Movie Reviews

                                What would it be like if the characters from Endhiran find themselves inside the plot of a typical Shankar movie? 2.0 is what you would get. Using his pet theme - a wronged individual taking revenge on the people who ruined his life (or in this case, the birds he cares for) - the director gives us a film that is part sci-fi, part horror, part vigilante movie and part special effects spectacle.  The film begins with an old man committing suicide from atop a mobile phone tower. We are then introduced to scientist, Dr Vasigaran (Rajinikanth) and his now assistant Nila (Amy Jackson), a humanoid robot. Soon, mobile phones start flying off the shelves and out of everyone's hands, and Vasigaran is called in to investigate this mysterious occurrence. And when a giant bird, made up of mobile phones, starts attacking the city, the scientist is forced to bring back Chitti (Rajinikanth), the now dismantled robot. The plot of 2.0 feels familiar; in fact t

 When director Raj Sethupathi introduces us to Billa Pandi (RK Suresh) as a hard-core Ajith fan who lives by the principle his Thala follows, it isn’t just to give the hero an identity. For, Ajith is part and parcel of this film, and travels in spirit till the climax – as cut-outs, a locket that Billa Pandi wears, as cellphone ringtones and even in the form of a theevira Ajith rasigan who helps Pandi at a crucial time in his life. No wonder he has dedicated this film to the fans of Ultimate Star! The film traces the life of construction contractor Pandi, for whom life revolves around his grandmother and the Ajith rasigar mandram, through which he tries to help the needy. When his grandmom passes away, his relatives advice him to move on by marrying his aunt’s daughter, Valli (Chandini Tamilarasan). But then, there’s a twist in the tale when Jayalakshmi (Indhuja) enters his life, and becomes a part of it in the most complex way. After being part of the industry as a producer

 Everyone around Ajayan (Tovino Thomas) knows that the timid orphan is incapable of murdering his maternal figure, Chembakammal (Sharanya Ponvannan), but they all are forced to say and make others believe that he brutally killed her for money. The idea of an innocent man going to jail in a case framed by the government on wrongful charges has been a true crime cliché in Mollywood for quite a while but Oru Kuprasidha Payyan explores the same from new and interesting angles. Ajayan is an insecure youth working in a restaurant in a small town in Kerala. He was abandoned by his mom soon after his birth and the uncertainty and loneliness that afflicted him in the very moment has been his constant companion. He finds solace in the motherly affection of Chembakammal. Based in Tamil Nadu, Ammal runs a catering service and Ajayan is in-charge of delivering the idli she makes to the restaurant. One night, the village, which has only seen the smiling face of Chembakammal, wakes up hearing

                     Vallikudilile Vellakkaran is yet another film that promises a feel-good, family entertainer with a message carefully tucked into the story. Along with Lal, Ganapathy, Balu Varghese and Muthumani Somasundaran playing the lead, the film also stars Aju Varghese, Renji Panicker, Rahul Madhav, Vishnu Govindan and Marimayam Sreekumar, all who ensure a good laugh. Directed by debutant Duglas Alfred, the story, screenplay and dialogues of Vallikudilile Vellakkaran is written by Jose John and Jijo Justine.  'Vallikudilile Vellakkaran' is about the struggle of Sam and Tom to migrate into the perceived prosperties of a foreign land. With its share of tom-and-jerry chase, the film speaks about youngsters finding their identity in love and life. Ganapathy, who is quite familiar to Malayali audience as the wily teenager from 'Pranchiyettan and the Saint' and 'Vinodayathra' is all grown up here. His portrayal of Sam is a balancing act between child

                           In a scene after Sarkar’s protagonist Sundar Ramasamy announces his candidature, he addresses the residents of a colony. The first question thrown at the wealthy corporate honcho is whether he knows the price of tomatoes today. While he admits his ignorance, he uses it to narrate economics, explain how it affects the financial status of the people and finally sways the people to his side. For the large part of the movie, director AR Muragadoss tries to establish that politics is not much different from business, and Sundar, played effectively by Vijay, keeps pointing out how marketing, branding and strategising would help not only win the support of the people but also change the corrupt system. The movie starts by introducing Sundar, a ‘corporate monster’ who not only conquers his competition but annihilates them. His visit to India has many firms worried about his agenda, which as it turns out is to cast his vote. However, at the ballot he is in

There’s a telling scene the film begins with, a bus filled with people who keep talking of Arun, an unseen individual whom all the strangers on the bus seem to know. Right then and there you know that you’re dealing with someone who’s prone to holding grudges and is willing to wait for a long time to extract his revenge, even if it means waiting for them to reach Kulu from Hyderabad. Why exactly does this man wait till they reach there and why now after so many years, you wonder, waiting for a plausible explanation to come through. And when it does come, you expect it to blow you away. But, does it? Vikram (Naga Chaitanya) is the quintessential youngster with a happy family consisting of his sister (Bhumika), brother-in-law and loving niece Maha, whom he believes to be the reincarnation of his mother. Unfortunately for him, his family also consists of his twin Aditya, whom he absorbed before birth. Aditya is the polar opposite of Vikram, where the latter grabs pens and patiently

 Thanaha or Tanha is a Hindi word that means 'alone' in English. However, after the 121 minute Malayalam movie, one can't help wondering how the word has any connection with this police tale, which remotely deals with anything related to being alone. It sure does start with an innovative roll of credits showing all the technicians involved, alongside their names, as a song about 'Thanaha' plays in the background. Any connection with the word ends at that point. The film starts off as two careless, womanising young cops, Roy and Vishnu, let a thief slip off their grip. Predictably, they lose their job but the superiors agree to cancel their suspension if the absconding thief is chased down. Through many logic defying yet funny tactics, Roy and Vishnu try a hand at tracking down the thief James. Little did they know that they are sinking further, deeper into a bigger soup. There is enough room for hilarity and thrill in this premise and in the first half, the c