Showing posts with label TAMIL MOVIEWS. Show all posts
Showing posts with label TAMIL MOVIEWS. Show all posts

Thursday, 27 October 2011

sathurangam movie reviews


Cast: Srikanth, Sonia Agarwal, Mahadevan
Direction: Karu Palaniappan
Music: Vidysagar
The long wait is over. Director Karu Pazhaniappan’s Sadhurangam has finally hit the halls after five years of waiting. Thankfully the movie looks latest though it has come late!.
Karu Pazhaniappan was working as a journalist before entering into the cine field. He has used his experience and in-depth knowledge in journalistic field in making this movie. The director, who is known for making films with a different idea hasn’t disappointed us. He has chosen to tell us the life of a bold journalist. He has done this with an engaging script.
The basic premise of the story may not be new (the eternal fight between the good and evil). But Karu has chosen a different backdrop and worked meticulously to present it with a different flavor.
The storyline goes like this: Thirupathisamy (Srikanth) is an investigative journalist in a Tamil weekly. His investigative reports and articles expose the corrupt politicians and the nexus between politicians and the business people. He also exposes the horrible status of the jails. His works create awareness and political problem. The persons affected by him woes to take revenge.
Meanwhile he falls for Indhu (Sonia Agarwal), a college student, who also likes him so much. They decide to get married but someone plays havoc in Thiru’s life. Indhu is mysteriously abducted before they get engaged.
Clueless Thiru gets raged and desperate to find his lover. He gets some lead through a phone call. His brain work and the power of fist manage to save the girl.
Karu Pazhaniappan talks about the challenges faced by a journalist, who wants to tell the truth without bothering about the consequences. The nuances of journalism are depicted in a realistic manner. The pleasant love story – a stamp of Karu – has also been told without diluting the storyline.
Pithamagan Mahadevan’s character is a surprise, as the person chooses to help the hero despite being affected by him. Karu has shown that a person with questionable reputation in his business need not be a bad person in all aspects. Karu shows Indhu’s unhappiness over the ‘unromantic’ nature Thiru. This reflects the impact of the one’s obsession towards his profession. Anyone who takes his profession with a missionary zeal is likely to lose some charm in his or her personal life. Karu has beautifully shown this in the depiction of the love affair between Thiru and Indhu. These two segments show his maturity as a creator.
Pazhaniappan’s dialogues are sharp. He takes on everything including the media.
However, the kidnap drama could have been handled better. The clichéd climax is a big letdown.
Srikanth’s powerful performance is the major strength of the movie. Sonia Agarwal has handled the romantic girl with some maturity well. Pithamagan Mahadevan, Ganesh Yadav, Bose Venkat, Manivanan, Sriman, Saranya Ponvannan have added value to the movie. Ilavarasu’s character provides some fun.
Vidyasagar’s songs have flair and the song Vizhiyum Vizhiyum sounds good. But the placement of the song mars the impact.
Overall, Karu Pzhaniappan’s Sadhurangam has come out as a neat movie depicting the life of a young and bold journalist. The movie would have been an excellent one had Karu paid more attention on the pace in the second half, the kidnap drama and the climax.
Watch it for Karu’s presentation.

VARNAM TAMIL MOVIE REVIEWS


Banner: Alka Films Corporation
Cast: Giri, Ashwatha, Monica, Samath, Gowtham
Direction: S M Raju
Production: Ajayendran, Rajendran
Music: Isaac Thomas
Amidst mass hero themes and mindless masalas, filmmaker S.M. Raju has come up with a off-beat melodrama in Varnam that speaks about the mind of an adolescent boy.
With Sampathraj and Monicka and a host of fresh faces, the director has tried his hands on a different theme, but ends up with less conviction.
The movie is set in the view of a school student Mani (Giri). Young Mani’s (Giri) father is killed by Velu alias Anwar (Aadhish), in a group clash in a village. Mani’s brattish behaviour incurs him the wrath of neighbours. His mother struggles hard to grow him up. She sends him to his uncle’s house.
His uncle Durai (Sampath Raj) is a rich landlord who owns coffee estate. In his uncle’s custody Mani enjoys life. But Durai is a womaniser.
From a spoilt brat he is reformed to become a good student by Kavitha (Monica), a teacher in the local school. Mani loves his classmate Thangam (Aswatha).
Meanwhile Durai uses all his antics and ensures he spoil the life of Thangam for his lust. Mani gets a rude shock. Meanwhile plans are on to get Kavitha married to Durai.
Giri comes to know that Kavitha is in love with the murderer of his father. What the boy does in such a situation forms the climax.
Sampath Raj does what is expected of him. His body language and dialogue delivery are apt. Monica has a meaty role to play and does it well. Young Giri is a welcome addition. He gets his act well. Every other character suits the story well.
Music is by Issac Thomas and he come up with melodious tunes, while a village thiruvizha song is nice to listen to. Raju has captured the songs well.
Despite having a different theme the movie fails to impress as it tends to be slow. The movie tests the patience at many places and hence leaves little impact on the viewer.

