Kollywood Movie Review - Madhavan in Yaavarum Nalam - Baffling Horror on the stroke

IKLAN

Production: Big Pictures
Direction: Vikram Kumar
Star-casts: Madhavan, Neethu Chandra, Saranya, Hari Nair, Ameetha, Sachin Khanderkar and many others.
Music: Shankar-Ehasan-Loy

Here’s something off best endeavors laid by Filmmaker Vikram Kumar who made a bad start-off with ‘Alai’. Perhaps, in these years he has turned to be more brilliant in handling the complicated genre of ‘Horror’. Earlier, there were few filmmakers who touched such sort of films and most of them flunked at box office. ‘Shock’ remake of ‘Bhoot’ and ‘Sivi’ remake of ‘Shutter’ were pretty good illustrations. ‘Yaavarum Nalam’ is a bit inspiration from Hollywood’s ‘Remote Control’ and ‘One Missed Call’. But don’t take it to be an exact replica.

The film has got good script and director has blended the intensifying issue of realism where human kind is so attached with the gadgets. Take it granted with women’s abnormal mania with tele-serials.

Manohar, his wife (Madhavan and Neethu Chandra), his elder brother and wife (Hari Nair and Ameetha), their mom (Saranya) so addicted to mega-serials and beautiful kids; a felicitous family with their happy lives getting through their new house after brothers strive it with loans. Everything is fine and sweet until a new TV series ‘Yaavarum Nalam’ starts off. It is nothing but a happy family entering their new house and the ladies are unaware that it’s nothing but what is happening really amongst them.

Would Manohar take a note of it soon or is it too late for him to handle the entangled situations forms rest of the story.

Madhavan is hunky-dory of his snazzy performance. He’s so matured and in fact proving him to be a versatile actor.

Watch his acting in the scenes where you especially have high-and-low tides floating within you. Neethu Chandra is cool on her looks while rest of the star casts especially Sachin Khanderkar is brilliant.

Background score by Tubbi Parik is excellent that turns the spotlights. Cinematography by P.C. Sriram has its best on the pars. Both these features add on to the tensed ambiences. Shankar-Ehasan-Loy are good on their songs.

Vikram’s good script and top-notching screenplay are extraordinary.

As a whole, ‘Yaavarum Nalam’ is a flick that you shouldn’t miss it at any cost.

There are more sequences that will throw you dreaded. IKLAN

Sarath Kumar and Namintha in Kollywood Movie 1977 - Review

IKLAN

Movie : 1977
Director : G N Dinesh Kumar
Cast : Sarath Kumar, Namitha, Farzana, Vivek, Jayasudha

As the title indicates, Sarath Kumar’s 1977’s look and feel is that of a 70’s hoary formula film. It is about a larger than life hero who seeks to redeem his father’s name after he has been framed by the bad guys for a massacre he did not commit.

There is no basic storyline and absolutely no twists in the screenplay which is predictable. The story is as old as the hills. Rasaiah (Sarath Kumar) is a do-gooder ‘Gandhian’-type-chief of a fishing village. His son Vetrivel (Sarath Kumar) is a top scientist, who has won an award from the President of India. Rasaiah refuses to go to Delhi to see his son getting the award but all of a sudden seeing a newspaper clipping packs his bags to travel, but dies due to the shock.

Vetrivel decides to investigate what led to his fathers’ sudden change of heart and travels to Malaysia where he meets a sexy journalist Inba (Farzana), who wears only hot pants and starts dreaming about dancing on beaches with him! Then there is a buxom lawyer Chandini (Namitha), who is also infatuated with him and minutes after meeting him, is in her fantasy world!

In spite of two heavy duty sex kittens drooling over him, Vetrivel is able to get a lead to the bad guys led by a so called Good Samaritan and social worker Dharmaseelan, who we find out, is the man who framed his honest father, a cop in the Malaysian police. And the big surprise Vetri finds is his long lost mother, and then takes on hundreds of gun totting villains single handedly!!

All the vital elements of what could have been a suspense drama are missing, and the script short cut gives the film a very amateurish feel. The music of Vidyasagar is a major let down, and even the background score fails.

The only intention of the director seems to be showcasing the glam girls in beachwear. Vivek in a separate comedy track as a bumbling Tamizhan in Malaysia is very irritating, and Namitha and Farzana are there only to flaunt their body and sing song on the beaches.

And if you think there is any political significance in the title (it was said that 1977 was the year MGR came to power), it indicates the year Rasaiah escaped from a maximum security jail in Malaysia, and came to India in a boat with his new born Vetrivel. How long will Sarath Kumar go on doing double role as father and son? Sorry to say, the film is as avoidable as migraine.

Verdict: Disappointing

IKLAN

Sun Pictures has bagged AVM's the Surya- Tamannaah starrer Ayan

IKLAN

Sun Pictures has bagged AVM's the Surya- Tamannaah starrer Ayan directed by K.V Anand. The soft audio launch of the film is to take place today (Jan 19.

The film is said to be a good buy as it is an action packed musical entertainer. There are five songs in the film tuned by Harris Jayaraj. The film has been shot in various exotic locations.

The buzz is that Sun Pictures is likely to release the film for the Valentine weekend on February 12.

IKLAN

Kollywood Film Alibaba Review

IKLAN

Starring: Krishna, Prakash Raj, Janani, Radha Ravi, Biju Menon, Manobala, Thilagan

Direction: Neelam K Sekar

Music: Vidyasagar

Production: Talking Times Movies Pvt Ltd

The launch pad for Vishnuvardhan’s brother Krishna, Alibaba never really gave us any clue about what it was. But one realizes that the title was a give away if one is inclined to think about it on those terms. Alibaba is a story of thieves, crime and criminals. There is also a treasure which keeps coming to the protagonist. But there is no automatically opening cave entrance or any magic. Woven around this interesting premise, Alibaba tells the story of a few small time crooks finding themselves as pawns of a web of crime.

The movie begins with the city being shaken by many heart stopping crimes taking place at different places. Young women are being molested and killed with alarming frequency. Meanwhile, a small gang of crooks gets on with business as usual in the households of the city as they make away with their loot safely, thanks to the experience of their leader, Prakash Raj. They are pretty happy with their level of activity and have no plans of taking it any higher in the world of crime. But something seems to be following them. It begins first when a bank account swells by a huge amount without them having to do nothing.

Taking it as a stroke of luck, they make merry. But this keeps happening again and again, until the amount which lands in their bank starts reaching humungous proportions. That’s when Prakash Raj realizes that this is no mere coincidence. Someone was smartly using them as a pawn to cover up for other more serious activities. They were being used as the ‘third man’, a pretty common term in criminal parlance. Before they realize, all of them are caught in the web that was laid out. Who laid it out, how and why and do they eventually come out of it forms Alibaba.

Its suspense for the second time this weekend after Saroja and Alibaba is not second to its more hyped counterpart in the suspense quotient. One does not get any clue about the mastermind until the director chooses to reveal it and that is the strongest point of the movie. Thilagan, Biju Menon, Azhagam Perumal and Radha Ravi all play characters that make us suspicious and the screenplay is a clever elimination of characters one by one until only the mastermind is left. It is suspense close to its best and full marks to debut director Neelan K Shekhar for maintaining the graph consistently.

The cast can be termed as a powerhouse, especially on the negative side where we have the Thilagan, Biju Menon, Azhagam Perumal and Radha Ravi- experienced actors and their presence does bring great results on screen. On the protagonist side, Prakash Raj makes proceedings very interesting with natural ease. There are quite a few comic situations which are thoroughly enjoyable and the entire gang led by Prakash Raj does creditably well in these scenes. Raja, one time associate of Santhanam in Lollu Sabha adds to the effect.

