Tag Archives: Silambarasan

Anbanavan Asaradhavan Adangadhavan / @AAA – Movie Review

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After the success of his debut film ‘Trisha Illana Nayanthara’, Director Adhik Ravichandran has joined hands with Actor Silambarasan for the romantic action thriller ‘Anbanavan Asaradhavan Adangadhavan’ aka ‘AAA’. Adhik has tried to give a masala entertainer in his own style that could be a treat to STR’s fans. Has he managed to successful in that? Read on, to know!

AAA’ is the story of the 3 different roles played by STR in this movie – Madurai Michael a Madurai based gangster, Ashwin Thatha an old man and a third character which has been kept as a surprise for the audience. How are they related to each other? What is the problem between them? These questions form the crux. The film primarily focuses on Madurai Michael & Ashwin Thatha in the first half and second half respectively. The two halves of the film pre & post interval look like two different films. The worst part is that both the halves are unexciting. The first half is bearable to an extent with one or two arousing moments, whereas the second half is completely mind-numbing.

The only plus point or saving grace in the whole film is the background score of Yuvan Shankar Raja and the screen presence of STR in Madurai Michael episode. Everything else in the film is either uninteresting or exasperating. Yuvan Shankar Raja who has composed a thumping score in flashback scenes does disappoint in the scenes of Ashwin Thatha; the songs are below average that we could not really believe if it was Yuvan who had composed them. STR’s energy and screen presence as Michael is good whereas his acting as Ashwin Thatha and the other role is horrible – STR who comes as a 55 year old man displays the body language and voice tone of a 30 year old (the make-up was horrible to say the least). His Madurai accent for Michael was so alien, where he speaks mostly in Chennai accent only (just like he did for the Nellai slang in Osthe).

The first half wanders pointlessly for most of the time with annoying scenes like the ‘Current’ comedy, Jacket comedy at the Panchayat and the ‘Kaadhal Kottaavi’ comedy which is of no use to the script. The second half is filled with even more awful scenes such as the ‘Kaadhal – Kaamam’ mobile call test, discussion about kissing and hugging in public, etc., Also, there are ‘n’ number of scenes and dialogues in the second half that stereotypes and labels women. There are too many scenes of heroic build-up in the film such as the liquor shop scene where Michael saves his friend, the scene where the judge is killed, the market scene, the old-age home fight scene but none of them was actually good except the introduction scene of Michael.

The comedy scenes involving Y.G.Mahendran, VTV Ganesh, Mottai Rajendran and Kovai Sarala are pathetic, except for one or two laughable moments such as the Thalli Pogathey song. Both the heroines Shriya Saran & Tamannah who does not even care about their lip sync, contribute well on their part to the film’s boredom factor. Shriya Saran who looks so old already doesn’t fit in the half-saree get up; she is a total miscast for this village girl role with a very odd dubbing voice. There is nothing much to comment on Tamannah who is seen in the regular Tamil cinema ‘Arai Loosu Heroine’ character. Adding to all of these, we have a most annoying secret agent character. The dialogues are either so silly such as ‘Maduraiyila ethanaiyo kalyaanam nadandhirukku, innaikku maduraikkey kalyaanam’ ‘Naan mosamaanavan dhan, kevalamanavan illa..’ or dialogues that over-praise the hero for no reason such as ‘Avan panimalai illai erimalai’, ‘Avan vandhaa adhirum, edhirikku odharum’, ‘Avan vaaipu thedi poravan illa, vaaippai uruvaakkuravan’, ‘Avan innoru kootathula poi serravan illa, thanakkunu oru koottathai serkkurava’ and ‘Rajiniyum Kamalum kalandha Silambarasan madhiri nee’, etc.,

Anbanavan Asaradhavan Adangadhavan’ easily gets into the list of the worst films of 2017 and is one of the most awful films that Simbhu has ever acted!

– Rahman

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@AchchamYenbadhuMadamaiyada / @AYM – Movie Review

280.Achcham Enbadhu Madamaiyada (1).jpg
‘Achcham Enbadhu Madamaiyada’
directed by Gautham Vasudev Menon is a yet another thriller where an ordinary man sees an extra-ordinary situation that he cannot withstand. Looking at the inconsistency in writing, it is obvious that Gautham Menon has been in a dilemma whether to try more of a ‘logic less commercial’ stuff in the second half or to stay with his regular style; that has been the biggest issue with AYM.

GVM has also experimented on blending 2 extremely contrast genres before and after the interval. The first half is a complete romance drama that focuses primarily on the love episode alone. After a very long time, a Tamil film has all its 5 songs in the first half itself and no one will see them as speed breakers. All the 5 songs are very well-picturised and are value-adding to the script. The picturization of the much anticipated ‘Thalli Pogaathey’ is a small disappointment, despite being placed in a perfect situation where the script takes a crucial turn.

