Silambattam movie review

Cast: Silambarasan, Sana kaan

Producer: Lakshmi Movie Makers Limited

Director: Saravananan

Music Director: Yuvan Shankar Raja

Movie Review:

Silambattam is a typical mass masala entertainer. It is another 'Formulaic' film revolving around a larger than life hero, who romances, does comedy, speaks only in punchlines, has deep sentimental bond with his family, and is a one-man fighting machine who emerges triumphant in the end!

The tested formula has worked wonders for an array of young stars who were inspired largely by the Superstar Rajinikanth. Simbu also wants to be a popular mass hero and the route he has taken is doing such films which appeals to a large section of Tamil audiences who doesn't enjoy films that test's intellect and imagination.

There is nothing original about the story; it has been etched from various Tamil, Telugu and an old Hindi film. What makes the film watchable is the packaging, which moves at a rapid pace, though at times this 2 hour 45 minute film tests your patience.

Vichu (Simbu) is an appavi (innocent) temple priest who is brought up by his grandfather (Nedumudi Venu) as a coward. Janu (Sana Khan), his neighbour, a talkative, pretty Brahmin girl is crazy about Vichu but she wants him to be brave and smart. But behind the coy and innocence, our hero Vichu has another side to him. Like an elephant he does not know his strength and soon he uses it against some local goons who come in his way.

Dorai Singam (Kishore) a local MLA who is a thug, lords over the area and he wants to take procession of villagers land for building a beer factory. His rival Muthuvel (Prabhu) who was in jail comes out and crosses sword with Dorai. But Vichu intervenes and he beats Dorai’s men single-handedly. Muthvel is shocked to see Vichu who has a striking resemblance with his younger brother Tamizh(Simbu) who was killed by Dorai. What is the connection between Tamizh and Vichu? All the drama unfolds in the second half.

Actually the first half is a bit slow with Santhanam’s crude comedy and the romance of Vichu and Janu . After the censors gave more than a dozen cuts and an UA certificate, the film still reeks of double entendre, crude gags, crass toilet jokes, and lots of blood and gore. But the story gains tempo and unfolds in a racy manner in the latter half with a well-shot Tamizh’s introductory song and his cute romance with Gayathri (Sneha).

Silambattam is not devoid of faults – Double meaning dialogues, the girls massaging Panchamritham on Vichu’s body and excessive violence when a 10-year-old is on a killing spree and songs pushed into the narrative in the first half.

The scenes that stand out are the lead to the climax, when Vichu in Billa get-up meets the villain and the punchlines that follow are a scream, Karunas subtle comedy that evokes laughter, the beautiful visuals atop a train with Tamizh-Gayathri romance, pleasing photography by Saravanan, action scenes by Kanal Kannan, spunky choreography and Yuvan’s songs and background score are noteworthy.

Simbu dances like a dream and shines in this film with a performance that is measured and meticulous. As the cheerily upbeat Tamizh and the innocent Vichu he invests an equal amount of energy and style. Sana Khan looks lovely and makes an earnest attempt in the acting department too but in a film like this, that's plenty effort. Sneha does her bit with grace while Prabhu is just ok. Kishore is menacing as the villain.

On the whole, it’s a decent masala entertainer aimed at mass audiences.

Thenavettu movie review

Thenavattu was most worst movie of Jeeva's flim carrier which was directed by V V Kathir and produced by the Sun Pictures. The director is responsible for a half-baked script that manages to destroy even Jeeva's credibility. This flick is all aruvaal and no brains. Which makes us frustrate at the starting ten mintues itself and i prefer all you to better not watch this movie at any cost.

The movie starts with as an aruvaal blazes across the screen accompanied by Srikanth Deva's Kuthu score, you know what's in store for you. You just don't dare believe it, because this is Jeeva after all and you know the lad rarely disappoints. Well, turns out he's smeared a ton of coal in your face: this is the kind of movie newly minted star-sons usually make their 'entry' in; the kind any actor worth his salt will look back on and remember with acute embarrassment. Someone's obviously advised the character artist to make a dashing commercial film -- and the net result is an unintentional laugh-riot cum yawn-fest that leaves you stunned at its ridiculous treatment.

Not that you expect it to be this bad when Kailasam (Ravi Kale), the somber bigwig is performing the last rites of some one dear to him -- but the appearance of Kottai (Jeeva), first in the chaotic Koovagam festival and later atop a Veeranam pipe, swinging a scythe maniacally sets the tone for the rest of the film.Cut to the flashback a few months ago: it is with relief that you welcome a rural scene, somewhere in Madurai (they show you four temple towers -- and you've got to assume it is the temple town), where Kottai's mother (Saranya Ponvannan) is cutting down logs, and boasting about her son: he's a god who deserves to see the outside world and derive its benefits.