Debutant hero Krishna justifies the launch pad that has been set up for him, vindicating the faith that his brother and father have shown. He has come up with a honest, hard working performance doing well in stunt and dance sequences, showing that he has what it takes to be a hero. A little improvement on the acting front and careful choices can keep him in the hunt for quite some time, he has the right credentials. Debutant heroine Janani doesn’t have much to do, except a few scenes.


Technically, Alibaba is a neatly made film. There is nothing out of the ordinary, nor are their any obvious flaws. Action sequences have been well handled without taking them over the top. But the music is a definite disappointment with only one item number making any impact.

Overall, Alibaba is a movie that relies on the suspense element to carry it through and the director has understood this very well, he is on the button. Anyone who likes suspense filled flicks will definitely love this one. A pretty tight screenplay, good execution and competent performances make the movie worth a watch. At the box office, its strong merits will help it while the presence of another well-made thriller (Saroja) from an already victorious team may be a bit of a dampener.

Verdict – For those who enjoy suspense

IKLAN

Kollywood Film Poi Solla Porom Review

IKLAN

Star-casts Karthik, Piya, Omar, Nasser, ‘Nedumudi’ Venu, Mouli, Bosky, John Vijay, Balaji, George, Justina, Lakshmi, Pittu and others
Banner: UTV Productions, 4 Frames
Production: Ronnie Screwvala - Priyadarshan
Script and Direction: Vijay (Based on Hindi flick Kosla Ka Kosla)
Music: M.G. Sri Kumar
Background Score: Gopi Sundar
Lyrics: Na. Muthu Kumar
Cinematography: Aravind Krishna
Editing: Antony
Art: Selva Kumar
Choreography: Gayathri Raguram

New genres and new surprises with the recent releases and here comes another one. Saroja, Alibaba, the last week’s releases weren’t off A-rated star casts and yet made it bigger across the masses with the appealing storyline. On the pars, Poi Solla Porom with an unique theme and pleasant deliverance is sure to provide entertainment and Elite groups.

Dibakar Banerjee’s Kosla Ka Kosla made in 2006 didn’t make it so bigger in box-office, for those sorts of flicks were just clichés. Remaking the film exactly, Vijay does modify it with comedy elements suiting to the tastes of Tamil audiences. Indeed, the emotional aspects too work well.

The film opens with Nedumudi Venu dreaming about his irony death and his family members are not paying any attention to the situations. The nightmare disturbs him a lot and immediately he wakes up in the early morning. The same day he gets along with his family members of his wife (Lakshmi), elder son Ooplinathan (Karthik Kumar), younger son (Omar) and his daughter (Justina) to plot he had purchased with his savings. Indeed, Nedumudi Venu is so curious to build his dream house, but it’s shocking for him to know that it has been acquired by a real estate bigwig baby (Nasser).

Nasser is so stubborn that he would return the land to Nedumudi if he agrees him to pay Rs.15Lakhs. Nothing helps the victimized family, not even the gundas and policemen for everyone is on Baby’s side. When Omar using the help of gundas breaks down the walls raised by Baby at their plot, Nedumudi is pushed behind the bars… When the entire hopes are dashed down, Karthik Kumar gets the aid of Bosky who was once a partner of Baby in forging fake land documents and got cheated by him.

Added to this Karthik’s girlfriend Piya, her father (Mouli) and their team are running a drama group. Now, takes the bigger twist of game that the entire group plays against Baby and win back their lost properties.

In simple, Poi Solla Porom dealing with middle-class issues is sure to attract the B and C set of audiences, but the execution is precisely taking Multiplexes group of audiences into fleet of delightedness. An intelligent move by Director Vijay and congrats to Jaideep Sahni, scriptwriter of original version Kosla Ka Kosla.

Nothing to blame on the star-casts for everyone have hit the bull’s eyes with their trenchant piece of performance. Nothing looks artificial: be it a father offering his sons a treat of hot drinks and mother preparing side dish (remember the father hasn’t sipped the alcohols even once before in his lifetime) or Nasser interacting with the site watchman Muthu Karuppan, they are awesome. Omar overbeats Karthik at many points with his performance and he is the exact replica of what each son would do in real life to get out of troublesome situation.

Mouli, Nasser and Nedumudi Venu: these versatile actors bring the entire spotlights under them. Piya hasn’t got much to perform, but with her cute and homely looks, she is sure to attract everyone.


What makes Kosla Ka Kosla and Poi Solla Porom differ from each other? Not the script or screenplay for they are same. But the comedy blended dialogues and sometimes emotional carries the entire film more rigid.

Songs aren’t so appealing for they go along with the story. Thanks to Vijay: you don’t have to get struck with unwanted romance sequence or dream songs. But, the cute pair Karthik and Piya presented with bit of romance sequences would have been a sense of attraction for youth groups, especially lovers. Background Score by Gopi Sundar blended with the cinematography of Aravind Krishna offers a grand visual treat. But it doesn’t look like Antony has edited the cuts and transitions…

On the whole, Poi Solla Porom is a great light entertainment. Watch it without expectations and you will like it for sure. But, the multiplexes will have the shows booked houseful for several weeks.

Bottom - Line: Treat for multiplex audiences

Verdict: Worth Watching

IKLAN

Kollywood Venkat Prabhu Movie Saroja Review

IKLAN

Starring: Jayaram, Prakash Raj, Sampath, Siva, Vaibhav, Premji Amaran, SPB Charan, Vega, Nikitha and many others.
Banner: Amma Creations
Production: T.Siva
Story, Screenplay, Dialogues and Direction: Venkat Prabhu
Music Yuvan Shankar Raja
Cinematography: Sakthi Saravanan
Editing: Praveen-Srikanth

Fun and Frolic remains the basic concept of Venkat Prabhu. Striding with success in his debut directorial Chennai 600028 with emotions and fun blended, Saroja is a edge-seated thriller with lots of fun. In simple, the genre of comedy-thriller is something new to Kollywood and Venkat Prabhu does it the right way. Not a big star-casts or top-charting technicians in the unit: so what does it make Saroja, an excellent film? Stupendous screenplay of a simple script with equal show of emotions, thriller and comedy does make it unique. Still makes us wondering, why the most leading producers in the town didn’t realize the potential of Venkat Prabhu and offer him the chance. Congratulations and heartily thanks to Producer Siva for opting for the right director….

So, what does Saroja center on? Anything tried with a different script? Not at all….

An already foreseen stories revolving around a son or daughter of a rich tycoon abducted for money: protagonist getting onto the help the parents in rescuing them. Saroja travels on the similar storyline, but the narration is more and much different.

Ajay Raj (Shiva) a TV artist, Ganesh (Premgi) a fun guy, and two brothers Jagapathi Babu (S.P.B Charan) and Ram Babu (Vaibhav) are close friends residing in Chennai, who kill their time catching up together. Saroja (Vega), 12th standard student is the daughter of richest businessman Viswanathan (Prakash Raj) in Hyderabad. Both the parents don’t have concern for their daughter as they keep going on their own ways. All these characters are well established with their own lives unlinked. But there takes a turn of twist, when the four youngsters head Hyderabad for a cricket match between India and Pakistan. Well, things get frizzled obstruction as a heavy container lorry is turned upside down on the road due to an accident. With no option left, they take their own way assuming it to be the short cut to Hyderabad. Meanwhile, Viswanathan receives a phone call that his daughter has been abducted and they demand for money. He takes the aid of his close friend Ravichandran (Jayaraman), assistant commissioner of police.

