The film is the story of a young man Shiva who suspects that his wife’s paramour is Mahesh and his search of this man. Sundeep Kishan who was last seen in Marandhen Mannithen is the male lead and is supported by a huge ensemble that includes Livingston, Uma Padmanabhan, Singamuthu and many others.

Madhan Kumar has attempted to make a movie with humor as its mainstay but it is unfortunate that this humor comes across as episodic. While the individual elements are successful in bringing out the laughs, the ingredient that strings all these into a cohesive product is missing. Till the interval block, the audience is kept wondering about the purpose of the film and post interval, when it is known, it becomes quite predictable. And the climax is one big downer.

The film in the first half literally hops with a search of direction and also gives the feeling of watching a television serial. There are so many characters affected by verbal diarrhea. It appears that the purpose of all college students is only to find their mates. And the women bashing continues in YM too where the character says not to trust any woman! It’s definitely time for a change!

In the second half, the search for Mahesh starts and each episode of Mahesh truly brings laughs although they may not appear logical or sensible. Examples are the episodes of transgender and ‘gopppal’, the drum Mahesh, the slum dog Mahesh and the gay Mahesh. Madhan Kumar should have used a powerful thread to string all these episodes which would have resulted in a wholesome laugh riot.

Jagan shoulders the film and it’s his performance, body language and dialogue delivery that carries Yaaruda Mahesh. The best pick would be when he proudly brags to Sundeep that he is going to become a dad and that he has ensured that it is only his kid! Sundeep Kishan is average and does not do much. Heroine Dimple Chopade is another glam doll for Tamil.

An interesting aspect that is notice worthy of YM is the way the director has etched the character of Sundeep Kishan as a stay at home dad with wife Dimple as the sole bread winner. There is also a dialogue from Dimple that gives instructions to Sundeep to take care of the baby and household when she starts for work. However while you are relishing this approach change of Tamil films, there comes a tight slap (literally and metaphorically) to Dimple from Sundeep bringing down such novelty factor quickly and assuring that the director had taken the detour only slightly and temporarily.

The tracks scored by Gopi Sundar are pedestrian but the picturization of the songs is stylish. The different tone adapted in Yaaruda Mahesh number stands out. That aside, other technical departments are just about adequate.

To sum it up, Yaaruda Mahesh is a unidirectional product that targets youth with liberal does of adult humor but is not powerful enough to sustain the interests through the entire length of the film. Yaaruda Mahesh certainly has not lived up to the expectations generated by the trailer.

But director Balasekaran takes a bizarre approach to the timeless love triangle tangle, and seems to have betted heavily on the titillating factor to tell his story. That he uses abiding friendship as an excuse is sad.. Which city girl today with access to internet technology that actually lets us all stay in touch 24×7 would ask her lover to go fall in love with her best friend as well? Yes, that is what heroine Savitha (Swathi) tells our hero Ganesh (Laguparan). Why ? Because one of her best friends failed to stay in close touch after she got married, and she does not want to lose touch with her other friend Kavitha (Sania Tara).

The so called best friend Kavitha is not even living in the same city, so doesn’t the entire foundation of the story of being separated from her friend fall flat? After all, Ganesh is not living in a place that requires a journey into space, but in namma Chennai only.

Of course, when he hears the proposal, a disgusted Ganesh moves to Hyderabad, falls in love with another girl (who turns out to be Kavitha), but runs away to Palani to escape from the two women. Bhagiaraj, who arrives in the temple town as a pilgrim, unearths the story and promises to unravel the ‘mudichu’ (knot) . Ok, Bhagiaraj may unwittingly have been a sex educator of the masses (thanks to the immortal role of the drum stick in his film), but while his casting helps in instant recall of ‘mundanai mudichu’ moments, it does nothing to lift this film into a watchable category.

The first half is a typical boy meets girl story with slight variations from what we have seen in many films, and is often quite rambling and you wish editors VT Vijayan and VS Kumar had been generous with their snipping. The problem with the film is that it attempts to tickle, titillate and also take itself seriously. There is even attempted slapstick, with Visu as a presiding member of the judiciary and everyone from a cop, councilor and a state minister appear in court. Ha ha .