The startling interval block sets the bar high for the second half. Whereas the second half was so faltering with a very convenient writing (It was indeed a surprise to see guns that never runs out of bullets in GVM’s films); nevertheless to say, the climax was a very big let-down. Few scenes that were made in GVM’s style shined as his signature, while many others were like uninteresting clichés. Surprisingly, the dialogues in this GVM film were not too sharp; some simple conversations like ‘Naama thappey pannaadhappo nammalai thappaa nenachaa, thappaayidum’ were likable, however dialogues in some pivotal scenes were not inspiring.

The repetitiveness in the dialogues, the too-much usage of ‘voice over’ for the protagonist, the villains who were not so menacing over a point of time, twists that did not make any impact at all, things that looked so hurried and abruptly done – all together spoilt the second half completely. The climax twist which was supposed to be a ‘mass factor’ was neither convincing nor cheered by the audience – that twist and the small flashback about the villains was badly executed.

Coming to performance, Simbhu has given a great comeback and tried his best to save the film doing his part fairly. His measured performance in the love scenes and emotions in the second half was commendable. It was so lovable to see him deliver such a quality performance after a number of overdone masala acts alone. All credits to GVM who does make the best use of this guy’s charisma and acting potential. If STR does focus on his career sincerely and start choosing projects wisely, then there is no stopping for him from becoming a star loved by everyone. Manjima Mohan’s chemistry with Simbhu in the first half was too good, but she was so invisible in terms of performance once the film gets in to the action track. A.R.Rahman’s chartbuster songs has been the primary crowd puller for this film; the background score highly contributes to the intensity of the film – the BGM in the pre-climax and climax portion alone looked so ordinary. Dan Macarthur’s wowtastic cinematography has been another biggest asset of AYM, offering us the best of the exquisiteness of Kanniyakumari, Kerala, Chennai and Turkey.

On the whole, Achcham Enbadhu Madamaiyada is a middling entertainer with a pleasant first half 🙂 and a highly disappointing second half 😦

– Rahman (www.fb.com/rahman.machinist)

@IdhuNammaAalu – Movie Review

*** Spoiler-Free Review ***

There are few directors in the industry, whose films you can guess just by watching 1 or 2 scenes itself. Whatever the genre or plot may be, these directors aim at only one thing – Packaging their film with enough commercial elements in their style and making it likable for an ordinary cinema goer. Pandiraj is such a director, who has succeeded in making a decent time-pass movie yet again.

‘Idhu Namma Aalu’ revolves around the lives of Shiva and Myla (Simbhu & Nayanthara) who are about to get married very soon. The whole film is set in those days where they start knowing each other, start understanding each other and start loving each other, with lots and lots of unending conversations, ‘sweet nothing’ chats and the egoistic fights.

First things first! Director Pandiraj has neither attempted anything novel nor tried to convey any message in ‘Idhu Namma Aalu’; he has just shown the current generation’s love in a subtle and comical manner. There are a lot of flaws and problems with ‘Idhu Namma Aalu’, avoiding which it could have been a memorable entertainer. The first half is pretty good with highly engaging moments, even though we feel that things are non-sync. Problems begin with the second half where the film gets into deterioration mode and the final minutes are so dragging.

The biggest plus point and the saviour of ‘Idhu Namma Aalu’ is the energising lead pair & their chemistry and Soori’s comedy portions (even though it goes overcooked at times). Whereas, the main issue with the film is its inconsistent flow and incompleteness in every other form (reason could be the long delayed shooting due to financial issues and actors’ unavailability). This has affected everything including the actors’ looks and abruptness in scenes and characters. The film looks episodic in most portions (assume that the film has 5 episodes: Episode 1 – Shiva falls for Myla, Episode 2 – He tells her about Priya, Episode 3 – Love blossoms between Shiva and Myla, Episode 4 – The problem for their marriage, Episode 5 – The solution). We do not feel any emotions or excitement, when the film progresses from one episode to the other. Over a point of time, the too much of redundant humour also makes the film just look like a collection of jokes.

Good thing is that Director Pandiraj has taken enough time to make some small level of study about IT professionals, today’s youngsters, their ideologies and today’s style of arranged marriages; it is evidently seen in the mobile conversation scenes, the twitter style character introductions and the ideas such as the one where the Mobile contact is used to denote the characters’ closeness (Myla > Ammu > Wifey). Simbhu is so smart and lovable all-through the film (such as the restaurant scene). How cool it is to see him in a film where he does not utter any insane punch dialogues or does not attempt any heroic acts; it is really good to see him do such roles at least. Soori’s extraordinary one-liners and his dialogue modulations guarantees laughter crackers in the theatre. Nayanthara has done her part so perfectly, as usual. Actors such as Andrea, Jayaprakash, Madhusudhan Rao and Arjunan Nandakumar has done a convincing job. Kuralarasan’s songs are the biggest drawback of this film; most of them are below average to average and they begin from nowhere.

Rating: 3/5

Verdict: A ROM-COM movie that guarantees time-pass, despite being conventional!

Review by: Rahman

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