Getting through the short-cut route, they get more tightened up with the route they travel on. They haven’t gone through it before. Over there, they find something mysterious happening there and it more horrific for them when a police officer is murdered by group of unknown people murdered. However, they escape from the place without any troubles and while they are yet to catch a goods train that is running by the place, Jagathpathy Babu realizes that he has dropped his purse over there that carries his identity card and all his details. With no option left, all of them return to the same place and find that a girl has been tied there and it is none other than Saroja. Well, they get her freed and run together outside fighting against the baddies. But things aren’t so simple as they expected. Again starts a roller coaster ride of thriller with unexpected twists and turns.

All the 4 characters have done an excellent job that is so naturalistic and none of them are caricatured by Venkat Prabhu. They are so real on the screen making us feel they one amongst us.

They way they handle the situation with their brilliance and inability to fight in action is so pure and realistic. Prakash Raj and Jayaram have done splendid jobs doing justice their roles. Premgi Amaran steals the show with his enchanting rib-trickling comedy tracks. However, may be so serious the situation, Premgi keeps working out his comedy. Especially, saying the dialogues of Vijay and Rajnikanth’s Sivaji dialogues, ‘Cool’, ‘I was cornered, I was helpless’ are awesome and mind blowing as they raise us from our seats and applaud with great laugh.

Venkat Prabhu’s narration style is somewhat relevant to Babel and Bollywood flick Sunday. The time display shown on the screen is somewhat the same we see in Sunday…. Some the sequences do resemble Mysskin’s Anjathey, but up to certain extent.

Yuvan Shankar Raja’s musical score adds more to the film, but songs are really not necessary.

Yup! 2.45 hrs of thriller and songs doesn’t get merely matching up for the screenplay. Sakthi Saravanan’s cinematography is really nourishing with richness and top-notched quality. Especially, 98% of the film shot in dark night is a stupendous work. Praveen-Srikanth editing works strengthens up the thriller and tension. But, there is bit of immature works by using lots of plug-ins as much as possible.

Venkat Prabhu hits the bull’s eyes with a trenchant piece of work…. Saroja is the best film that can be watched more than once.

Bottom - Line: Simply best and new

Verdict: Must watch film

IKLAN

Kollywood Movie Aayudham Seivom review

IKLAN

Film: AAYUDHAM SEIVOM
Banner and producers: Pyramid Saimira
Cast : Sundar.C, Anjali, Vivek, Napoleon, Nazer, Vijayakumar, Suganya, Manivannan and others
Music: Srikanth Deva
Camera : K S Selvaraj
Director: Udayan
Release date: 27/06/2008

Story:
A commercial potboiler with a twist, the film begins with Saidhai Satya (Sundar) who is a professional hit man and does anything for money. His main mentor happens to be the dreaded gangster Annachi (C M Kumar) and while Satya poses as a businessman in front of the public he is actually a thug.

Annachi has a close ally in the form of an ex-minister (Manivannan) who is evil to the core. Gradually, Satya becomes arrogant and as luck would have it he and his constable friend Kandaswamy (Vivek) get drunk in their car, cause traffic jam and a case is filed against them by the honest lawyer Udayamurthy (Vijaykumar).

Satya wants to hit back and in one such instance, he is successful but then the accident leads to the death of the lawyer. Interestingly, Udayamurthy gives a blessing to Satya which really strikes the heart of Satya and due to the case filed, he is ordered by the court to serve term in the Gandhi museum.

There, Satya meets a former freedom fighter (Nazer) and gets truly influenced by him. Satya is a changed man by the time he is out and unable to fight his guilt, he decides to uncover the truth behind Udayamurthy’s killing. He parts ways with Annachi and gets on to his mission. Meanwhile, he also has a love angle with the beautiful Meena (Anjali). What happens in the end forms the rest of the story.

Presentation:
The director has come up with a mass subject but then the key point here is the Gandhian message. His presentation was alright but the narration got a bit lengthy. The camera was just about okay, editing could have been better, music was typical folk and had two numbers to carry home. Dialogues had punch in few places, script was shoddy and the screenplay was barely average.

Sundar C did a good job by enacting the contrasting shades while Anjali has turned out to be a bombshell with her skimpy outfits and skin show. Manivannan oozed enough evil as the bad man while Vijaykumar, Nasser came across with some elegant performances.

Vivek was his usual best and managed to get quite a few smiles from the audience. The others did their bit mechanically though not much was there for them.

Conclusion:
It appeared that the film maker wanted to convey a deeper message which got overshadowed in the commercial elements that were fitted in to suit the hero’s image.

While the first half had its share of action, entertainment, comedy and drama it is the second half which kind of slows down and turns into more of a soothing flick. The idea of how the Gandhian principles can be implemented in our daily lives is worth commending.

However, the focus on the commercial angles and the mass areas took away the sanctity of the subject. The film might get its profits but then a hit looks very unlikely this time.

IKLAN

Actor vijay and trisha in Kollywood movie Kuruvi - Review

IKLAN Starring: Vijay, Trisha, Suman, Vivek, Manivannan, Malavika, Ashish Vidyarthi

Direction: Dharani

Music: Vidyasagar

Production: Udhayanidhi Stalin

Director Dharani's earlier project Ghilli with Vijay and Trisha was a blockbuster victory that had set some kind of fast paced mood, tempo and expectations about this duo in the minds of their fans.

They entered the theatre this evening eagerly to catch this maiden production venture of Udhaynidhi Stalin's Red Giants Movies - produced Kuruvi. The secrecy shrouding the story of the film had also helped in escalating its anticipations to a barometric high.

Scaling high-rise buildings, bowing down to bullets elegantly, Kuruvi opens with Vijay in his best nonchalant style, sending his fans into raptures. If the same care and hard work that had gone into rendering a weighty build up for Vijay had also been employed in the story department, it would have been a Ghilli-like encore for this team. As it happens, Kuruvi flies short of Ghilli.

Vijay having to free his father and his colleagues who have been trapped as slaves under villains Ashish Vidyarthi and Suman forms the crux of Kuruvi. The director has attempted to ride on the twin horses of action and comedy, moving the film at a very rapid pace, while simultaneously depicting Vijay at his humorous best. However, his objective seems to be too elusive and the film sags at various levels.

Ashish Vidyarthi and Suman (Sivaji fame) are compatriots in the quarry business who have given out a contract to Vijay's dad,

Manivannan, in Cudappa, Andhra Pradesh. Diamonds that are otherwise only found in Africa are said to be located in this area, but the government issues a ban to excavate the place owing to the risk of earthquakes.

But the baddies force Manivannan to go against the law and make him and his group bonded laborers. Manivannan challenges the villains that his son would avenge him once he learns of this. But Vijay, who is in Chennai, thinks that his dad has gone under cover due to debts and is hopeful of his return one day.

Meanwhile, a cheque for 50 lakhs that Manivannan had issued as collateral towards the house, bounces-forcing Vijay to vacate their house. Vijay asks the landlords a week's time to pay back the money and sets out on a mission to Malaysia to find the person whose signature is on the cheque.

He travels to Malaysia as a kuruvi- one who is used as a runner to carry and bring back goods. There he runs into Suman's residence. A scuffle with him results in Vijay stealing Suman's diamond in a Zorro-like costume which leaves Trisha,-Suman's sister, in a mesmerizing trance.

She promptly falls in love. Along with her brother, she lands in Chennai in search of Vijay. Each of them search, but with different objectives. How the lead stars reach their respective goals forms the rest of the story.

Producer Udhaynidhi has spent generously which is perceptible in the lavish sets, colorful junior artists, graphics etc. Dharani's favorite music composer Vidyasagar's tunes are already a hit and the melodious 'then then' number is a revelation, both visually and acoustically.

Trisha is at her glamorous best. Ashish Vidyarthi and Suman do not have meaty enough roles to prove their mettle. Camera work and editing is slick. Vivek, who accompanies Vijay, provides occasional comic relief.