vellore mavattam tamil movie reviews


Starring: Nandha, Poorna
Direction: Manohar
Music: Sundar C Babu
Production: Kalpathi S Agoram
Sometimes you feel the necessity to name the movies in Tamil has made naming convention a lot better. But it’s not enough the name of a movie catches your fancy, is it now? Case in point; Velur Mavattam. As much as the title promises to be a gritty action thriller about a police officer’s fight to bring the gangsters in the heartland of Tamil Nadu to books, Velur Mavattam tumbles into greater levels of predictability.
Nanda plays Muthukumar IPS, who hails from a poor family. His father is a farmer who toils for his daily life and is particular that he does not want his son to get stuck in a similar life. So the son studies arduously, becoming an IPS officer. Life as an IPS is not a cake walk and what it offers to Muthukumar as an IPS officer is what Velur Mavattam all about.
It’s very tough to make a straightforward story work, exactly the case here. Besides, the movie also has resemblances of many other movies from the past; of the top of our head, Saamy and Singham – only with no vitality. While the first half travels like a slug, the second half brightens up just a little bit. But that happiness does not last long as it plummets to a foreseeable climax.
Muthukumar studies hard, passes the IPS exam with flying colors, falls in love and marries, tides over a quarter-life crisis of sorts and goes back fighting evil. This is all that happens in the movie and in that particular order. And to say the movie is an action entertainer, the director hasn’t paid enough attention to the action, or the entertainment. He also makes an actor with potential like Nanda, remain stony throughout the movie, since he plays a cop.
Heroine Poorna doesn’t have much scope in a hero centric story. Others, including Santhanam and Azhagamperumal are just fillers. It’s surprising to note that even Santhanam couldn’t manage to pull a few laughs.
Sundar C Babu’s background score and music play spoilsport and ends up lackluster. Neither the songs nor the movie’s background score do anything to pace up the movie.
Formulaic and predictable are two words that can describe Velur Mavattam. The director seems to have set out to portray the life and struggle of an honest officer in this big, bad world. However, while drawing a line between commercial and realistic cinema, he has missed out major chunks of portions screaming for attention leaving the movie a predictable fare.

ra ra tamil movie REVIEWS


Starring: Udhaya, Ponvannan, Shreya Basu
Direction: Sandelyan
Music: Srikanth Deva
Production: U Keerthika
It might not be in the league of Madras to Pondicherry but despite its strange little title, Royapuram to Royapettai as a movie doesn’t fail you in many counts. For one, the title is delightfully suggestive of the movie’s story. And then the actors play their parts almost flawlessly without further ado. Add to that an unpretentious story and a near cliché less narrative; you get nothing less of a wining combination. Here’s one more small-timer movie that does not solely depend on the star power but only on the strength of its story and the vigor of its actors’ performance.
Royapuram to Royapettai is a simplistic love story about two people with background that is so disparate, it’s seemingly impossible for them to unite in marriage. But if they give up, where is the story for us? So they do, not before trying their best leaving no stone unturned to convince the hard-nosed, orthodox father, often conning him into believing lies about the background. Although the story reeks of good old masala movies, the director has consciously stayed away from being typecast.
Udaya is from an orthodox family, whose father Ponvannan lives by Thirukkural and the conventional principles dictated by his Brahmin clan. When Udaya falls for Shreya Basu who hails from a fishermen village, no less, all hell breaks loose. However, the couple decides to play it cool and win over the orthodox father’s heart. Do they do it is what Royapuram to Royapettai is all about.
As you can see, the script has immense potential for comedy and it’s being fully exploited. For instance, the scenes where Ponvannan is invited to the girl’s house and everybody pretends to belong to a Brahmin household. Their crude Tamil peeps in between their put up Brahmin accent and you end up smiling without a choice when the actors put up an earnest performance. And the comedy seems quite natural and not contrived. In the same breadth, when Shreya Basu’s family tries and learns Thirukkural to appease the likes of Ponvannan, it’s side-splitting.
Although Udaya as the unfortunate youngster who falls for a girl whose family is totally unlike his, delivers his role as is required, it’s Ponvannann who takes the cake for donning the role of a tough, orthodox dad with a dark past. The Thirukkural fanatic who also dictates terms at his house is also a mellow man at heart. He after all wants the best for his children. None of these emotions can be brought out this effectively by anyone other than Ponvannan. Shreya Basu is a cutey pie but she will need lessons in dialogue delivery if she wants to stick around for longer.
First half of the movie revolves in comic indulgence. Scenes of Udaya’s falling in love with Shreya, the meet up of the families and so on and so forth keep the pace of the movie. Director Santilya has efficiently laced comedy and drama and it works to an extent. Srikanth Deva has turned to melody here and the song featuring Thirukkural is a winner.
Royapuram to Royapettai is a family entertainer to put it in plain words. It has everything going for it – excuse the slackening pace during the second half and the negligible clichés – for a neat commercial entertainer, and it might not be a bad idea to spend an afternoon over the movie.

