I virus

I Virus 
 

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Director: S. Shankar

Writers: A.N. Balakrishnan.Swanand KirkireS. Shankar

Stars: Vikram.Amy Jackson.Suresh Gopi

Action.  Drama.  Romance

A deformed hunchback kidnaps a bride and holds her hostage while his connection to her and his targets is revealed in a series of flashbacks that unfold as he starts seeking revenge.

Virus Story: A series of deaths in Kerala’s Kozhikode and Malappuram districts shocked medical practitioners. Then, as the State confirmed the outbreak of a deadly virus named Nipah, a group of medical professionals, health officials and the people of the districts joined together to tackle it.

Virus Review: Nurse Akhila, who took care of Zachariah, a youth who was admitted to her hospital for fever, headache, and vomiting, is now wheeled into the causality at Kozhikode Medical College and she asks to be intubated. “I can’t breathe anymore. My daughter, I breastfed her,” she whines. As Rima Kallingal portrays Akhila with perfection, Malayalis will definitely think back to the heroic, 32-year-old nurse, Lini Puthussery who died treating the first victim of the Nipah virus in Kerala.



A year after Kerala witnessed the shocking outbreak, Aashiq Abu came up with a realistic narrative based on it. Apart from Kozhikode-native Zachariah, more cases are identified in adjacent places and the death toll rises. Slowly, medical professionals confirm that a deadly virus named Nipah is spreading across the districts. It became an emergency situation, and medical practitioners and healthcare professionals, led by Health Minister C K Prameela and District Collector Paul V Abraham, camped in Kozhikode to tackle the crisis.

The film progresses as a chronological depiction of the real-life experiences in Kozhikode and Malappuram which we are aware of through the news reports. It, in a way, pays tribute to scientists, medical professionals, and the people who came forward to support the team to solve the virus attack.

A movie with a stellar cast—including Revathy as Health Minister, Parvathy, Kunchacko Boban, Rahman, Sreenath Basi, Indrajith and Unni Maya as medical practitioners, Tovino as district collector, Poornima as health service director and Asif Ali, Soubin, Dharshana and Madonna Sebastian as patients—flows at a captivating pace in the beginning. It tells a story that is hard, realistic, and a bit close to the bone, as you are aware that the disease is back for real in the State now.

However, as the film documents the events from a year back, there seems a lot going on at the same pace, making it difficult to connect at times with any one character in the second half. While trying to create the backstory of each Nipah-affected patient, the writers create various mini-dramas, but have they done justice to each one?

While in many parts of the film, the makers try to prove that the Nipah outbreak in Kerala isn’t a bio-weapon attack by any other country or organization (indirect mention that the Central Government wanted it to be so), the director, subtly, brings in a bit of his Leftist politics, suggesting how the LDF government tackled the issue. Ironically, the film is released at a time when a patient in Kochi is under observation due to the Nipah virus.

The film’s narrative has a striking resemblance to the Hollywood medical thriller, 'Contagion'. Rajeev Ravi’s cinematography sets the right tone for the docu-fiction. Sushin Shyam’s music is good, but if it gels with the film is another concern. As the film’s central character is Nipah, it is tough to point out any individual performance as remarkable.



On the whole, the film can be called as a well-crafted multi-starrer, fictional documentation of news reports on the Nipah virus attack that shocked Kerala and still looms over us.

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Enemy Tamil Movies

 Enemy full movies 

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Director: Anand Shankar

Writers:Shan Karuppusamy.Anand Shankar

Stars: Vishal.Arya.Mirnalini Ravi

Enemy full story&Reviews :

Anand Shankar’s new film  Enemy starring Vishal and Arya, is a film that wants to place two characters equally powerful against each other. But the problem is with the spoon-fed narrative that intends to explain each and every bit. After setting up the premise, the film goes towards a central conflict that feels way too brittle. With the second half of the movie lacking conviction,  Enemy feels exhausted and ends up being a disappointment.