If you go to see Kuruvi with lowered expectations, you may end up liking it. But those who are looking for big build-up sequences and large Ghilli-like payoffs - stay away.
IKLAN

Bharath and Meera Jasmine in Kollywood Film Nepali - Review

IKLAN

Starring: Bharath, Meera Jasmine, Prem

Direction: VZ Durai

Music: Srikanth Deva

Production: Rama Saravanan

‘Nepali, the name itself suggests that something different is on offer. But everything that is different need not always be interesting. In a way, Nepali has nothing new in terms of its basic plot. It’s the same boy meets girl, love at first sight, marriage, tragedy and revenge plot, but the script takes a slightly offbeat route.

Nepali is the story of a young man, Bharath, who does odd jobs in many places during the day but assumes a dangerously sadistic persona at times. It is as if he knows things that few others know, doing things for reasons that only he knows. His hands hold steady as he sends people to their death, often in the most grueling ways. The law is behind him. But one thing puzzles us: why is he dressed in such a peculiar manner- those pointed brows and small eyes. Is he from Nepal?

Nepali is also the story of another young man, played by Bharath again, who has to face bitter experiences that change him forever. To start with, Bharath is shown as a software engineer, young and happy and in love with a girl in Ooty, Meera Jasmine. Facing opposition from her family, the lovers have no option but to elope and marry. It is a happy and contented life in a world of their own –and it couldn’t get better. But the evil shadow of a police officer who has developed a desire for Meera Jasmine lurks over them. Desire becomes obsession and tragedy follows close behind.

Nepali tells the story of one other young man- Bharath again! who ends up in jail for a crime that he could not avoid committing. In jail he meets a man who holds many secrets that could knock down many big names in the city. In the dark shadows of the gallows, the secrets change hands while no one notices. The hunted man with secrets does not survive but leaves his unfinished tasks in the hands of the young man he met.


This is basically what Nepali is all about. You might be a bit confused, and that’s exactly how the script is - confusing. You might also think that there are many layers to the story but it is actually a simple linear story that has been convoluted back and forth to produce a movie that falls just short of being interesting. The film is set in three time periods and the script moves back and forth between then and now. This kind of narration can be interesting, but the talented director, V.Z. Dhorai (remember the excellent Mugavari?), somehow misfires. This see-sawing narrative movement only makes the movie lose momentum far too many times, always moving in fits and starts, never settling into a steady pace.

The cast, except for Bharath, do not have a great deal to do. Bharath, in perhaps the most challenging role of his career, has done well. However, we have to remark that there was more potential in the role, and the director should have got more out of the star. Meera Jasmine’s role isn’t challenging: she walks through it with ease. Govind Namdev, as the old man in jail, has done a neat job. The rest of the cast consist of Charan Raj, Dhandapani, Raja Ravinder and Goutham who have all done fairly well with the limited roles they play.

Music by Srikanth Deva is a definite plus point, especially with the ‘Hey You’ being really lively. The script also flirts briefly with comedy with Mayilsaamy and company, trying to raise a few laughs. The Bharath-Meera romance is a low point in the movie: it never seems to work. It is not endearing, except in one song. Technically, the movie deserves praise for Mathi’s camera and Madan Gunadeva’s editing. The movie does seem a bit lengthy-around 3 hours.

Overall, Nepali is a product that started off with a good idea but slipped down because of a script that failed to maintain flow and execution that took the zing out of the plot. Certain scenes seem to go on forever. Nepali is not bad, not exactly mediocre either - it just fails to give us a really interesting three hours. During the film’s climax, Bharath runs into a subway followed by policemen; gunshots are heard and then…… you’re in for a surprise!

IKLAN

Kollywood Movie Yaaradi Nee Mohini Review

IKLAN

Starring: Dhanush, Nayantara, Raguvaran, Karthick, Karunas, Mano Bala

Direction: Jawahar

Music: Yuvan Shankar Raja

Production: R.K. Productions

'You guys going to work'? asks a distressed and unemployed Karunas - accompanied by Dhanush - to a few girls waiting in the bus station. There you have the quintessential Danush plot: a jobless youngman, his love-at-first-sight, a far from considerate and a subject-of-abuse father, and a love embroiled in an inconsiderate relationship. Yaaradi Nee Moghini is smartly packaged with everything inevitable in a Dhanush movie. With subdued emotions that hardly ever go overboard and in your face humor, director A. Jawahar gets everything right. Well, almost.

Dhanush is a happy go lucky guy desperately in search of a job despite his bare minimum qualifications. One of those job-search episodes makes him catch a glimpse of Nayan who works for a software company. Dhanush falls instantly in love and luck favors him to secure a job in the same company, much to his delight, in Nayan’s team.

While Dhanush nurtures his love for Nayan secretly, she turns a blind eye considering his lack of education and proper upbringing. And when he reveals his feelings, Nayan turns him down, further humiliating his father Raghuvaran, leading to death. Although secretly in love with Dhanush, Nayan, considering her orthodox Brahmin background, decides to be married to Karthick instead. The wedding has already been planned by her parents. However, in the end, she expresses her love to Dhanush the night before the wedding. Now it is for Dhanush to decide whether to accept the love that cost him so dearly or to turn his back and pretend to lead a normal life.

Dhanush has immense scope in a role that is tailor-made for him and he pulls it off with consummate ease. Be it as a distraught jobless youngster or a love struck man craving for the impassive dream girl, the job couldn’t have fit anyone else this well. Nayan dispels her bombshell act and proves that she can more than just that. She breaks into tears when needed, shows vicious contempt when rubbed the wrong way in the name of love, and looks endearing in songs.

Raghuvaran’s performance deserves a standing ovation and is a proof of how magnificent an actor he was. Ironically, there are scenes in the movie that has Dhanush perform Raghu’s last rituals that will reduce a viewer to tears.

The humor goes with the flow, and scenes like the whole family of a dozen’s trip to the textile shop in a single vehicle is sure to bring the house down. Karunas establishes that Dhanush brings the best out of him yet again. Remember Polladhavan? However, it is hard not to frown, and often sneer, at the dialogue since it has B & C center audience written all over it.

Director Jawahar has neatly packaged the movie with less melodrama that is surprisingly tad unusual for a movie that focuses on a love story of a girl hailing from an orthodox family. Yuvan’s rerecording breathes life into the movie. So do the songs. Three of them linger long after you have left the theatre. Special mention must be made of the item number performed by a desi Shakira in the train that averts folks from sneaking out of the halls for a smoke. Kudos to the cinematographer who has captured Australia’s vibrant landscape breathtakingly. Bhaskar’s editing helps keep up the pace of the movie.

If you do not mind the usage of crude language, especially between a father and a son, and the dialogues in general that seem a little bent towards a B and C center audience, you are in for a total treat in the Dhanush brand style.

IKLAN

Actor Jayam Ravi with Genelia in Kollywood Film Santosh Subramaniam - Review

IKLAN

Starring: Jayam Ravi, Prakash Raj, Genelia, Kausalya, Geetha, Premji

Direction: Raja

Music: Devi Sri Prasad

Love stories, especially when served with a sprinkling of family emotions and bonds, never fail to delight- they are evergreen. Santosh Subramaniam is one such movie, it is a tug-o-war between love and family, what to choose when faced with a choice and who will compromise, or would there be a mutual understanding - it’s a debate that’s been on for generations and will go on for all that to follow.

Santosh (Jeyam Ravi) is a lucky boy born with a silver spoon in his mouth, his life lacks nothing. He has wonderful caring parents (Prakash Raj and Geetha) and loving siblings around him, life is great when someone looks at it from outside. But within Jeyam Ravi is frustrated soul and he pours his heart out to Anu Haasan (in a special appearance) which is where the movie begins and ends! Why is he frustrated? Well, that’s what the movie is all about.