ANBULLA KAMAL TAMIL MOVIE REVIEWS


Starring: Kamal Haasan, Meera Jasmine, Jayaram
Direction: Saji Surendran
Music: M Jayachandran
Production: Tomichan Mulakupadom
Four Friends, the Malayalam multi-starrer, which did middling business in Kerala has found its way into theaters in Tamil Nadu; presumably because it features a one-scene cameo by Kamal Haasan. Did the producers believe that just the presence of Kamal Haasan is enough to evoke interest in the Tamil audience, or did they believe in the strength of the story to woo the audience? The fact that the movie stars Jayaram, Jayasuriya and Meera Jasmine, who are already familiar to Tamil audiences, besides Kunchako Boban, might also have prompted the decision to go in for this Tamil release.
Anbulla Kamal is the story of four terminally ill people who come together and decide that their last days on earth must be worth remembering, that they must leave no wishes or duties unfulfilled when their time comes, which they know, is not too far away. The film takes us through the emotions of each of these characters as they forge a bond amongst themselves and also try to do those final calls that are very close to their hearts. Funding their dreams is the richest among them all, who realizes that even all his wealth is not going to save him from fate. While they still remain active and continue to pursue their most ardent wishes, it is evident to us that they have also resigned to their fate. That is when they receive a beacon of hope in the form of someone who has seen people around him fight and even win the battle against terminal illness.
The best thing about the movie is that it proposes no magic cure, no spiritual remedy; not even some hospital in the USA which can do a one-surgery treatment to give them back their lives. Terminal illness is shown in its stark reality without sugar coating the facts. The message is loud and clear that no medicine is as powerful as the human spirit and the will to live life to its fullest. While we have all heard about names like Lance Armstrong who fought and won against terminal illness, this film gives us names of people closer home, people whom we can identify with, who have fought with undying spirits. Not all of them could win, but they did live life with hope and courage, doing what they like to do best. That, in very simple terms, is what Anbulla Kamal tells you.
You are told very early in the film that the four protagonists are terminally ill. There descends the heavy pall of gloom and impending death. That hangs over the film like a dark cloud all the way. How much ever the director tries to make things colorful and cheerful by taking us through the development of their friendship or through their attempts to get all their wishes fulfilled, the film constantly carries a gloomy mood, which makes it weary for us after a point of time. The heavy emotional content weighs down anything presented in the form of entertainment, even the songs and the bright locations.
One wonders whether the quality of dubbing has anything to do with this. Jayasuriya has been given space in the script for comedy, but dubbing in the local Chennai flavor for him seems grossly overdone and destroys whatever little fun it would have brought. The only silver lining in the cloud is the rather beautiful message of hope and courage which is given out citing examples whom we can relate to. And, Kamal Haasan makes a one-scene appearance. Taking a theme that deals with terminal illness and impending death and making a cheerful entertainer out of it without ridiculing the seriousness of the ailment is a tricky balancing act. It was once executed beautifully by Hrishikesh Mukherjee in Anand. The director of Anbulla Kamal could have taken a cue from there.
The film has some good music, but as said before, it gets subdued in the big shadow cast by the central theme. The opening remix of ‘Yeh dosti’ from Sholay is, however, an exception. All the performers have pitched in with good portrayals, but no one really stands out. Camera has tried hard to capture some colorful frames and has done fairly well.
Anbulla Kamal is a film that delivers a very beautiful message on life; like Rocky Balboa said ‘ain’t nothing over until it’s over’. But, the theme of illness and impending death elbows out the more cheerful parts on friendship and life, which makes the film a heavy and rather gloomy experience. Obviously, the treatment could have been different. And, why was the film named Anbulla Kamal; just because Kamal Haasan appears in one scene! Isn’t that a bit misleading?

