Tag Archives: Thambi Ramaiyah

@Vanamagan – Movie Review

Vanamagan - Movie Review (1)
‘Vanamagan’
is the story of a man who comes from jungle into city, who is unaware of civilization or technology. Director A.LVijay has tried to make a film on how we humans have been digging our own graves by exploiting and destroying all natural resources in the name of urbanization and rapid development.

Despite putting aside the issues of plagiarism and references from Hollywood films, Vijay has not been successful in delivering a completely engaging entertainer. The idea of making such a film is interesting, but the film has been so ordinary as a script and in terms making.

The initial 40 minutes of the film was enjoyable to an extent, due to the fresh plot and the scenes that show how Jayam Ravi’s character gets adapted to the urban environment. But, once the film takes a turn as a love movie, it does look very artificial. While we are not convinced about the reason for Sayyeshaa to keep Jayam Ravi with her in her house actually, it is even more unpersuasive for us to see her falling in love with him. The film does not have any strong scenes that could make the spoilt rich girl loving a tribal man appealing or believable. The abrupt placement of romance songs like ‘Yemma Yea Azhagamma’ and ‘Pachchai Uduthiya Kaadu’ were also acting as big speed breakers.

The second half which unfolds the flashback of Jayam Ravi and the search for his tribe gets sluggish halfway. The screenplay post interval does falter a lot making us wonder if this film would progress ahead or not, testing our patience to some extent. The impact of the flashback is also very less. The CG work in some pivotal scenes such as where Jayam Ravi saves Sayyeshaa falling from a cliff was poorly done (though the graphics was good in a few other scenes). The action scenes have been made in a clichéd template, where none of the Police or Commandos does even make the right aim on the target at-least for once. Another issue with Vanamagan is that few messages that are told in the film gets overdone and looks preachy & dramatic over a point of time, such as the ‘AC room and window’ comparison, human’s addiction towards technology and how mobile phones have separated us from our loved ones mentally.

The plus points of Vanamagan are the film’s casting, songs and Tirru’s splendid cinematography. Jayam Ravi has done a fabulous job as a tribal, his underplay was perfect and he just looked like a trained animal in the first half. He has to be appreciated for choosing different scripts every time, but it would be wise enough if he chooses scripts that are even stronger. Debutante Sayyeshaa does impress with her improbable dancing skills and she does act well too. Other actors including Prakash Raj, Velaa Raamamoorthy, Thambi Ramaiah and Shanmugarajan have done their part fairly. Songs in Harris Jeyaraj’s music are a plus point for Vanamagan, whereas the background score reminds us of many popular OSTs from Hollywood.

‘Vanamagan’ could have been a great entertainer with a better script and making. The film is a bearable one-time watch, if you could withstand the sluggish second half.

– Rahman

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Sangili Bungili Kadhava Thorae – Movie Review

‘Horror Comedy’ has been the most irritating genre in the past 4, 5 years. ‘Sangili Bungili Kadhava Thorae’ is yet another underwhelming film to join the list of the dull, unexciting, monotonous horror comedy films. Point out anything from this film ‘#SBKT‘, that is a cliché for you. The director has been extremely lazy in trying to write a horror movie script and a lot more lethargic in the way he has presented it.

Every single person in the cinema hall knows what he is going to see in this horror comedy film – a haunted house where the protagonist and his family gets into, a flashback about why the spirit is doing this, how the hero gets rid of it. Doesn’t a writer have the responsibility of trying to present it interesting in the least possible way? The film evokes laughter rarely in bits & parts, with a ‘beaten to death’ ghost story formula that we see in franchises like ‘Muni’ & ‘Aranmanai’.

One loses interest in the very first scene which is highly dramatic and tries too hard to be authentic, followed by an amateurish photoshopped title card (which has pictures taken from Google and films like ‘The Grudge’ 😂😂) – yes, that’s the maximum creativity you can expect from this director.

The 2 flashbacks (one in the first half and the other in the second half) were interesting, though it could have been presented in a better way. There are some interesting ideas in the film here and there, and some instantly hilarious comedy scenes (4 or 5 such scenes). Other than that, ‘SBKT’ is filled only with comedy scenes that aren’t helping the script in anyway and horror scenes that are so dumb and highly annoying with cheap thrills. The cheesy romance episode and the kuthu song in the 2nd half that comes out of nowhere, adds to it. Vishal Chandrasekhar who had done a terrific job in ‘Jil Jung Juck’ & ‘Kuttram 23’ has disappointed heavily in both the songs and background score of ‘SBKT’.