Santosh is not a rebel but he wants to meet a girl who he loves and who will in turn love him and he is very particular about it, no matter what. That’s when he comes across Hasini (Genelia), a bubbly, vivacious, ever smiling, innocent girl who seems to have friends everywhere. In a way, she is the type of girl Santosh has never met before and needless to say he is smitten. He is not very good with girls and has to try a few things before becoming a good friend of hers. He is not in two minds, he knows very well that he loves her but something is stopping him from telling her the truth in spite of being pretty confident that she can’t say a ‘No’ to him. But love cannot be hidden or stowed away, it comes out.

But families being families and fathers being fathers, love is not easily accepted. Of course, Prakash Raj has a very strong reason for doing so. However his son’s insistence pushes him to think it over. Prakash Raj agrees to reconsider but the decision has been already made in his mind. The sequence of events that follow are very novel, unique and interesting. That both Santosh and Hasini are from very different backgrounds threatens to stand in the way of their relationship and it very nearly does break them apart. But love is not easily undone and the ending (as in all good love stories) is their union.

What Santosh Subramaniam has in addition to the routine love story is the father-son relationship. It might not be wrong to say that their relationship enjoys more focus in the movie, especially in the second half. Their bond is a complex one, with each one thinking in the best interests of the other but ending up hurting each other. It is in the final portions that Ravi opens his mind and tells Prakash Raj about what is in his heart. The climax is not only about the success of the love story but also about how all members of a family now fully understand each other.
As a movie, Santosh Subramaniam is a well made clean family entertainer. Being the remake of a Telugu superhit Bommarillu, the movie always had expectations but one must not burden the movie with any preconceived notions. Santosh

Subramaniam talks about how love has the power to endear as well as suffocate and that suffocation can turn into rebellion if not resolved. It tells us that the only way to make a person understand is by talking to him/her. If we love someone we must tell them what we like or hate about them. Love is about being honest and love is not only the feelings shared by a boy and a girl, it could be between a parent and a child, between two brothers, between friends, anyone.

Ravi as Santosh has done well, especially in scenes where he cuts loose and lets pent up feelings and thoughts blow out. Genelia has no trouble being the bubbly young girl, but her innocence and antics sometimes look like immature childish pranks. Santhanam, Premji and Sreenath as Ravi’s friends light up a few scenes with their comic acts, they come and go at many points without being there for too long. Sadagopan Ramesh, debuting on the big screen as Ravi’s elder brother doesn’t have much to do. Sathyan as the house servant has some scope for comedy and makes use of it adequately. Sayaji Shinde as Genelia’s father does a role that really does not sit well on him, the casting could have been better. But the real master is (though it may sound repetitive) is Prakash Raj, he proves his class yet again.

Overall, Santosh Subramaniam is a movie that you will enjoy. Yes, the screenplay does drag along a bit, especially a few scenes between Ravi and Genelia could have been trimmed, especially considering that the movie runs for three hours. The ‘Eppadi Irundha’ song has been shot in picturesque locations and is a visual treat. The camera and art too should be appreciated. Watch Santosh Subramaniam for that ‘feel good’ feeling, overlook minor glitches. IKLAN

Bollywood Movie Racy Review

IKLAN

Movie : Race
Director : Abbas Mustan
Producer : Morani brothers
Music : Pritam
Cast : Saif Ali Khan, Akshaye Khanna, Bipasha Baus, Katrina Kaif, Anil Kapoor, Sameera Reddy

Sonia Chopra

Perhaps `Racy’ would have been a more befitting title for this film. Consider this – a steamy scene between Bipasha and Saif; heroines perpetually in short skirts and skintight shirts with first few buttons tantalizingly open, and sexual innuendo in many a dialogue.

Race’s story has more twists and turns than a rollercoaster and instead of feeling thrilled, you feel a bit dazed at the end of it all. The constant attempt of trying to impress the viewer with a-twist-a-second is that overwhelming.

Durban, South Africa: Anil Kapoor’s voiceover introduces us one-by-one to all the players; a tired and outdated way to establish characters. You meet with Ranvir Singh (Saif, suited-booted) who is passionate about horse racing and has even employed his own horses for the prestigious Durban Cup. The voiceover drones, “Race iska passion hai. Uski zindagi hai. He lives life on the edge.” We are then introduced to Dalip Tahil in a bizarre beard who is supposed to be Ranvir’s arch rival at the race, and on winning actually laughs `ha ha ha’ Mogambo style. Subtlety is certainly not the forte here.

Then there’s Sonia (Bipasha Basu), an upcoming model who has the hots for Ranvir. But Ranvir’s laidback, alcoholic brother Rajiv (Akshaye Khanna) falls for Sonia as well and promises to give up drinking if Sonia were to accept him. Ranvir is moved and steps back sacrificing his love. Meanwhile, Ranvir’s secretary Sophia (all secretaries perplexingly have Christian names in our films) played by Katrina Kaif in her trademark short outfits and blinding lip gloss enters the complicated state of affairs.

All this and there’s also the race for a multi-million dollar booty. What happens next are murder attempts, some character surprises, and lots of unexpected developments. Post–interval Anil Kapoor appears as Investigating Officer Robert D`Costa, a fruit-munching Karamchand rip-off with an assistant Mini (Sameera Reddy) who keeps exclaiming – `Sir mera dimag aapke jaisa sharp kyon nahin hai’. By the way, neither are ever in uniform and report to nobody about the case they are following. Like all of Abbas-Mustan films, the thrills and revelations are simple and superficial; there aren’t too many layers to peel.

The portrayal of ladies is in keeping with most mainstream Hindi films, especially masala actions flicks – all three heroines play sorry accessories, some more than the other. What takes the cake is Mini’s character – dumb as a sparrow, dressed in summery short dresses and a ton of lip gloss with a handbag daintily resting on her wrist, we are supposed to believe she is an assistant to a senior officer.

There’s more – the dialogue has a marriage registrar (Johnny Lever) comparing a wife to a chewing gum and explains why a mobile phone is better than a wife (can exchange it for a new one, tsk tsk). Come on now, you want to tell Abbas–Mustan, evolving does not mean just using snazzy techniques, but also keeping up with and incorporating new thoughts and ideas.

Of the cast, Sameera is so-so, Katrina does fairly well, and Bipasha is smokin’, smoking’ hot. Saif is superb in the film Akshaye looks good when he decides to keep his chest hair covered and Anil Kapoor tries his best to do well in a clichéd role; his comic timing is impeccable as always. Saif and Akshaye carry the film with aplomb and their crackling chemistry as stepbrothers is fantastic. Saif is superb eye-candy too and is in great shape as displayed in his shirtless scenes.

More about Cinema
More About Health & Tips
More Video Songs & Clippings

Dialogue is archaic and dull with yesteryear words like `galat fehmi’ (misunderstanding) peppered throughout. Camera work (Ravi Yadav) is ok – the occasional handheld feel is interesting, but does the camera have to quiver like its going to fall off, especially in the opening scene where you get an overhead view of a beach? Background music is reminiscent of Dhoom, and here too, the film’s title is repeated in action sequences.

Music by Pritam is fun with songs like Bin Tere Sanam and Allah Duhai, but the others are pretty much run-of-the-mill. Action sequences are not eye-popping as one would expect. Like always, Allan Amin’s action is good, but there’s nothing new to offer here, except perhaps a few races in snazzy sports cars. Special mention to Anaita Shroff Adjania’s styling especially for Bipasha and Katrina; they both look smashing.

If you’re content with watching mindless glamour and silly twists being presented as thrills, you might consider this one. But be warned, this frothy soda has nothing else except the fancy bubbles.

