Movie World 24: Tamil Movies

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.

Remo Movies

Remo

Director: Bakkiyaraj Kannan

Writers: Bakkiyaraj Kannan.Rishabh Purohit

Stars: Sivakarthikeyan.Keerthy Sures.Hanson Paul

Review: In some ways, Sivakarthikeyan’s films have become the McDonald’s of movies. You know what you are going to get when you walk in, and the slick packaging ensures that these movies satisfy our need to be diverted out of our dreary daily chores. So, it is no wonder we get a sense of familiarity when we watch Remo. The film is a rejig of elements that we have seen in other films earlier — like Tootsie, Avvai Shanmughi, Minnale, and Sivakarthikeyan’s own Maan Karate... But these inspirations and influences come together as a whole, and the competent manner in which this is done keeps us entertained.

The plot revolves around SK (Sivakarthikeyan), who wants to become an actor. “Padithaal velai dhaan kidaikkum, nadithaal naade kidaikkum” — this is what he says when someone asks him why he wants to act. He gets an opportunity to act, and the role demands that he dress up as a female nurse. But he also needs to play a romantic, and that’s a problem for SK, as he gets nervous around girls. And that is when Kavya (Keerthy Suresh) walks into his life. Cupid strikes (the film makes it quite literally, with an animated Cupid hovering around him waiting with bow and arrow in hand), however, the girl is engaged. Still, an opportunity presents itself when he meets Kavya dressed as a nurse. And SK becomes Remo!

The real surprise in Remo is how well the romantic moments work. Like the scene where SK wishes Kavya on her birthday or when the two share an intimate moment inside a bus… But the romance is a candyfloss one and lacks depth. Thankfully, for the most part, Bakkiyaraj Kannan ensures that SK’s act comes across more as a happy-go-lucky guy trying his best to woo the girl he is attracted to. He even justifies it saying that one who doesn’t try to win over the girl isn’t qualified to fall in love. And the use of a kid who gets attached to Remo also softens the stalking angle. But there is a misogynist streak as well that rears its head now and then and is used just to get some applause.

Remo is also an exercise in building up its lead star. The film is sprinkled with many references to Sivakarthikeyan’s films and images, as well as references to Rajinikanth, Ajith, and Vijay. The actor, who is amusing as Remo, carries the film, even in the weaker moments (the final half an hour is a needless stretch), and as usual, he is ably supported by the technical team of Anirudh and PC Sreeram, whose peppy music and glossy visuals respectively lend richness to make us buy into this fantasy.

Sardar Movies

Director: P.S. Mithran

Writers: Geevee. P.S. Mithran.Pon Parthiban

Stars: Karthi.Raashi Khanna.Mohammad Ali Baig

Story: A spy, who is estranged from his family due to a mission, suddenly meets his police officer's son.

Sardar Movie Review:

Sardar begins in 1988, with title credits in which we learn about a spy who has seemingly gone rogue. The action then cuts to the present when we meet his son Vijay Prakash (Karthi), a publicity-hungry cop who is haunted by the specter of being a traitor's son. When Samira (Laila), an activist campaigning against the privatization of water bodies dies mysteriously, he tries to find out the killers only to realize a complex web of lies and deceit that has put the nation in danger. The only man who can stop Rathore, an evil businessman (Chunky Panday), and his nefarious plans is his superspy dad (Karthi again), who is living in exile.

PS Mithran's Sardar is an efficiently made spy movie, which, despite a story arc that is familiar, manages to keep us engaged till the end. Like he did with his Irumbuthirai, the director also manages to effectively weave in a message on the importance of preserving our water resources and preventing them from falling into private hands, without it coming across as preachy. As in this director's films, we get an information overload that also helps with the detailing of the story.

Mithran also gives his star quite a few heroic moments, which are organic rather than force-fitted as is often the case. At the same time, Sardar is unapologetic about being a star vehicle, and Karthi delivers a robust performance in the roles of a son shadowed by the deeds of his father and a resilient spy who will stop at nothing to protect the integrity of his nation. The supporting characters are all functional, used mainly to further the plot, but Mithran manages to make them feel integral to the film even though as characters, they are archetypes - the romantic interest who helps the hero in his investigation, the good-hearted guardian, a child who provides an emotional reason to the protagonist's mission and so on.

If there is a shortcoming, it is the fact that the film never appeals to our hearts as much as it does to our brains. We never feel agitated when a character is betrayed. We never feel sadness when a mass murder happens. And we never feel as excited as we should be when a character gets a mass introduction. And for an action film, the stunts are largely derivative and overlong and do not provide the adrenaline rush we look for in such moments.

