Irandam Ulagam.

    Maybe for Selva, voyeurism is the real form of love and he feels every other form is deceptive. But his take on romance is what makes a Selva film unique. Tamil filmmakers have a weird habit of including romance in their films, regardless of necessity, for the sake of reaching out to a wider audience. Maybe a part of the audience comes to watch a film only if there is some version of love involved in the story. But apart from it being a business, is there any reason why there are so many versions of unwanted romance we see in our films?

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  10. Aruvi

    December 23, 2017 by Guest Author

    A Tamil movie these days is often a template that writers/directors cling to for comfort. You expect a song to ‘introduce’ you to the hero. You wait for the leery introduction to the heroine (even in 2017), demand it even, and after that it is all fan service. So when a director comes up with art on a blank canvas, it is often refreshing.

    Enter Aruvi, Arun Prabhu Purushothaman’s seemingly unfiltered debut take on society as a whole. I say seemingly because the director is awfully intent on upending all our expectations. This is not a movie with a message, but by the end of it, it opens our eyes not by touching our hearts as much as shining a bright, well-intentioned torch in our direction.

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