IKLAN

Good Friday Kollywood Movie release - Review

IKLAN

For the first time ever, four Tamil films are releasing on 'Good Friday' (March 21) start of the Easter weekend. They are all small movies and are releasing when theatres are available before the summer rush in April.

Inba

The old pair of Shaam and Sneha are together again after Aei Nee Romba Azhaga Irukke and ABCD. Inba is directed by debutant Vendhan with a new music director C.B Balaji and it is a love story between a ruffian auto driver and a college girl. Shaam and Sneha badly need a hit, for their own survival in Kollywood.

Kannum Kannum

Another love story long in the making is Kannum Kannum which has Prasanna and new girl Udayathara in the lead , directed by G.Marimuthu and music by Dheena. The star attraction of the film is Vadivel and his comedy track. The film can establish Prasanna as a star after the average success of Sadhu Mirinda and the hit Anjathey

More about Cinema

More About Health & Tips

More Video Songs & Clippings

Sanda

Sundar.C plays a rough and tough character in the film who falls for the heroine Ragini (Kushboo's niece) but is constantly at loggerheads with his mother-in-law played by Nadia Moidu. The Nadia- Sundar tussle for power is the story of the film which has mass numbers by D.Imman and Vivek’s comedy. Sanda directed by Sakthi Chidambaram.

Singakutty

A.Venkatesh directed Singakutty is the launch vehicle of Sivaji (junior), grandson of late legend Sivaji Ganesan and son of Meena Ram Kumar, sister of actress Sripriya. Gowri Munjal is playing heroine and it has Ramgopal Varma's music director Prasanna Sekhar making his debut in Tamil.

IKLAN

Bollywood Movie - Jodhaa Akbar (2008) Review

IKLAN

Synopsis :
Ashutosh Gowariker's Jodhaa Akbar is the story of the greatest Mughal emperor that ruled Hindustan (now India), Jalaluddin Mohammad Akbar, and a fiery young Rajput princess, Jodhaa. Set in the sixteenth century, this epic romance begins as a marriage of alliance between two cultures and religions, for political gain, with the Hindu King Bharmal of Amer giving his daughter's hand to a Muslim Emperor, Akbar. When Akbar accepts the marriage proposal, little does he know that in his efforts to strengthen his relations with the Hindu Rajputs, he would in turn be embarking on a new journey - the journey of true love. From the battlefield where the young Jalaluddin was crowned, through the conquests that won him the title of Akbar the Great ("Akbar' in Arabic means great), to winning the love of the beautiful Jodhaa, Jodhaa Akbar traces the impressive graph of the mighty emperor and his romance with a defiant princess. With Hrithik Roshan as Akbar and Aishwarya Rai as Jodhaa, the film is produced by Ronnie Screwvala and Ashutosh Gowariker.

Cast: Hrithik Roshan, Aishwarya Rai, Sonu Sood, Punam S. Sinha, Raza Murad, Kulbhushan Kharbanda, Suhasini Mulay, Ila Arun, Rajesh Vivek, Pramod Moutho, Surendra Pal, Visswa Badola, Pramatesh Mehta, Shaji Choudhary, Manava Naik, Disha Vakani, Abeer Abrar, Indrajit Sarkar, Aman Dhaliwal, Nikitin Dheer





Cinematographer: Kiran Deohans
Publicity Designer: Epigram
Story Writer: Haidar Ali
Costume Designer: Neeta Lulla
Sound Designer: Stephen Gomes
Director: Ashutosh Gowariker
Producer: Ashutosh Gowariker, Ronnie Screwvala
Production Designer: Nitin Desai
Banner: Ashutosh Gowariker Productions

Music Director: A. R. Rahman
Playback Singer: Madhushree , Sonu Nigam, A. R. Rahman, Mohammad Aslam, Bela Shende, Javed Ali, Bonnie ChakrabortyB
ackground Sound: A. R. Rahman
Lyricist: Javed Akhtar

IKLAN

Review : Indiralogathil Na. Azhagappan

IKLAN

Banner: Seventh Channel Communications
Production: Manickam Narayanan
Star-casts: Vadivelu (Triple Action), Yamini, Suja, Rari, Nasser, Thyagu, Manobala, Bondamani, Sumithra and many others.
Direction: Thambi Ramayyah
Music: Sabesh – Murali
Cinematography: Gopinath.
Editing: J. Harsha
Art: Thota Tharani
Editing: J. Harsha

Things aren’t the same in filmdom and few personalities are expected to take a note of this. If Imsai Arasan was a good hit, there were good reasons to pinpoint it. But Indiralogathil Na. Azhagappan is like dashing our hopes for none of the aspects are worthy getting appreciated. Well, if you think you can watch the movie along with family, I am sorry its an imperfect entertainer and there are few scenes that isn’t suitable for children… Of course, there are some good messages conveyed through this film and it’s good on the part of director, but he fails to present it effectively. May be, I shouldn’t stay back in brining the truth that its Thota Tharana whom should be considered as the main hero for this film…. Getting through the synopsis, let me continue with positive and negative traits of the film…

Azhagappan (Vadivelu) is a jovial man performing stage plays along with his team members. His mother is worried that his futuristic life may be more similar to that of his ancestors who eloped when their wives were undergoing pregnancies…Caring for his well-being, his mother Menatchi Amma (Sumithra) calls on for the help of an astrologer to predict Azhagappan’s future course of life. She is pushed to the pits of shock when he tells her that his son would be happy with the second marriage for his first wife would be dead soon after entering into nuptials.

Azhagappan’s friends take him a beautifully sculpted statue of woman and ask him tie knot with the belief that his misfortunes would be evacuated. But then begins the problem for the statue is none other than one of the heavenly angels Rambai (Yamini Sharma) who turned into a statue since she gets cursed by Indiran (again played by Vadivelu) for disobeying his rule. Sooner this heavenly angel orders her servants to get Azhagappa to heaven. Getting into heavenly ambience, Vadivelu is given an order that he can be together with his friends and family members during day and after dusk he will be carried away to heaven… With things happening on, Azhagappan soon happens to meet both Indiran in Heaven and Yaman in Yamalogam. Encounters that takes place between both of them, hurdles bursting out of it and how does protagonist breaks the hassling aspects forms crux of the story…

A kind attention for those who would like to watch this movie is that there isn’t any need to watch from the first half.. You can get in even after interval for there is nothing you are going to miss there. Let it be songs, screenplay or script, its completely annoying to sit and watch it… Nothing to blame on the performances of all star casts, for they have done a decent job…

It’s a poor direction from Thambi Ramayya and he could have done things better. But some of his aspects in direction and dialogues gains attention. Say, the dialogues uttered by Yamaraja justifying himself is a reasonable one and the judgments given to various evil doers is something good. Getting on with music: I am not clear whether this flick has the background establishments of period genre of films…

Bottom-line : Flimsy flick

Verdict: Watch it at your own risk

More about Cinema

Well, I feel it’s being made with the establishment of modern period and I don’t know why much of the background scoring excluding Yamalogam and Indiralogam are being done with olden style of musical score and that’s same with songs… Shriya tripping her toes with Vadivelu for a song has a deviling effect on the audiences. Still don’t understand why she was offered to dance since the song hasn’t got any specialties to mention…

Man to be appreciated here is art director Thota Tharani who stuns the entire audiences with his breathtaking set decorations. They are marvelous presenting visual fiesta to the viewers and hats off to him. Even other technicians have done their best, be it Editor J. Harsha or cinematographer Gopinath, they have played significant role carrying entire film on their shoulder but all works goes in vain.

Vadivelu can be crowned for his bold attempt and nothing for his performance, but it’s the same old kind of stuff you see in him. Indiralogathil Na. Azhagappan is a winner taking in terms of technical aspects, but a great loser when it comes to narrative approach. Also I would like to ask producer Manickam Narayanan a question: How come he agreed to produce this film and congratulate for his bold attempt of doing it so.