uyire idai21 tamil movie reviews


Starring: Sangamithra, Thilakan, E L Indrajith
Direction: E L Indrajith
Music: E L Indrajith
Production: E Kalaivaanan
Many years back a scientist placed dying people on a delicate weighing balance and measured the change in weight at the instant of death and came to a conclusion that the human soul weighs 21 grams. Now, whether the existence of the soul has been scientifically proven or not, its weight has been ascertained and the fact has now been used as the curiosity evoking title of a Tamil movie.
One would wonder whether this movie is an interesting intellectual take on the existence of the soul, afterlife and some other such uncertain concepts. Please be assured, if there is anything in the movie that is worth being curious about, it is only the reason behind this rather odd title. Everything else is as run-of-the-mill as you have seen in Tamil cinema over the past few years. A gang of dons, infighting, groupism and gangs within the gang. The rivalry goes from push to shove and before you know the sickles are out. There is betrayal, double crossing, killing, shouting and a struggle for power, all faithfully put in to make what is an aspiring gang war story which should end up showing the birth of a criminal from the shadow of another. In the end, the director seems to want to say that criminals are like banana plants, they never go down without making sure that another one is on its way up.
If you want to know the meaning of mediocrity, you should watch this film. It looks completely out of place in our times where film making is thoroughly professional. It looks like a half baked attempt at putting together a full length feature film with oodles of violence without fully learning the trade of filmmaking.
The script is amateurish, the lighting seems deliberately dark and dank throughout without proper reason, dialogues are unnecessarily over the top, characters are jukeboxes of weird sounds, and violence is gory. Every scene in the movie is a test of your patience.
The movie has been made by a set of film institute students. Their enthusiasm and confidence is not to be criticized. But, they still have a lot to learn before coming out as quality filmmakers, which they might emerge as, in the future. But, this time, it is a lesson learnt the hard way for them. The only bright spot in the entire affair is performance of Thilakan as an ageing don, his presence is commanding as ever.