And so Kottai journeys to big bad Chennai in company with Vellaiyan (Kanja Karuppu), who dances with every karagattam dancer on the roadside, makes lewd jokes and appears to have only one thing on his mind. They end up at the massive home of Kailasam, the local terror who slices up people whenever he can only, our heroes are unaware of the fact.

It's a bit endearing when they go on thinking that all Kailasam does is cut up trees, which is why he requires their aruvaal -making skills. And so Kottai goes to work -- but the director needs to show that underneath the rippling muscles and rowdy mannerisms lies a child's heart. So you have Kottai feeding crying children milk, helping men with epileptic seizures and falling in love with the first fair-complexioned, slim beauty he comes across, Gayatri (Poonam Bajwa.

Naturally, Gayatri, as the heroine, is also a wonderfully kind-hearted girl, who wears revealing saris, teaches music to students (though it's obvious she knows nothing about it), and mouths inane dialogues to blind beggars that bore you out of your wits. Kottai's logic for falling in love with her is that she treats him like his own family you, as the viewer, know better.

Meantime, there's yet another villain, Santhosh, Kailasam's son, who goes playing musical instruments, mouthing punch lines and raping women left, right and centre. There's also a remarkably stupid and one-dimensionally portrayed minister and a helpless, frustrated cop Surya Prakash (with a terribly dubbed voice) who simply stands like a rock in uniform. Naturally, Santhosh goes on raping women, Surya Prakash goes on standing still; Kottai goes on making aruvaals . until Santhosh's catches sight of the ravishing Gayatri, touches her inappropriately and all hell breaks loose.

There are two redeeming features in this remarkably silly tale. One is Jeeva himself -- he's incapable of performing badly no matter how stupid the role, and turns the most cliched dialogues into bearable ones. Despite being hampered by commercial masala at every turn, he makes some sort of an impact when he tries to woo Poonam, and later, brandishes his aruvaal.

The other is the short interlude with the transgenders at the Koovagam festival. Instead of dismissing them with Tamil cinema's usual insensitivity, they've been shown as proper human beings. Kudos for that. Kanja Karuppu is at his lewdest here and needs to capitalise on his post Subramaniyapuram popularity before everything goes down the drain.

You've seen Poonam Bajwa perform much better than this in Seval and that's the only reason you don't dismiss her as just another mindless heroine. Hopefully, she'll get better roles. The rest have been reduced to cardboard characters who yell, scream, cut people down and promise vengeance every two minutes.

To cut a long story short, better don't watch this movie and waste your money. It is the most awful and worst movie i have seen in this year so far.

Dostana Movie Review

Love triangle in Hindi movies often centre around two guys falling in love with the same girl, or two girls choosing to love the same guy. But DOSTANA is a first. It’s the first hindi film that, at the core, is a rectangle [three men loving the same woman], but two of them, guys in this case, pretend to be a couple.

Sure, DOSTANA has ample shock-value since what has been witnessed in its promos is barely a fraction of what you’d get to watch in the movie. But more than shock-value, the film offers loads of fun-n-laughter and dollops of entertainment in those 14 reels.

A word of appreciation! It requires courage to fund a project like DOSTANA. Karan Johar, the producer, deserves to be lauded for treading the untrodden path. It requires courage and conviction to swim against the tide in your directorial debut. Tarun Mansukhani, the debutante, deserves a few brownie points extra for not thinking straight. It requires courage for two A-list actors to go all out and risk their professional [and personal] lives. Abhishek and John deserve an ovation for not only agreeing to play these characters, but also infusing life in them, without making a mockery of the gay community. It’s not a serious take on homosexuality either. On the contrary, it’s a madcap comedy where two straight men pretend to be gays. Although DOSTANA is a mainstream commercial film, it dares to push the envelope in its own way. It brings homosexuality out of the closet, gives it respect and dignity and doesn’t treat gays as ‘abnormal’.

To cut a long story short, DOSTANA is not to be missed. Dharma Productions, the late Yash Johar and Karan Johar’s film production outfit, has produced several significant films in the past. Add DOSTANA to the list!

Miami is the setting for DOSTANA. When Sameer [Abhishek Bachchan] and Kunal [John Abraham] are turned down for an apartment because the landlady [Sushmita Mukherjee] doesn’t want two strapping young men to corrupt her young sexy niece Neha [Priyanka Chopra], they hatch a plan: they pretend to be gay to secure the apartment.

Over a period of time, Sameer, Kunal and Neha become buddies. When Neha’s boss Abhimanyu [Bobby Deol] enters the fray as the third contender for her affections, it gets even hotter…

DOSTANA shocks you all the while and that is its biggest USP. Don’t expect stereotypical situations or characters all through this film. Watch Abhishek cook up a romantic story between John and him in Venice. Watch Boman Irani’s interaction with Abhishek and John. Watch Kirron Kher’s dramatic entry at this point. Howlarious scenes all, they’re sure to bring the house down.