One thing that I always wonder is how does actors like Jiiva and investors like Fox Star Studios choose such substandard products. Do they at least read the bounded scripts of these films?

‘Sangili Bungili Kadhava Thorae’ is an insincerely made humdrum horror comedy! It could be worth an one time watch if you are someone who don’t really worry about mindless entertainers. There are chances that this weary entertainer might also become a hit, and therefore creating more demand for ‘Aranmanai 3’ ‘Muni 4’ or ‘Shivalinga 2’!

– Rahman

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Dora – Movie Review

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*** Mild spoilers ahead ***

‘Dora’ directed by debutante Doss Ramasamy is a horror thriller that follows the routine template, presented in a dreary format. Films with the ‘Spirit in a Car’ plot are nothing new to our audience. Being a revenge drama, the screenplay of ‘Dora’ is something that is beaten to death in Indian cinema. The only suspense that the audience can enjoy in a revenge saga is why a character is yearning for a revenge and how uniquely the revenge scenes are made. Unfortunately, both these things in ‘Dora’ fail miserably to engage the audience. The second half is too flat and wearing, with too many boredom moments. Most of the key moments are highly tiring and clichéd. Over a point of time, the film keeps faltering but does not progress at all.

The idea of interactions with the spirit in the car looks interesting in a few scenes, but that does not last longer. The logic in the revenge scenes has also been taken for granted. The flashback which was supposed to be emotional and impactful, was so dumb and irritating – was there really a need for the ‘child abuse’ portion in this story? Even if the director wanted to show it like ‘a woman seeking justice for another woman’ or if he wanted to make the heart transplantation episode emotional, he could have preferred something else. Also, why was there an unnecessary colouring or grouping of North Indians regarding the burglaries and rapes? Such incidents does happen, but why was that depicted like as if the North Indian Labours are the only one doing it. Another biggest let-down was the dumb scenes that involves the villains, every scene was a face palm moment!

The only saving grace of ‘Dora’ was the screen presence of Nayanthara, the thumping background score by Vivek-Mervin and a few comedy scenes of Thambi Ramaiyah (in the first half alone). Few emotional bonding scenes between the father and daughter in the first half has also been handled neatly. Harish Uthaman has delivered a fair performance, in a character which has a lot of importance in the script until interval but is ultimately squandered towards the end.

‘Dora’ is a lacklustre horror thriller, where Nayanthara is the only hope!

– Rahman

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Kuttram 23 – Movie Review

‘Kuttram 23’ directed by Arivazhagan is an intriguing crime thriller, based on the Rajesh Kumar novel of the same name. The film’s crux deals with the topic of ‘Artificial Insemination’ and on how does the medical advancements are being used to exploit people in the name of ‘Fertility Hospitals’.

The film which begins as a simple investigative thriller circling around a murder in a church, then follows a chain of mysterious suicides ending up in a very big scam. In today’s world where diseases, treatment and medicines are seen just as a business, ‘Kuttram 23’ is a much needed movie. The film doesn’t speak about this topic alone, but also on the mental pressure put on married couples to give birth to a child as earliest as possible. The director should be highly appreciated for putting forth a question about going behind artificial fertility methods rather than adopting one out of the lakhs of homeless / parentless kids in our country.

Director Arivazhagan has been so intelligent on making a perfectly woven medical thriller, without a mass hero and unnecessary buildups; the narration stays focused till the end. The director has been very clear on what his script needs and what could really make it a better product. Even though the romance episode is nothing new or refreshing, we don’t feel bored or uneasy anywhere. On the flip side, the final moments alone looked so rushed once Vettrimaaran finds who is the accused.

Arun Vijay’s looks as a fit cop, his measured performance and arresting screen presence makes us wonder if this ‘handsome hunk’ had chosen scripts like ‘Thadaiyara Thaakka’ & ‘Kuttram 23’ consistently all through his career, he would have been a top actor undoubtedly. Nevertheless to say, he needs to work a lot more on his reactions and expressions in some simple scenes (say the scene where he knows that his sister in law is conceived). The lead female actor Mahima Nambiar, her acting and expressions are indeed a treat to watch; it is she who makes the romance scenes in this film enjoyable to extent (wish that she does many more memorable roles). Arivazhagan’s films are much known for extraordinary visuals and arousing background score – cinematographer Bhaskaran and music director Vishal Chandrasekhar’s work has contributed to it efficiently.