ra one tamil movie reviews


Starring: Shahrukh Khan, Kareena Kapoor, Arjun Rampal, Armaan Verma
Direction: Anubhav Sinha
Music: Vishal-Shekhar
Production: Gauri Khan
Ra One is easily the biggest movie of the year and thanks to the tremendous and well thought off marketing push by Red Chillies and Eros International, it has turned into an event film. Shahrukh’s extremely high budgeted movie has launched a social game, a PS3 game, came out with graphic novels, merchandises, innumerable marketing tie ups, youtube tie up and the movie is going to be released in India in 3 languages simultaneously with more than 4000 prints all over the world. Can it get bigger than this? Well yes.
The King of Bollywood – Shahrukh made the movie even bigger by pulling in Amitabh to do the narration and then did the impossible – he brought in Superstar Rajinikanth to act in a small scene. Well should we say more? The tickets vanished from the ticket counters in minutes and today is the judgement day. Can Ra.One mesmerize you? Can Ra One change the game? Can Ra.One take Indian film to the international level, something that Endhiran promised, but failed to do? The answer to all these questions is just around the corner … And as the theatre starts getting dark and the screen in front brightens we expect nothing short of magic on screen.
And Magic it was. Ra.One shows reflections of several movies but it is mainly inspired by Terminator 2- Judgement Day. It has also taken few pointers from Iron Man(The core design), Astro Boy(the blue core red core), Endhiran(few shots) etc. And still, the film stands on its own merits which is the biggest plus for the movie and the director Anubhav Sinha.
Sekar Subramanium, a genius game developer’s desperate attempt to impress his son leads him to create a game where the villain Ra.One is more powerful than the hero. At the same time, his company is working on a program to remove the wall that separates the virtual world from the real. Ra.One utilizes this program to come to life and all hell breaks loose!
He wants to kill the only person who has beaten him in the game. Who is this one man? Is it Shahrukh? Can Shahrukh vanquish the super villain? To know the answer you will have to wait for at least a week to see it in the theatres, if you haven’t booked your tickets already.
The director did not have an impressive track record even though he has given 2 hits. But even those have got mainly average to bad reviews. After his last debacle ’Cash’ no one expected him to come out with a project of such magnitude, especially with Shahrukh Khan. But this time around, he has completely impressed with his direction. The movie is aimed at children and young adults while ensuring that even the elders can enjoy. So you will have to expect some kiddish scenes too.
The movie has no problem with the pacing as it is consistently fast. The Climax however could have been more impressive. The characterization of Ra.One could have been made more evil and terrorizing to heighten the tension and make the film gripping. The mystery as to what he would do next could have kept the audience at the edge of their seats. Ra.one’s ability to control human brain seemed too far fetched and could have been avoided.
Shahrukh does struggle with his Tamil, but is exceptional as Sekar and brilliant as G-One. His performance as a human and a virtual superhuman proves his prowess as an actor. Kareena has evolved wonderfully as an actor. She sizzles on screen especially in the world famous ‘Chhamak Chhallo’ track. She looks beautiful and delivers her role with élan showing how competent an actor she is. Armaan Verma is a delight to watch as Sekar’s kid.
Arjun Rampal enters the scene in the second half and plays a menacing Ra.One quite well. The special appearances by Sanjay dutt and Priyanka Chopra are ok. The much talked about Chitti’s (Rajnikant in Endhiran) appearance could have been much much better. However, Rajni’s appearance on screen received screams and cheering which reached maddening levels. The rest of the cast have little to do and they do impress.
Technically, Ra.One is by far India’s biggest and most expensive by the look of it. Cinematography by V. Manigandan is a feast to the eyes and the action swquences alone are shot by the legendry – Nicolo Pecorrini which has come out brilliantly. The animation and graphics compare to the best of Hollywood. The film actually leaves you wondering as to what is graphics and what is real. While it is good in the first half, the graphics is taken to an all new level in the second half. This film has clearly set a very high bar for computer graphics in Indian film Industry.
The action sequences are impeccable. Whether it is the car chase sequence, G-One’s introduction, Train sequence or the climax, the execution is of international level. Sabu Cyril’s art direction should be lauded as the ace art director makes every single set picture perfect. Which is real? Which is a set? Which is graphics? You never know. Did you think the train involved in the pre-climax action scene was a real train? Well, think again. Music has already received rave reviews especially with ‘Dil dara’, Akon’s ‘criminal’ and ‘chamak chalo’ have caught on like wild fire. The picturisation elevates the song experience.
Overall it is s a paisa vasool. Take your kids and family for this event film and become a kid and enjoy the fun. Technically the movie does touch international standards but doesnt boast of an exceptional or unique storyline to impress international junta but its a Indian film which every Indian should be proud off. Expect every record in the record book re-written.
Verdict: Blockbuster of epic proportion