Chozhan and Rajiv were best friends in their childhood. Rajiv’s father was an ex-CBI officer, and he trained both of these boys to be efficient police officers. But after the untimely death of Rajiv’s father, the boys got separated. Years later, Chozhan and his father are running a grocery shop in Singapore. Rajiv had grown to become an assassin. When Rajiv arrives in Singapore for his new mission, Chozhan is able to spot his presence and what we see in  Enemy is that cat-and-mouse game between the two.

There are three or four instances in the whole film where the plot twist will actually impress you. But the narrative isn’t coherent enough to convince you, and all these photographic memories and intelligence are too much for the viewer to digest. Up to the interval, even though the film is using its creative liberty, there is a sense of engagement in the script. But once the movie goes to the second half, the writing is running out of ideas. It becomes an ego-driven cat-and-mouse game that gets dragged far too much. Arya addresses a whole neighborhood by appearing on a giant LED display, and I wonder who would have placed a camera on that for him to see the people.

Just like Anand Shankar’s last two films,  Enemy also has these glossy locations and scale. Certain set pieces in the movie do use the visual grandeur of a place like Singapore. But the film isn’t that gripping to make us feel the need for such a scale. It’s almost like, they decided to shoot it in Singapore first and then designed the stunts based on that. The muddled second half is the major speed bump for the movie. To mess up Rajiv’s plan, Chozhan even decides to get engaged in a matter of hours. And the twists getting twists reminded me of the Abbas Mustan thrillers, especially the Race franchise. RD Rajashekhar’s cinematography projects the scale of the movie for the most part, and the visual effects and production design were good. The music doesn’t really stay with you as most of it is added forcefully, while the background score could create an impact.

Vishal, as Chozhan, is in his typical style, and the “funny” acting was a bit difficult to tolerate. Arya, on the other hand, is given the role of a menacing villain, but in the scenes in which he bursts out of anger or sadness, the performance is somewhat funny. The child actor who played Rajiv’s younger version was much better than the  Sarpatta Parambarai hero. Mrinalini Ravi, as Ashmitha, hardly has anything to do. The same was the case with Mamtha Mohandas. Prakash Raj was fine in his role, and Thambi Ramaiah is yet again that eccentric comical dad.

The aspiration of  Enemy is to create an ambiance similar to Vikram Vedha. But Anand Shankar is not interested in building characters with depth. Jumping from one chase to another,  Enemy is visually agile but emotionally superficial. We are supposed to feel for both characters by the end of the film. But the second half is so clumsy that you will either feel for yourself or the producer.

Kaala Full Movie

Kaala Full Movie 

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Director: Pa. Ranjith

Writers:Ranjeet Bahadur.Shivgopal Krishna.Magician

Stars:Rajinikanth.Nana Patekar.Samuthirakani

 

Kaala Full Movie Review & Story

Cast: Rajinikanth, Nana Patekar, Samuthirakani, Huma Qureshi, Eshwari Rao, Anjali Patil, Aruldoss
Director: Pa Ranjith
Rating: 3 Stars (out of 5)

A high-voltage action-packed film with a strong political core, Kaala unleashes Rajinikanth in the garb of a 'real' character, instead of the unstoppable comic-strip Superman that he has usually played on the big screen in recent years. An appreciably toned-down superstar takes something away from the film's power to deliver the big thrills but places at its disposal a radical, relevant range of issues that burst out of the confines of the genre and take on a life of their own beyond the persona of the overpowering lead actor.

The protagonist of Kaala, a Tirunelveli native, is a family man whom all of Dharavi looks up to as the mainly Tamil migrant dwellers of the Mumbai slum fight to save their land and homes from a slum redevelopment scheme thought up by a son-of-the-soil politician, a former gangster who now has a real-estate company of his own and the levers of power in his control.