Laguparan can act, something that cannot be said of many of the actors we have seen in the recent past. Hopefully he will be more choosy in future. Swathi is much the same as we saw her, emotes well with eyes, but there is a sameness to that. Of the older lot, Bhagiaraj and Santhana Bharathi wear their age well. Sania Tara is more watchable as a dancer. Vijaya Gopal’s camera work does not spring any surprises. A couple of songs in the film are passable, but when you are restless for the film to end, it is not music to your ears.

Harsh famine pushes people from Chalur village to migrate to a tea estate for employment lured by the false hopes of an overseer (Kangani). At the tea plantation, they are subjected to a scheming slavery by a heartless group of people who work for Britishers.

There is always an unusual brilliance about Bala’s body of work that is hard to disregard and Paradesi is no exception either. The master auteur reiterates that he is the chief when it comes to delivering a realistic hard hitting tale. Brilliant characterization, good screenplay, amazing performance and overall a superb team work mark Paradesi.

You don’t find any actors in Paradesi. They are all real people in whose sorrow and happiness, we take part. We root for every character from the main to the margins and that’s where the success of a maker lies. Hence when the climax is being played out, it cannot but help strike a deep chord in our hearts.

Heroes on screen have been lacking in failure and vulnerability but not in Bala’s films. As Raasa aka Ottuperukki, Atharva Murali delivers a stellar performance and he is bound to go places in the industry! He handles the buoyant and the submissive aspects of his characters with brilliant acuity. The scene where he opens his mouth to receive food from Vedhika or his disappointment in the wedding where he is dodged of food or the climax scene where he portrays a totally helpless countenance are just a few samples.

Vedhika who reminds a lot of yester year Srividhya performs spiritedly and is comfortable in her character while the nuanced performance of Dhanshika scores well too. Atharva’s grand mom is amazing and she makes a solid impression with her unique voice and her wisecracks during serious situations bring cheer.

Villains in Bala’s films are always menacing and ominous that you would actually want to reach for their throat at the slightest opportunity and Jerry who plays the Kangani in Paradesi also elicit the same response. The vicious glint in his eyes is quite forbidding.

Sharp wits are a part of every Bala’s film and Paradesi follows suit too. The top of the pick would easily be ‘andha ezhavai ellam unga mandiri kittave kelunga’ that comes up when Atharva’s uncle is asked about the count of his paramours. Bala also throws light on the conversions of the colonial times and the Viceroy’s comment that these people are more dangerous than the Kanganis drive home the right effect. Nanjil Naadan’s dialogues lend veracity to the period feel. The Panchayat scene where Atharva and Vedhika communicate through sign language is poetic. The climax is a riveting one that makes a huge impact.

Technically Paradesi’s team has worked in sync with the script. Chezhian’s camera work is one of the highlights of the film which glides through the nooks and corners of the settlement of the village unobtrusively and is in tandem with the mood of the film. G V Prakash’s scores have well reached the audience and all the numbers gel well with the narration.

As always, in Paradesi also, Bala has chosen an unchartered turf to tell his tale and has delivered with aplomb. But for people who prefer populist fare and happy stories that are far removed from reality, Paradesi may not work. Bala takes a bitter pill and has not made any efforts to sweet coat it but still makes a powerful impact. And next time when you have tea, Paradesi would definitely come to your mind.
Verdict: A hard hitting realistic tale well told!

Vathikuchi tells the story of an individual who unwittingly earns the wrath of others through his own actions, even if it is deemed to be noble. There are separate groups of people that are plotting for his blood, each having their own reasons and motives. Who these individuals are and what drives their vengeance makes for the story of Vathikuchi.