velayutham tamil movie reviews


Starring: Vijay, Genelia, Hansika Motwani, Saranya Mohan,Santhanam
Direction: Jeyam Raja
Music: Vijay Antony
Production: Aascar Films
Vijay is back to what he does best; mass entertainers, and what better time to unveil a mass entertainer than Diwali. With the music already a rage, the excitement was palpable as fans headed in droves to theatres on the festival of lights.
Velayudham is seen in many ways as a comeback to triumphant ways for Vijay. Yes, Kaavalan was a respite, but it is Velayudham that will more or less decide whether the tried and tested formula that have been followed for Vijay starrers for almost a decade can still hold the audience.
Lets make things clear first, Velayudham holds no surprises in the premise or the central conflict. It is not only something that is seen in a large percentage of commercial entertainers, it is also along lines that are very similar to quite a few earlier Vijay films. But, Vijay films have always been about his presence making things much more exciting than they appear to be in the script.
Velayudham deals with ‘one man saving the society from evil forces’ premise. Yes, we have seen it many times before. Here, the story is about how and why the man rises, how Velu becomes Velayudham. Once he has risen there is no looking back as he hunts down one bad man after the other, but that also earns him enemies who are nothing short of bloodsucking vampires. How does that affect his personal life and how he puts an end to what he began?
As you might guess, the seat of action is Chennai, cinema’s chosen city to portray all corrupt people in Tamil Nadu and the messiah is one who arrives from the village knowing nothing about the notoriety of the big bad city. Of course, he soon finds out and decides that it is better to react than be subdued. And, there is a generous dose of brother-sister sentiment thrown in.
Déjà vu anyone! Well, don’t mind that because Raja has woven a script that makes you forget all this and concentrate only on the screen. The first half is really a joyride, especially for Vijay fans as he is introduced as the fun loving, mischievous young man who will go to any lengths to make his sister (Saranya Mohan) happy. Vijay is an absolute livewire, be it in the electric dance sequences or the enjoyable comic exchanges, first involving Parotta Suri and M.S.Bhaskar and later with the extremely effective Santhanam. Of course, the director has not failed to keep pushing the central plot ahead steadily to leave the interval intriguingly poised. The second half arrives with more of action than anything else. Yes, there is place for a bit of romance and also some cleverly placed comedy sequences late into the half, but on the whole action does dominate. Again, as we have seen repeatedly with commercial films, it is the overdose of the action element, especially projecting the hero as an unassailable superhuman that makes viewing a bit difficult. Velayudham too falls prey to the same errors, though not to the irrecoverable extent that many other movies have fallen. Raja intersperses high octane action with a couple of well placed songs (Molachu Moonu and Rathathin Ratham) and a very sentimental pre-climax portion to keep the audience from feeling action weary. But, the dominant feeling as the end credits start to roll is that a racy and intelligent climax (not that the one now is non-inttelligent) instead of the hero’s mass appeal and a preachy message would have made the movie much better.
Raja has done a fine job of mixing all the elements that go towards making a mass hero film, though he has lost the balance a bit in the last hour. His adeptness at placing comedy, romance, sentiment and the mandatory 5 songs into a script that has an alter-ego(istic) superhero should be commended. Nothing looks out of place, as we enjoy Santhanam’s wisecracks, Vijay’s dances and the brother-sister sequences. It is a while since we have seen Vijay excel in an emotionally heavy scene, Raja gets it out of the actor, in Velayudham. Also, placing 5 songs in a movie with none of them sticking out like a sore thumb is quite an achievement; though we should say that Vijay’s presence is a major factor in ensuring this.
Everyone in front of the camera has done a fine job. Vijay is sprightly, energetic and every bit the way we love to see him. He has experimented a bit with his look in the songs and they have come out well. Hansika is there in many scenes, but for most parts is a silent spectator, being called upon once in a while, mostly for glamour. She does not look out of place as a village girl, but the makers’ claim that she would remind us of Khushboo is an overstatement. Genelia gets quite a significant part and looks convincing. A laugh is guaranteed every time Santhanam is on screen. Saranya Mohan too deserves a round of applause for being good enough to make the audience feel the depth of the siblings’ bond.
During most of the talkie portions, the camera strictly adheres to the requirements. Some well shot scenes within a train are worth mentioning. But, it is in the songs that the lens turns on the magic. At least a couple of them are visual treats. The capture of landscape for Molachu Moonu is delectable. Action too has been designed well. Though the movie is of the superhero type, the fights have not been taken to those levels; keeping them down to plausible levels (by commercial cinema standards). Dialogues too deliver the occasional punch and there is one particular reference to the rather benign ways of India.
Velayudham is a regular commercial entertainer which shows one man rising for the masses to right the wrongs in society. Yes, we have seen this kind of movie many times. But, a deftly written script keeps us engaged on screen for most parts until Raja gives into the temptations of adding extra mass appeal to a film that is already built around it. There are many scenes that instantly remind us of films seen earlier, but Viijay’s presence makes up for these glitches. There are also a few instances where the dialogues have political overtones (or are we imagining things, given the nature of the season). If the director had steered clear of these elements and concentrated on building a solid last hour which did not rely too heavily on the leading man’s charisma to carry it off, Velayudham would have been an even better end product.
Verdict: Regular mass entertainer spiced up by Vijay.

Tuesday, 25 October 2011

7 Aum Arivu tamil movie reviews


CastSuriya, Shruti Haasan Johnny Tri Nguyen
DirectorA.R. Murugadoss
CinematographyHarris Jayaraj
Music DirectorRavi K. Chandran
EditingAnthony
ArtRajeevan
BannerRed Giant Movies
ProducerUdhayanidhi Stalin
Release dateOct 26, 2011
CBFCU
GenreSci-Fi
Costumes

7 Aum Arivu is a sci-fi thriller in which Suriya plays a double role: a circus artist and Buddhist monk. Interestingly, Shruti Haasan will play the role of Subha Srinivasan, a scientist. The story is said to revolve around a time machine brought to India by a scientist (Shruti Haasan). The film is also being dubbed in Hindi and Telugu. Suriya will sport the look of a Buddhist monk for only 20 minutes in the film. He will appear as a Tamil prince from Kancheepuram who travels to China and becomes a well-respected monk there. Director Murugadoss has done a lot of research  on the role and sources who have seen the raw version of the film are amazed with Suriya's performance.
Stay tuned for an exclusive review, coming soon!
Shabina Khan

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