Director Arivazhagan has done perfect justice to the crime thriller novel of Rajesh Kumar. ‘Kuttram 23’ can be called as the second best of Arivazhagan, next to ‘Eeram’. A highly recommendable thriller! 

– Rahman

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‘Koditta Idangalai Nirappuga’ – Movie Review

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After the impressive ‘Kathai Thiraikkathai Vasanam Iyakkam’, Director R.Parthiepan is back with his next film ‘Koditta Idangalai Nirappuga’ – a comedy thriller. Unfortunately, the film lacks creativity and good humour (something for which R.Parthiepan is very well known for)!

The whole film becomes a yawning watch, due to the uninteresting screenplay and boring narration. R.Parthiepan seems to have had a lot of confidence on his climax twist, but that is very easily predictable in the first 30 minutes itself. Also, the film does not progress at all until the pre-climax portion and the pace of the film does test the audience’s patience a lot. A song appears for every 30 minutes, adding to the boredom factor.

Both Shanthanu Bhagyaraj & Parvathy Nair does not fit well in the lead roles; despite delivering a convincing performance, Shanthanu does not look perfect in the role of Kevin. Parvathy Nair lets it down totally with her overdone performance, which has been the biggest minus of the film. There are some hardly laughable scenes in R.Parthiepan & Thambi Ramaiah combination and there are a lot of double meaning dialogues that the script does not need at all. Few of those jokes and some forcefully added adult scenes like a ‘B grade film’ might make the audience feel uneasy.

The only relief in the whole film was some catchy dialogues in R.Parthiepan’s signature style such as ’40 vayasukkulla panam serthidunga nu paattu paadi, Rajini mattum panam sambaadhichittaaru’, ‘Yetho ungakitta sollanum nu thonuchu, aanaa thonura ellaathaiyum sollidurathilla’, ‘Naan koopiduravanga kuda ellaam porava nu therinjaa, avan ennai koopitrukkave maattaan’, ‘Ulagathula panathai vida periya visayam niraiya irukku, aanaa adhai ellaam vaanga panam venum’ and ‘Aeroplane vechirukkavanga panra thappula, naamalum konjam pannaa thappilla’.

– Rahman

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Irumugan…

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**** Spoilers Ahead ****

#Irumugan is just another poorly executed commercial film, where all the efforts of a committed actor like Vikram have been squandered with a deplorable script. The first half of the film is fairly engaging and it does set good expectations over the second half; whereas the second half is completely disappointing with a miserable writing. The plot is not anything novel or innovative except for the ‘Speed drug’ concept (which we had seen in too many Hollywood films and Tamil films like Kamal’s ‘Vikram’ – even the scene where Meera is shot dead reminds ‘Vikram’ movie).

‘Irumugan’ is a film that is more focused on style and glossy stuffs and is of very less content. Looks like Director Anand Shankar wanted to give a very usual story as a sci-fi thriller, with a great technical team and casting crew. The film has a spectacular performance by Vikram in two roles with completely  contrasting shades, Nayanthara looking so stylish and hot, R.D.Rajasekar’s fabulous cinematography, good background score by Harris Jayaraj (despite being repetitive), cohesive team work in art-direction and costume designing too. But, how could that alone save such an average script? Even the fight scenes are not so impressive, except the action block in the interval. Thambi Ramaiyah’s comedy evokes laughter rarely and irritates mostly (especially in some crucial scenes where humour looks forcefully added).

The whole film is so flat and uninspiring; even the most important scenes such as where Akilan confronts Love aren’t so special or memorable. It is indeed a boring film with full of puerile ‘undercover operations’, wretched ‘escape plans’ and ‘chemistry class’ type theories. The film begins with clichés and age-old scenes (example – a RAW agent asks, ‘whom are we going to choose for this mission?’ and the chief replies, ‘the best in our team’ followed by the Hero’s introduction scene) and it continues till the end. There are some silly scenes like the Doctor Peter agreeing to confess everything suddenly for no reason, and explaining things that Akilan did not questions too. The songs are very average and are poorly placed (the dance movements in ‘Halena’ song is unintentionally funny, is that for me alone?) The film gets into the ‘unbearable’ mode, 15 minutes post-interval. We are able to predict each and every scene in the second half; adding to it, the scenes are executed in such a way that gives you a lot of ‘face palm’ moments. Calling the second half of ‘Irumugan’ as the heights of lazy writing and convenient filmmaking would be an understatement! 😦 I have not seen any film in recent times with these many logical lags and lazy writing (in the name of cinematic liberties). There are few scenes where the audience are given so much details about some small things; contrastingly, there is no backstory or proper reasoning at many vital points.