Promoted as the next big action hero, Dhileban literally puts his body on the line as he accords to get beaten, shot at and dragged along rough terrains, but he too has his moments where he displays adeptness in the action sequences as he sends his opponents flying several feet above and beyond. His casting is justified as he fills into the look and demeanor of a share-auto driver quite effectively. Anjali’s character seems like a marriage between her effervescent role in Engeyum Eppodhum and Asin’s role in Ghajini (the former a Fox Star Production and the latter a Murugadoss film is just coincidental?) and her role makes for the light-hearted portions of the movie. The other integral cast members include Jayaprakash, Sampath Raj and Jagan. While Jayaprakash and Sampath Raj have been seen in similar roles in the past, Jagan’s role and performance could prove to be eminent for his career even if his impish expressions might have been one too many. Saranya Ponvannan and Raja play the typical doting parents, and they have little to offer in their roles.

Tuco’s line from The Good, the Bad and the Ugly – “When you have to shoot, shoot, don’t talk”, would serve as a good advise for Vathikuchi’s baddies as they spend a whole lot of time scheming and planning the perfect crime but can’t seem to apply it effectively in action, which serves all too well for the hero. As for the hero, he is shown to be quick-witted to emphasize that he’s not all brawn and that he possesses a good presence of mind that keeps him one step ahead of his foes. The elements that make up these sequences remind us that we are watching a full blown commercial fare.

For the most part Vathikuchi is fairly engaging with its interesting story line and with Kinslin assuming the role of the story, screenplay and dialogue writer apart from direction gives him full control over his narration and he doesn’t deviate too much from his duties. Stunts are the film’s mainstay and Rajasekhar has done a commendable job with the sequences. The action sequences are deftly captured by cinematographer R.B. Gurudhev who uses the ultra-slomo to good effect in the fights. Editors Praveen-Srikanth do their bit to ensure that the tempo and the intensity of the film is well maintained, even as it has to make room for the love track. The songs on screen may not exactly have the same color that the music emits but it stays well within the story and setting and Ghibran’s background score is effective at best.

To wrap it up, Vathikuchi has equal moments that will interest you as well as make you restless in your seat.

Here, we are told at the beginning that Mathil Mel Poonai is based on real life incidents. Two stories are shown in the first half – one shows a bunch of school kids who are roguish and utterly violent in their modus operandi and the other is a typical filmy love story between a beautiful girl and her driving instructor. How the two tracks converge is the interesting part of the movie which is around the interval segment of the movie.

It is actually disturbing to see small kids indulge in such violence in the first half. The director actually shocks you in the segments before the interval when the main kid by the name Johnny goes on a mad manic spree and results in a bloodbath.

Just as we expect something interesting in the second half after the interesting way in which the intermission is set up, the second half that follows is one which is mind-numbingly violent. The proceedings happen in a hilly area for the majority of this part before an inexplicable shift in terrain in the climax. How did the experienced editor duo Praveen – Srikanth miss such an abrupt transition just when we expect the movie to head towards its resolution?

Though the first half has an interesting narrative structure, the two stories if analyzed on a standalone basis are equally clichéd. The kids’ antics remind you of other movies such as Pasanga, Kalla Thuppakki to name a few. But here it is really violent and the actual reason why the kids are so fierce isn’t properly established, more than the customary blame being put on their upbringing by parents and teachers. We have a fat kid in the group as is the unwritten rule, and we have the expected farting jokes and trumpet sounds accompanying his actions.

The romance between Vijay Vasanth and Vibha has nothing new in it either and you start wondering why romance is so dumb in most of our movies. It’s a severe test of Vijay Vasanth’s capabilities as a solo hero and the sudden heroic change in his character graph towards the end is jarring.

The boy who has acted as Johnny really brings on the manic rage in his expressions and body language and the kid is bound to go places. The other Brahmin kid who is at the receiving end of all the violence and abuse wins your sympathy. Karthik as the elder Johnny tries to carry forward the same hyper mannerisms and rage and he succeeds partially.

Vibha Natarajan is pretty and she has been put through a strenuous physical experience in the second half. Even early in the movie the director shows that she can run pretty well and she has to do the same for majority of the second half. Towards the end she gets to indulge in some violence of her own and she even puts on a heroic visage as she spits out blood in one of the scenes. The bankable Thambi Ramiah’s clichéd comedy portions in the school portion fall flat.