Sarrainodu [Hindi ORG & Telugu]

Sarrainodu

Director: Boyapati Srinu

Writers: Gopimohan.Rishabh Purohit.M.Rathnam

Stars: Allu Arjun.Aadhi.Rakul Preet Singh

SARRAINODU MOVIE REVIEW:

A frozen moment in the air – enough for all the fans to shout their lungs out, whistle multiple times and even shower the glittering confetti – just before the hero makes a grand entry is an indication that you’re in for a ride that defies logic and only aims to entertain (or so, they say).

With that grand welcome, begins the journey of every wastrel hero we have met on the Telugu silver screen innumerable times over the years. We are taken into the life of another such guy, Ghana (Allu Arjun), a jobless young man who left military (apparently to bring justice to the society) and is whiling away timing beating up goons. Life takes a turn when he brushes the shady Vairam Dhanush (Aadhi Pinisetty) the wrong way.

In the process of narrating this story to us, Boyapati ticks off every box that defines T-town’s mainstream cinema – the eventual dramatic confrontation of the rivals, the hero harassing a girl into falling for him, usual gravity-defying stunts, punch dialogues, flexing of muscles, reddening of the eye and of course the two heroines with completely different personas – which are a key part of the formula.

In such films, we don’t expect logic for sure but it’s absurd how some things pan out in this film. For instance, a common man following an MLA all over the place and asking her to fall for him raises a serious question of security and why doesn’t she book him for harassment? Also, for someone who has been chasing a woman for the entire first half of the film, it seems pretty inane that he’d immediately move on to another woman in a jiffy. Then there are the bad guys who have been chasing Rakul for “four days” – their aim was to kill her but they wait till the hero is in the vicinity. How convenient, eh?

Allu Arjun is in the new zone of “oora mass” in this film and manages to carry it off pretty well. In fact, the entire film rests on his shoulders and he is the only silver lining to this otherwise average package. Even seasoned actors like Srikanth and Sai Kumar are wasted with character sketches that are very vague. Catherine’s MLA act is reduced to a joke thanks to the characterization, Rakul is given limited scope with just sobbing to do. Brahmanandamm, for a change, makes you laugh while Vidyu’s Tamilian act is stereotypical and overdone.

Putting logic aside, such movies thrive on mass appeal – the moments that give you a high. But even in that case, this film fails except for rare moments like the unexpected scene where a bleeding Janu (Rakul) and the fight sequences which are top notch. Having said that, the film’s biggest drawback is it doesn’t connect emotionally. For instance, Srikanth being shot and bleeding profusely doesn’t move you at all.

The film’s biggest asset would be the technicalities like Rishi Punjabi’s slick camerawork which makes every frame rich. Thaman, though repetitive, gives a few tunes that’ll remain with you for a long. The BGM is reminiscent of Baahubali and tends to become very loud at times.

The prime conflict the director chooses – land grabbing of farmers’ lands by the badass son of a CM, Vairam Dhanush (Aadhi Pinisetty) – is done to death courtesy of several films in recent times made on the same theme and doesn’t work again. The film has nothing new to narrate and fails to keeps you glued to the seats throughout. The hackneyed plot and lack of novelty make this film a regular watch, this film is something for the masses.

Ayalaan Tamil Movies

Ayalaan Full Movie

Director:R. Ravikumar.

Writer:R. Ravikumar.

Stars:Sivakarthikeyan.Rakul Preet.SinghKarunakaran.

Ayalaan’ Review:

Sivakarthikeyan’s ‘Ayalaan’ is a film marred by financial constraints and was in the making for almost six years. Actor-director Ravikumar struggled hard to get the film released, and it is finally here, just before Pongal. ‘Ayalaan’ is coming from director Ravikumar, who gifted Tamil cinema with a sweet sci-fi film, ‘Indru Netru Naalai’. But has ‘Ayalaan’ managed to impress the audience with this Pongal release? Let's find out.

Tamizh (Sivakarthikeyan) is a naiive youngster, living a simple life in Poombarai. He comes to Chennai in search of better-paying jobs. Meanwhile, there’s a scientist (Sharad Kelkar) and his subordinate (Isha Koppikar), who are in possession of a crystal called Spark. They plan to gain power by plotting the end of the world.

But one day, an alien named Tattoo visits Earth in search of the crystal.

Sivakarthikeyan teams up with the alien to save the world and destroy the scientist.

Concept-wise, ‘Ayalaan’ is simple, just like ‘Indru Netru Naalai’. If it was a time machine in ‘Indru Netru Naalai’, it is crystal in ‘Ayalaan’. The Sivakarthikeyan-starrer, too, is a science fiction with comedy and social messages. In ‘Ayalaan’, we get social messages about the environment and animal conservation.

Tiger Nageswara Rao Tamil Movies

Tiger Nageswara Rao