IKLAN

Bollywood Film - Breaking News Review

IKLAN

Movie : Breaking News
Director : Vishal Inamdar
Producer : Shreyas Mhaskar
Music : Kaushal Inamdar
Cast : Koel Puri, Nandita Puri, Harsh Chhaya, Vinay Apte

It's all about TRPs. To hell with ethics, principles, morals and scruples. The competition amongst TV channels is so fierce across the globe that what eventually matters is laying your hands on any story that attracts eyeballs and which, in turn, translates into ratings.

In an effort to outdo each other, TV channels have started resorting to gimmicks and sensationalism. Scandals, gossip, controversies, brawls, kickbacks… get priority over noble issues. It's Breaking News bares all that goes behind sting operations and the ways and means some channel heads stoop to, to attract eyeballs.

It's Breaking News says it all in the most simplistic fashion, without using the technical jargon, and coupled with an engrossing story, catches the attention of the viewer. But there's a flip side as well. Frankly, a subject like this isn't everyone's cup of tea. It caters to a small segment of moviegoers who savour realistic cinema.

Also -- this is strictly from the business point of view -- there's not much awareness about the film and the fact that it's pitted against multiple releases and timed during the holy month of Ramzan, the effort might go unnoticed.

Vidya [Koel Purie] is a dynamic news correspondent who is forced to quit entertainment and cover crime. Gradually, she gets a knack of it and starts getting addicted to the thrill and ecstasy of the job. One fine day, she receives a call from a girl called Sangeeta, from Pune, who is a victim of repeated sexual abuses by a top cop [Harsh Chhaya].

Vidya, with her team, chalks out a plan for a sting operation and is all ready to cover the event, but, unfortunately, it is the DIG [Vinay Apte], who falls prey to their sting operation. The entire episode of 'live rape' trouble Vidya and her cameraman Rafiq [Atul Parchure].

Vidya had committed to Sangeeta that this footage would not be telecast, but she is traumatised to see the telecast of the whole footage 'as it is' in her news channel. Bugged with the whole system, she leaves for her uncle's place [Virendra Saxena], who had been insisting that she visit his press.

There, she apprehends the genuine power and nuance of journalism and gets the spur to fight back the system. With close friend Bala [Abhimanyu Singh], a crime correspondent in a rival channel, and Rafiq, she decides to get the victim justice.

It's Breaking News mirrors the behind-the-scenes tamasha that takes place before a scandal is unleashed to the viewers. The first sting operation [a minister's daughter is kept under house arrest] looks amateurish, but the second sting operation -- of a helpless girl being used by cops -- is brilliantly executed.

While the first hour is involving and rarely loses the grip, the second hour is problematic. The story takes a long time to reach the conclusion, although the helpless girl's 'settlement' is an interesting development. But the story doesn't end there; there's one more sting operation, which, though well executed, adds to the length of the film.


Director Vishal Inamdar has the potential to grow as a storyteller, but he should keep the length of his story in check. There's just one song in the narrative [Kaushal Inamdar], which is okay. The background score is appropriate. Cinematography is of standard.

Koel Purie is efficient yet again. Abhimanyu Singh is decent. Vinay Apte looks convincing. Atul Parchure is in form. Harsh Chhaya shows his evil side with flourish. Virendra Saxena is alright. The actress enacting the role of the victim is effective.

On the whole, It's Breaking News has noble intentions, but the release period isn't right. Multiple releases in the week, lack of pre-release buzz and the Ramzan period will curtail its prospects at the box office.

News By :IndiaFM

IKLAN

Bollywood film - Om Shanti Om (Music Review)

IKLAN

Movie : Om Shanti Om
Director : Farah Khan
Producer : Shah Rukh Khan
Music : Vishal Dadlani, Shekhar Ravjiani
Cast :Shah Rukh Khan, Deepika Padukone, Shreyas Talpade, Kirron Kher, Bindu

Expectations. Expectations. And some more expectations. This is how one looks forward to the music of Om Shanti Om from which one expects nothing but the best. And why not? After all:
a) This is the biggest ever film starring Shah Rukh Khan.
b) This is the second directorial venture for Farah Khan who made a smashing debut with Main Hoon Naa.
c) The film has created huge buzz accompanied by immense hype ever since it was launched.
d) Vishal-Shekhar and Javed Akhtar saab are expected to bring on table a massy popular score.
e) Last but not the least, the film travels decades which makes one look forward to variety in the soundtrack.

Are these expectations met? Well, very much as each of the seven unique tracks bring on a variety that makes Om Shanti Om a winner all the way.

It is a truly unconventional beginning to Om Shanti Om as instead of an expected 'Beat-one-Beat-two' beginning from Vishal-Shekhar, one gets to hear a rather serene 'Aankhon Mein Teri' which turns out to be an extremely soulful hear. On hearing it initially, it is the sheer 'different' factor due to which it takes some time to follow the composition. But once you have heard it closely with lights switched off and no interference around you, 'Aankhon Mein Teri' turns out to be an irresistible piece of melody that lingers on for hours.

There are number of factors which go in making 'Aankhon Mein' a song that would be remembered for time to come. First and foremost it is the re-discovery of Vishal-Shekhar who create an unconventional tune that breaks the norms which they had themselves set for them. Furthermore, Vishal himself writes lyrics for this track which turns out to be a unique experience since it shows the sensitive romantic side of him. But the biggest of all is K.K. who showcases once again that he is THE most versatile singer who we have in the Bollywood musical scene today!

Well, those who love the dance numbers coming from Vishal-Shekhar don't have to wait for long with the arrival of 'Dard-E-Disco'. This is the very track which is much talked about for Shah Rukh Khan Khan's 'perfect-six-abs' and unlike 'Aankhon Mein' which grows immensely only after a few hearings, it is an instant hit from the word go. Reminding of the style, rhythm and the funk of 'Kaal Dhamaal' [Kaal], 'Dard E Disco' is a 'jump-on-the-dance-floor' number which has a Persian touch to it even as overall feel of the song stays on to be Western.

From the title of the song, one would have expected 'Dard-E-Disco' to belong to the 80s era with a Mithun hangover it but that's not the case as the song turns out to be pretty contemporary. Sukhwinder Singh is in his element for this track that has some spicy writing by Javed Akhtar. Marianne, Nisha and Caralisa come together for backup vocals who give the song a perfect disco feel. Later in the album arrives the 'remix version' which makes for a justified presence due to the song's theme and keeps the entertainment alive.

One would have expected the graph of the album to at maximum stay steady after 'Aankhon Mein' and 'Dard-E-Disco' but it shoots up amazingly with 'Deewangi Deewangi' which hooks you within first one minute itself. A sure shot chartbuster which could well have been the opening number for the film's promotion, 'Deewangi Deewangi' is what qualifies as a trademark number which could have been lapped up by Yash Raj Films or Dharma Productions.

The coming together of Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan and Rahul Saxena (heard in Indian Idol) ensures that there is not a single dull moment in this instant-attention-grabbing track. Boasting of the innocence in melody that was witnessed in the 70s and now presented in the 21st century 'avtar' with a fusion of 'qawalli', 'bhangra' and western arrangements, 'Deewangi Deewangi' that also incorporates the sound of Om Shanti Om will definitely light up the screen when it is played. It's 'Rainbow Mix' only confirms the thought as it helps in consolidating the sound of the song.

If you have ever been in love, you wouldn't have missed out the dancing-couple-on-a-glass-floor gift item that has a sweet sounding tinkling sound which compliments their moves! This is the sound that marks the beginning of 'Main Agar Kahoon' which reminds one of the 60s era when songs like these were in vogue. Picturised on the likes of Rajendra Kumar and Shammi Kapoor, they were mostly sung by Late Mohd. Rafi.