Ganesh Raghavendra’s songs are pretty likable but the background music has been done in a really loud and amateurish manner.

Miracle Michael’s stunt choreography sparkles in the scene when an Aghori Baba and his little girl protégé take on Johnny and his friends in the second half.

On the whole, the director Bharani Jayapal’s basic idea of portraying the extent to which kids can go, if they aren’t brought up in a proper way by their parents and teachers, is laudable. But we wonder if kids can go to such violent extremes just because of a few incidents which make a mockery of their self-esteem.

Aandava Perumal also joins this long list of movies and it has nothing new to offer, whatsoever. The film’s only relief comes in the way of some funny moments in the first half. For example when a character by the name Ajith Kumar says that he is an assistant manager in Swiss Bank (!!!) and when another guy listens to a Telugu song and calls it an Urdu song written by Amitabh Bachchan, you can’t help but laughing at the sheer buffoonery and inanity.

The hero, Sivan, lacks the physical requirements or the countenance to qualify as a solid hero material. His attempts at dance in the opening number also fall flat. His comic attempts are half-passable though. ‘Lollu Sabha’ Jeeva as the side-kick provides hardly any memorable funny moments and in fact Sivan turns out as the better comedian in Aandava Perumal. The heroine Idhaya just about passes muster in the looks department and her equation with Sivan suddenly catches fire towards the end, inexplicably.

The film has been made on a meager budget by R.Jana and nothing much can be said about the cinematography or the locations. The BGM score has about three or four tracks which are repeated at regular intervals, almost with clockwork precision. None of the songs will stay with you after you leave the cinema hall.

Towards the end, we are supposed to sympathize for the hero and the director,Priyan, has tried his best to induce that feeling in us by replaying all of the hero’s so-called memorable moments in the movie in one flash.

Nankam Pirai is about the resurrection of Count Dracula from his Transylvanian home and his bid to be reunited with his long lost love.

Despite adding elements pertaining to the local sentiments, such as the presence of Hindu mythology and replacing the Count’s pack of wolves with homegrown Alsatians, the director does make an honest effort to stay faithful to the novel. He’s rightly labeled the Count’s love interest as Meena, there is also the presence of Dracula’s dreaded ‘Sisters’ and he’s even considered featuring a local representation of the Count’s greatest loyalist and patron, Igor, who remains unnamed in this movie and is played by the late Thilakan.

While the intentions of carrying forward Dracula’s legacy is made clear through the story, the film lets itself down for the most part in the first half. Character establishment and some of their motives are callow. An unimportant comedy track featuring Mano Bala and Ganja Karuppu does little to help the film’s cause in being engaging. But what the film lacks in the first half is almost nearly salvaged after the interval as the screenplay gets racier and interesting with no songs to serve as roadblocks. The sequence of events that lead to the build-up of the climax manages to draw you into the movie.

Performance wise, the film has a mix of fresh faces and seasoned actors. Sudheer, who plays Dracula, is more of an anti-hero and does well with his towering presence and the fact that he’s built like an ox adds to his menacing demeanor. Nasser as the powerful priest is theatrical in his portrayal but it works well for the movie. Prabhu appears to be a tubby version of the beast-slaying Prof. Van Helsing, also providing comic relief. The other hero Aryan is well built enough to pass off as Dracula’s opponent. Monal Gajjar’s role is meaningful while it seems like Shradda Das was included to up the glamour quotient.

Technically, the film in the 3D format is a disappointment and at times even a strain on the eyes. The visual effects and graphics are left wanting considering the standards that the public have witnessed in the recent past. Music by Babith George is average but the background score is well done. Sathish G’s camerawork is compromised because of the jarring 3D effects. The film, originally in Malayalam, has a strong dubbing feeling throughout despite having a native comedy track.

Usually, fantasy films and those coupled with 3D would be inviting for children but sadly Nankam Pirai isn’t for the young audience. The U/A certification is rightly justified and should be reserved for young adults and adults only.

