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.

Remo Movies

Remo

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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

Sardar Movies

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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.