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Kaala leads a people's resistance against an array of foes - the administration, the police, and the realty firm charged with razing Dharavi to the ground and rebuilding from scratch. All the arms of the government are at the beck and call of Haridev Abhyankar (Nana Patekar), who believes that it is his birthright to grab any patch of land that catches his fancy.

In terms of thematic thrust, writer-director Pa Ranjith may not be offering anything particularly unprecedented here, but his firm emphasis on the biases of caste, religion, and gender that India's urban poor have to contend with daily turns Kaala into a hard-hitting take on poverty, abuse of power and exploitation.
 

Kaala Movie Review: A still from the film. (Image courtesy YouTube)

 

Ranjith, who also directed Rajinikanth in his previous release Kabali, in which the megastar stood up for the rights of Tamil workers in Malaysia, questions the histories and mythologies perpetuated by the rich and powerful, going to the extent of flipping around the Ram-Ravan binary in a fierce life-and-death tussle between 'outsiders' and the politically entitled elite in India's financial capital. That he banks upon a megastar whose leanings seem to represent the neo-liberal status quo to propel this provocative project makes the film all the more intriguing.

In a brief sequence in the lead-up to the climax, a Mumbai police constable who was raised in Dharavi switches sides. His senior, Pankaj Patil (Pankaj Tripathi), warns him that he is courting trouble by going against the government. I am with the people, he replies. This cop's name: is Shivajirao Gaekwad (superstar Rajinikanth's real name). Is there a message lurking in there?
 

 

Kaala Movie Review: A still from the film. (Image courtesy YouTube)

 

If Kaala is meant to be a definitive cinematic curtain-raiser on Rajinikanth's foray into politics, it is both confusing and problematic. The noises that the protagonist makes in this film as an uncompromising champion of the rights of the poor are at variance with the views that the real-life Rajini expressed following the recent Thoothukudi police firing on anti-Sterlite protesters that took a toll of 13 lives.

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Tide over that dissonance between reel life and real life and you might find the film both entertaining and thought-provoking. Kaala is attired in black, and Hari Dada in spotless white. Yes, the moral canvas here is essentially black and white, but Ranjith throws in many other colors, notably blue and red, to signify different shades of rebellion. Black, as Kaala asserts in a conversation with Hari Dada, is the color of mehnat (hard work). As the film unfolds, it signifies defiance and resolve, too.

As he sits brooding after a particularly humiliating confrontation with his nemesis, Hari Dada is asked by his granddaughter who Kaala is. He is Ravana, he replies. She asks: So Ram will kill him, won't he? Valmiki has written it, so he has to kill Ravana, he asserts airily.

But Kaala, in Ranjith's defiant construct, has countless heads. Even if I die, the fight will continue because every Dharavi resident is a Kaala, he declares as he storms out to take on the land grabbers in the finale. He loses much in the struggle, including two of his nearest ones, but has the unqualified support of his followers who address him simply as Kaala, sans any honorifics. He is one of them.

But Kaala allows even the markedly humanized Rajinikanth his trademark moments: slo-mo swag, thundering punchlines, and a couple of stylized, wonderfully filmed and edited action sequences. In one, staged on a Mumbai flyover amid torrential rain, he turns into a one-man army and uses his umbrella as a shield, saber, and spear rolled into one. His target, one of Hari Dada's most vicious men, Vishnu (Sampath Raj), stands no chance of getting away.
 

 

Kaala Movie Review: A still from the film. (Image courtesy YouTube)

 

But Kaala isn't a mere single-note rabble-rouser. To his sons and their wives and children, he is a loving patriarch, both stern and caring. To his wife Selvi (a wonderfully energetic Easwari Rao), he is a doting husband always mindful not to displease her. To single mother Zarina (an impressively steady Huma Qureshi), his ex-flame who has returned from Africa after transforming many squatter areas there, he is a possibility that circumstances deprived her of, but she makes the most of her second innings with him, this time as a crusader for a just cause. To Toofani (consummate scene-stealer Anjali Patil), a feisty, garrulous Marathi mulgi who is in love with Kaala's youngest son Lenin (Manikandan), he is a role model. And to the people of Dharavi, Kaala is an undisputed messiah.
 