This movie is a salutation to all our Daddies who will always remain as our “First Hero”. Director G.N.R Kumaravelan has penned this movie with a simple “Dad-Son” bond that lingers a perpetual thought even after you walk out of the theaters. Vetrimaran’s favorite actor Kishore plays the lead character and Sneha after a brief sabbatical makes a comeback. Taking inspiration from a true story, the director etches a motivational story of a Father and a son. With an NRI producer and an already harmonious music director Vijay Antony, the wait for the movie is finally over.

Father, Son and the Teacher:

Kishore plays as Sivadas the daring cop who gets ruthless against the local goon Aadhi and is just miles away from nabbing the crook. However he is forced to leave the force for a while to take care of his autistic son, Haridas because of an unfortunate matter. With much difficulty he enrolls Haridas in a normal school where Amudhavalli (Sneha) is a teacher specialized to deal with special children.

Kishore dwells into the character of Sivadas a sorry father for not sparing time to his family, when it mattered most and tries to understand his son’s problem step by step. He understands the fact that Autism is not a disease to brood over, it just needs the extra affection and care rather than feeling sympathetic. Over a period of time the bonding between the teacher and the student blossoms like a bright sunflower. Does the father succeed in lodging a room in his son’s imagination, what happens forms the rest of the ploy.

The Good Part:

The answer will be pronto! Director’s selection of cast is one of the biggest Pillars of the movie which is capable of withholding even skyscrapers. With a flawless storyline, he asserts the strength of the movie on the lead cast who emote by ringing our soul bells. Kishore injects realistic acting and gives you the impression of a neighbor in your street struggling to find a grip over fatherhood. Sneha’s acting skills are not something new and she is brilliant as a simple motivational teacher. We might call this movie off as a motivational movie, but then not once has this movie tried the usual dose of inspirational, stimulating or stirring speeches. A lifelike character by Kishore as Sivadas douses you into the character as emotions fly across the narration. The boy’s role essayed by Prithivraj is laudable and this year’s youngest find is here without a doubt. For a first timer he creates such an emotional bond with the audience by fitting his shoes perfectly into the role of a special kid who needs much more attention.

The Director’s way of no nonsense preaching has paved the way for a power packed story, where the situation is the key and how a realistic father handles it. Despite all these drama the director doesn’t forget the other plot of the movie, the one with a dutiful cop not letting his hair down in hunting down the criminals. Soori provides the comedy relief with his nut filled gimmicks now and then. Cinematography by Rathnavelu is clinical in showing every scene with required ambience. Vijay Antony’s BGM is superb and the signature tune keeps running in your mind for a long time.

The Bad part:

A common mistake which might go unnoticed for a few, the length of the movie stretches a bit longer. A commercial song doesn’t fit in to a movie of this genre making it questionable. The climax of the movie leads to an argument of how fitting it could have been, yet is sure to bring about mixed reactions among movie goers.

So Finally:

All said, Haridas is a simplistic piece of story sure to woo the parents of special kids to look in a different perspective. Deft movie with a pinch of realism!

Stars : 3.5/5

Even Indians with a fleeting interest in politics would be aware of the circumstances surrounding the death of Veerappan and the exploits of super-cop Vijayakumar IPS, the brain behind ‘Operation Cocoon’. Ramesh has culminated his biopic with this operation as the icing.

The director has also touched upon other aspects of Veerappan’s life like his pious ways, his dabbles with the illegal elephant tusk / sandalwood trade and his much publicized abductions of Kannada superstar Rajkumar and politician Nagappa. The relentless efforts of a number of policemen, their mode of working, their network of informers and their ultimate sacrifice are also part of the director’s spread which has involved a lot of research and attention to detailing.

His effort has been majorly aided by his two main men, Kishore and Arjun, as Veerappan and Vijayakumar IPS respectively. Arjun is fit and smart as always and the actor nails cop roles like none other. Kishore is hairy for a change and the customary Veerappan mustache looks good on him. The menacing actor is the perfect choice, we tend to feel. Suresh Oberoi as Rajkumar is an apt choice too and the actor has imbibed the mannerisms of the Kannada superstar well.