If the first hour is laced with crackling chemistry between the guys and terrific humour, things get serious towards the second half since there’s one more person vying for Priyanka’s attention — Bobby Deol. There’s humour in this hour too, but the focus is mainly on who’d get Priyanka in the end.

The length is a slight deterrent in the second half and the editor could’ve easily cut the unwanted flab to make the narration in shape. But the film works as a package! Also, the film has a shocking end and people are bound to raise eyebrows. It would have its share of advocates and adversaries. A debatable culmination, for sure!

Director Tarun Mansukhani is here to stay. He deserves kudos for choosing an offbeat story, then making a foolproof screenplay and most importantly, executing it with flourish. DOSTANA merges form and content beautifully, since the film is, technically speaking, sound. Ayananka Bose’s cinematography is top notch. The locales of Miami are a feast for your eyes. Costumes and styling are very upmarket.

Vishal-Shekhar’s music goes well with the mood of the film. It’s young, peppy and energetic. ‘Desi Girl’ and ‘Maa Da Laadla Bigad Gaya’ are foot-tapping compositions. The latter is bound to be a rage!

Both Abhishek and John are fantabulous! Abhishek pulls out all the stops and delivers one of the finest performances of his career. His comic timing is superb! John will make guys and girls drool over his amazing physique. But, most importantly, people will sit up and notice how fine an actor John is. Both Abhishek and John compliment each other so well. In fact, had the chemistry and camaraderie been missing, the story would’ve failed to look convincing. Two thumbs up for these two guys!

Priyanka looks stunning and delivers a first-rate performance. First FASHION, now DOSTANA, Priyanka is back with a bang. Bobby Deol lends the required class to his role. No other actor would’ve looked so real while underplaying this character.

Boman Irani is sure to bring the house down, the auditorium is sure to resonate with laughter in his sequences. Kirron Kher is superb as the punjabi mom. Watch her throw a fit when she learns that her son [Abhishek] is gay and much later, when she accepts John as family. She’s remarkable! Sushmita Mukherjee, as Priyanka’s aunt, is fantastic. She’s so, so funny. Shilpa Shetty sizzles in the opening track.

On the whole, DOSTANA is a winner all the way. In terms of content, it might just prove to be a trendsetter. In terms of business, the film holds tremendous appeal for the youth. The 16 to 25 age-group would go into raptures and bonkers over this film. Its business at multiplexes mainly will be amazing. In Overseas too, the film should emerge amongst the biggest draws of 2008. DOSTANA rocks… have a blast!

Karzzz Movie review

Karzzz

Anupama Chopra, Consulting Editor, Films

A cartoon in a recent New Yorker magazine showed a director pitching a movie to a studio head. The director suggests: Let’s remake an old classic with worse everything. The pitch meeting for the new Karz must have been similar. Director Satish Kaushik’s Karzzz is Subhash Ghai’s 1980 cult film with worse everything. Let’s begin with the hero, Himmesh Reshmmiya. In the publicity interviews for the film, Himmesh has repeatedly declared that he should not be compared to Rishi Kapoor, the original film’s hero because while Rishi was a handsome star, he, Himmesh is not at all good looking. The humility is appreciated but stating the truth doesn’t change it.

Himmesh, despite intensive styling and waves of hair on his head, remains, an acquired taste. He continues to sing with his trademark nasal twang but the unkindest cut is that here he tries hard to act. The scenes in which he attempts to emote by narrowing his eyes and furiously moving his lips are pure comedy. His new heroine, Shweta Kumar redefines vapid. So Urmila Matondkar, who plays the murderous wife Kamini, must carry the burden of acting for all three of them. She delivers admirably, pursing her lips, widening her eyes and giving us five expressions when only one would have sufficed.

This Olympics of bad acting is constantly interrupted by brain dead Himmesh songs. A sample of the lyrics: If loving you is wrong, I don’t want to be right, Tandoori Nights, Tandoori Nights. Giving the songs stiff competition are the dialogues. At one point, Himmesh playing the rock star Monty is trying to convince Kamini that he is the reincarnation of her long dead husband. He says he will give her intimate details that only a husband can know and proceeds to say:Jab tum kiss karti ho tumhari aank hen band ho jaati hain.Monty presumably knows many people who kiss with their eyes open.

The original Karz was a superbly orchestrated melodrama. Ghai created moments that still have the power to make your hair stand on end. Watch the climax when Kamini, played by a wonderfully elegant and icy Simi Garewal, becomes unhinged and admits that she killed her husband.

The new Karzzz is a clossal joke. At six or eight reels, it would have been a wonderful unintentional comedy – a so bad that it’s good film to add to classics like Manoj Kumar’s Clerk and Sheetal’s Honey. But at 18 reels, Karzzz is prolonged torture, steer clear.