 

Kaala Movie Review: A still from the film. (Image courtesy YouTube)

 

The physical crux of Kaala is, however, the contested slum itself. Once an eyesore that Mumbai citizens did not deign to give a second look to, Dharavi is now a thriving, if still squalid, sprawl in the heart of the megalopolis and on the radar of promoters and builders. At the outset, Ranjith's script alludes to wars down the centuries, all of which were fought for the greed of land, and likens them to the atrocities being perpetrated on the weak and dispossessed in the name of development.

Our land is our life, Kaala says to Hari Dada. The latter's reply sums up the relationship between the haves and have-nots: Power is my life. Hari Dada's 'pure Mumbai' and 'digital Dharavi' schemes smack of a desire to exercise his might upon people he regards as unwanted and dispensable. But Dharavi operates on a different principle: it embraces people of all religions, castes, and regions, all of whom have contributed their blood and sweat to keep the place ticking.
 

 

Kaala Movie Review: A still from the film. (Image courtesy YouTube)

 

Hardcore Rajini fans might find Kaala a tad on the dull side. But the nearly three-hour film has the potential to grow on those who have the patience to try and get their heads around its many audacious departures from the norm. Kaala is out and out a director's film. Rajinikanth is a bonus.

Chandramukhi 2 Horror Movies

Chandra Mukhi 2

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Directors: P. Vasu.Mahendran

Writer: P. Vasu

Stars: Raghava Lawrence.Kangana Ranaut.Aathmika

Chandramukhi 2 Movie Synopsis: A rich family moves into the Vettaiyapuram palace to renovate their ancestral temple and perform a puja. But doing so might bring back the ghost of Chandramukhi, and let loose the cruel Vettaiyan, too.

Chandramukhi 2 Movie Review: In 2005, when P Vasu's Chandramukhi hit screens, horror comedies were novel to Tamil cinema, and with the film marking the return of Superstar Rajinikanth after a three-year sabbatical, it had a lot going for it. Now, 17 years later, horror comedy as a genre has almost reached its saturation point. This sequel is led by Raghava Lawrence, who built his stardom with another horror comedy franchise - the Kanchana films! So, how does that work out for this new film?

When the film begins, it almost feels like we have been taken back to the early 2000s on a time machine. We get a hero-introduction fight and song, something that has almost gone out of fashion these days. The comedy falls flat, and it is painful to watch the once-great Vadivelu's desperate attempts to inject humor into the scenes with his antics. The only bits that make us laugh are, sadly, the attempts that the film makes at drama. Like the scene where Raghava Lawrence makes a case for setting aside religious differences.

The plot does away with the progressive aspects that the first film had, thanks to it being an adaptation of the acclaimed Malayalam film Manichitrathazhu. While the ghost in the first film has everything to do with psychology, this one does away with that angle entirely and is content to be a standard issue pei padam, with mumbo jumbo about aatma and deiva shakti. The characters are merely archetypes, and the performances are strictly functional. Even a strong personality like Radikaa Sarathkumar just comes across as an ordinary presence because of weak character writing.

And yet, the film somehow manages to be not bad! Credit for this has to go to the smart manner in which P Vasu expands the backstory of Vettaiyan and Chandramukhi. These episodes, which form the major portions of the second half, build on the legend established in the first film. We see events that we have either heard about or witnessed as imaginary scenes in Chandramukhi play out as minor variations of what we know from the first film. Keeravani's music, too, mirrors this approach, capturing the spirit of Vidyasagar's work in the original. And while Kangana Ranaut and Raghava Lawrence may not match up to Rajinikanth, being stars in their own right, they manage to hold our attention with their screen presence. In the end, it turns out to be the kind of film that will mirror the mood the viewer is in. Those who just want a momentary diversion might find it passable while those looking for something more will feel underwhelmed.