This is the very reason why Sonu Nigam has been roped in to croon 'Main Agar Kahoon' which required the kind of rendition which would succeed in getting you nostalgic about the music of the era gone by. With Shreya Ghoshal in tow who is just the right fit for a song belonging to this genre, 'Main Agar Kahoon' gives a completely different flavor to the album by bringing some 'thehrav' to it after a rocking outing experienced in the last few songs.

Names like Rahat Fateh Ali Khan and Richa Sharma are good enough reasons to expect a quality offering from Vishal-Shekhar in the song 'Jag Soona Soona Lage'. Written by guest lyricist Kumaar, this painful yet mellow track about separation has it's beginning borrowed from the opening sound of 'Main Agar Kahoon'. Both the singers are highly competent in this beautifully written number that shows an altogether different facet of the composer-duo. A track which has a thorough Indian base to it and makes for a passionate outing, expect it to make multiple appearances during the film's narrative.

It's time for the world of 'Tohfa Tohfa Tohfa' [Tohfa] as 'dhols' and 'ghunghroos' come together in unison to create the sound of late 70s and early 80s. With a Lakshmikant-Pyayelal patent all over 'Dhoom Taana', it is only consolidated further as Shreya Ghoshal sings the song in a style that was made famous by yesteryear singer S. Janaki in Jeetendra-Sridevi-Jaya Pradha films. Roping in of Abhijeet too seems to be done with a purpose since it only brings the nostalgia of Kishore Kumar in spite of no conscious effort by the singer to do so.

All through this vintage song, the 'dhol' beats accompanied by the chorus of 'Dhoom Taana' is hard to be missed though there is a shift in mood mid-way with rock-n-roll. Just recently there was news around Deepika Padukone shaking a leg with Sunil Dutt, Jeetendra and Rajesh Khanna, courtesy SFX. Well, 'Dhoom Taana' seems to be just the candidate for that setting! A winner which should definitely have the house on fire as it unfolds on the big screen. Especially watch out for the crescendo towards the song's end.

Finally comes a track which seems to be set in accordance to the reincarnation theme of the film. Set as a tribute to 'Ek Haseena Thi Ek Deewana Tha' [Karz] with even the lyrics taking a cue from the classic track by Lakshmikant-Pyarelal, 'Dastaan-E-Om Shanti Om' is set in exactly the same story telling mode. The styling of this Shaan rendered track follows the same mode as one expects a high voltage dramatic narration when the song is on.

High on orchestra, 'Dastaan-E-Om Shanti Om' is an elaborate number which has a lot to convey through it's lyrics by Javed Akhtar. With its 'mukhda' based on the film's theme music, the song makes an appearance again towards the end of the album. In it's 'remix version' as 'Dastaan - The Dark Side Mix', it is pepped up further with additional arrangements.

Another remix track which takes the album towards its completion is 'Om Shanti Om - Medley Mix' which basically is an amalgamation of all the tracks from the film presented in a 'club-mix' avtar. A good way to wind up the album. Finally comes a minute long theme piece which is titled 'Om Shanti Om - Themes'. Played on a piano, it leaves a lasting impact even as one can revisit the sound in at least half the tracks in the album.

Credit must go to Farah Khan who mixes the commercial elements of the movie with an inherent class which she wanted to lay out in the soundtrack for Om Shanti Om. This is why a fine balancing act is done in the album with hardcore massy tracks like 'Deewangi Deewangi' [best of the lot], 'Dhoom Taana' and 'Dard-E-Disco' presented along with touching tracks like 'Aankhon Mein Teri', 'Main Agar Kahoon' and 'Jag Soona Soona Lage'. And then there is always a 'Dastaan-E-Om Shanti Om' to bring the nostalgia of 'Ek Haseena Thi' [Karz'].

Om Shanti Om is easily one of the most complete scores by Vishal-Shekhar and Javed Akhtar.

Source : IndiaFM

IKLAN

The Game Plan (2007) - Review

IKLAN

Quarterback Joe Kingman is known as one of the toughest players to ever take the field. Blessed with amazing strength and agility, he's famed for being able to handle any hit, no matter how ferocious. Kingman's Boston-based pro football team, The Rebels, is chasing their long-awaited championship and Joe has been living the ultimate bachelor fantasy: he's cool, rich, famous and the life of every party--and there are a lot of parties. But his dream is suddenly sacked for a loss when he discovers Peyton, the 8-year-old daughter he never knew existed, on his doorstep. Now, just as his career is soaring, Joe must learn to juggle his old lifestyle of parties, practices and dates with supermodels while tackling the new challenges of ballet, bedtime stories and baby dolls--all without fumbling. Equally perplexed is his hard-edged mega-agent, Stella Peck, herself without a parental bone in her body. But, as the championship grows nearer, Joe is about to realize that the game that truly matters has nothing to do with money, endorsements or even touchdowns--it's all about the really tough stuff: patience, teamwork, selflessness and winning the heart of the one little fan who turns out to count the most.

Also Known As: Daddy's Girl
Daddy's Little Girl
Untitled (Dwayne Johnson Project)

Production Status: Released

Logline: An NFL quarterback used to the bachelor lifestyle discovers he has a seven-year-old daughter after an ex dies.

Genres: Comedy and Kids/Family

Running Time: 1 hr. 50 min.

Release Date: September 28th, 2007 (wide)

MPAA Rating: PG for some mild thematic elements.

Distributors: Buena Vista Pictures Distribution

Production Co.: Mayhem Pictures

Studios: Walt Disney Pictures, Todd AO Scoring Stage, Studio City, Remote Control Productions, Santa Monica

U.S. Box Office: $22,675,000

Filming Locations: Boston, Massachusettes, USA
Medford, Massachusetts, USA

Produced in: United States

IKLAN

‘Heyy Babyy’ Proves to be Better Than ‘Chak De India’

IKLAN

It’s a big surprise to see that a Shahrukh khan movie Chak De India is swept away by an Akshay Kumar starrer. The UK box office has been getting tremendous response for Heyy Babyy than Chak De.

Chak De India has still to break the $1m barrier in the UK while Heyy Babyy is nearing $1.5m. In it’s 7th week of release, Chak De India’s collections stand at $867,265, while Heyy Babby is at a staggerring $1,382,988.For the past weekend, Heyy Babyy has raked in just over $24,000 (per screen average at $1,217) and Chak De India $2,731 (per screen average $390).Though Heyy Babyy has done well overseas but in India surely Chak De India will take the lead.

IKLAN

Hot Bollywood Nanhe Jaisalmer Movie - review

IKLAN

The current craze for stars and how a fan’s star-worship can develop into an all-consuming obsession was a terrific idea for a film. Hrishikesh Mukherjee had examined the phenomenon when it hadn’t even reached today’s virulent stage in Guddi (1971).

Samir Karnik’s Nanhe Jaisalmer picked the idea, but frittered away its potential on a vacuous melodrama with a ‘literacy-for-all’ message.With a faint resemblance to Lage Raho Munnabhai, Karnik develops the story of Nanhe (Dwij Yadav), a chirpy 11-year-old tourist guide in Rajasthan, whose one encounter with Bobby Deol results in the belief that the star is his friend.Illiterate himself, he dictates long letters to his sister and watches the star’s films. When told of a newspaper report that Bobby Deol is going to be shooting in Jaisalmer, he goes berserk with excitement. Then Bobby arrives and Nanhe’s dreams come true. The fantasy world he has created around the star results in some moments of warmth, but of course it is too good to be true. Problem is that the film remains one-dimensional and tends to get repetitive. The end drags too. Dwij Yadav is energetic, Bobby Deol is charming but the film’s as bumpy as a camel ride in the desert.

IKLAN