But, the other actors are uninspiring and insipid including Lakshmi Rai in a fleeting role as a journalist. And Vijayalakshmi is nowhere to be seen at all in the final edit. Actor Jayachitra plays the TN CM Jayalalitha who helmed the state during Operation Cocoon and she is actually a nice choice. Sampath Raj as Sethukuli Govindan, one of Veerappan’s main men, has a sizable presence and so does writer Jayabalan in a role which gains prominence in the second half.

Ramesh’s efforts are enhanced even more by the exotic forests and the authentic hilly locations. We are absorbed by the happenings as a result and Vijay Milton, the cinematographer’s expertise behind the lens is also perceivable. The climax scenes are a riveting treat thanks to the ace lensman’s work which involves the usage of a lot of natural lighting.

There aren’t any commercial compromises in the name of song – dance routines, cinematic stunts and larger-than-life buildups. As narrated at the voiceover in the start, the movie is unwavering and achieves its intended goal of being informative as well as being entertaining to a certain extent.

The Kannada to Tamil dubbing leaves a lot to be desired though and there are a lot of sound mutes too which prove to be unsettling. Other than that, Editor Anthony has made sure that the movie moves at a pretty swift pace despite some lulls in the screenplay which is spread over around 125 minutes. Music composer Sandeep Chowta’s background score is loud and the movie could have had a better BGM score given its heavy premise.

In all, this attempt by the director warrants a watch for its interesting subject matter; the dubbing mishaps may be excused.
Verdict: An authentic and honorable attempt which has turned out as a decent tribute to the achievers concerned.

“It is only some kind of physical attraction or a crush that one encounters in their teens or school years which is very normal but it is not love. Hence one should not take these emotions seriously”. This is the main theme of the movie that Ravi Lallin has focused for his debut film. He has attempted to convey this through three main characters, Vemal, Oviya and Dipa Shah. But sadly the execution leaves a lot to be desired and the outcome falls flat.

The theme might be topical especially when we have so many ‘love’ cases all around us but the director dilutes the effect with too many messages and sermons throughout the film with almost all the characters mouthing some piece of philosophical thoughts in the film. What go against the film are its disjointed episodes that do not contribute to the flow of the film and its retro characterization.

The director appears to have been caught in some kind of time wrap as regards women power which is clear in his characterization of Dipa Shah who is shown as an embodiment of all things Tamil ‘culture’ is and one who shudders at the thought of her fiancé’s harmless past. Even if you are able to forgive the director’s opinions, he lets you down further by displaying no flair for narrative structure or characterization.

SOS is also filled with crass and cringe worthy innuendoes related to coffee and gun. Added to that, a lady by name Kudirai on a cleavage showing mission shot in all unnecessary angles. These would be sure appeasers for front benchers but certainly in poor taste. Mano Bala tries to be funny but not always. The need for Mano Bala to appear in double roles and especially his scene with a white lady is questionable. Same thing holds good about Charu Hassan’s divorce at the evening of his life and his party for the same and the sermon on it. It is apparent that the director wanted to convey some thought on life and relationship but his inadequacy is clearly apparent.

It would be ideal if Vemal restricts himself to rural or semi-urban characters as his uneasiness in anything other than this genre is much evident in SOS. And to accept him as an 11th standard student, requires a lot of imagination on the part of the audience. Dipa Shah is adequate and cannot be blamed if her character is not written well. Most of the times, she comes with a serious countenance that her love tracks contribute to unintentional laughter. Oviya’s role appears more like a cameo.

There is not much depth in the love between Vemal and Dipa Shah as they appear to have decided to be in love just at the drop of a hat. The school segments are very shoddily written and gives the feel that all the students come to school for a sole purpose of finding a mate. And the teacher is a caricature.

There are songs that pop up for no reason or rhyme and none of it has the potency to linger. Camera captures Ooty in the best way possible.

Sillunnu Oru Sandhippu- the lyrical feel is just with the title and not with the content as there is nothing ‘cool’ about the film.