‘Irumugan’ is one such film ‘taking the audience for granted’ and insulting their intelligence by placing so many dumb scenes. Few logical lags that made me think so was: the twist regarding Meera’s death and the way it is revealed, the jail scene where LOVE escapes, the cops shown in the film who were not even able to aim and shoot properly – not even a single time 😛 In a scene, the cops take almost half-an-hour to open a locked door, in the meantime, LOVE and Akilan escapes 😀 LOVE will not be able to hear anything when Meera & Akilan speaks in walkie-talike but hear everything when Akilan alone speaks.. Meera tells Akilan that they have only 20 minutes to stop the flight but what they do then is taking their own sweet time to finish shaving and coming by a city bus 😛 LOVE, one of the most wanted criminals in INTERPOL list behaves like a local goon – he comes to hospital himself in disguise as a nurse to kill a minister – how he kills him is atrociously funny 😀

As per the story of ‘Irumugan’, people who use the inhaler & drug manufactured by LOVE will become 10 times more stronger physically. To enjoy or watch ‘Irumugan’ without any complaints, each and every audience would probably need the support of such an inhaler 😦

Dear Vikram,
It is high-time you must listen to the full script and choose films based on the script value rather than just looking at your role or the scope for performance alone. We do not want anymore Rajapaattai, Kandhasamy, Thaandavam, 10 Endrathukulla or Irumugan!

– Rahman

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@APPAA – Movie Review

There are just a handful of filmmakers in our industry who makes films with socially responsible thoughts, reflecting the primary issues in our society. Samuthirakani is one among them. His recent directorial ‘Appaa’ is about 3 fathers – Dhayalan (Samuthirakani), Singamperumal (Thambi Ramaiah) and Nadunilaiyan (Namo Narayana) with dissimilar mentality & approach towards their kids and the way they are raised.

Appaa’ is much similar to ‘Saattai’, since both the films talk primarily about our ways of parenting and the current education system; but ‘Appaa’ is much better in many aspects including the way it is presented.

Appaa’ is not a flawless film definitely, but it does serve its purpose aptly keeping in mind its target audience. The film has a lot of hard-hitting scenes resembling a number of incidents that happen among us every day; referring the playschool admission scene and many other scenes where the kids are asked to do a project work on Taj Mahal, the scene where Dhayalan asks his queries honestly in the parents meeting. There are some memorable moment such as where Dhayalan makes his son befriend a girl. The dialogues are good at most scenes such as ‘Paiyanoda ethirkaalam school’kitta illa, paiyan’kitta irukku’, ‘Ellaarume 100 mark edukkanum na, yaaru dhan 80 mark 90 mark ellaam edukkuradhu?’, ‘Unga paiyan padippula mattum dhan sir first, Vaazhkkaiyila zero’, ‘Ponnunga namma ethirpaalinam, avlodhan… Namakku adichaa valikkura maadhiriye, avangalukkum valikkum’, ‘Sondhakaaranunga ellaam summaa… kooda irukkavan ellaam kashtappattutte irukkanum, ivanunga advice pannitte irukkanum’. Richard M Nathan has done a commendable work in cinematography.

On the flip side, ‘Appaa’ gets too preachy over a point of time and the emotions turns to be unrealistic; there are a lot of overdone emotions and many scenes of overacting from the lead actors to junior artists. When we see the actors advising someone or everyone with so many pages of dialogues in every other scene, we doubt if we are at a film or a parents counselling session. Also, there are ample scenes with exaggerations and stereotyping within the core concept (scenes such as the Headmaster asks Dhayalan harshly, if he is a Naxalite). The frequently seen dramatic moments kills the film’s authenticity and the reach of the message it conveys, to a larger extent. If filmed in a better manner, the scenes of Dhayalan’s son’s Guinness record and Nadunilaiyaan’s son’s book release would have been much impactful! Another biggest minus point of ‘Appaa’ is the songs and background score by ‘Maestro’ Ilaiyaraja, which is a major let-down.

Regardless of all the above said minuses, films like ‘Appaa’ are so indispensable for our society where we read the news of suicides in schools & colleges very often and we hear of 15 to 20 ‘Kalvi Thandhais’ in every city. The film is a MUST WATCH for all parents and kids, which has a solid message to take home!

Rating: 3/5

Bottom-line: A film that is less of story and content, but more of messages and counsels. But still, a much-needed movie of the hour. MUST WATCH FOR ALL PARENTS!

Review by: Rahman

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