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Tamil movie reviews.

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ஆர்யா நடித்த காதர் பாட்சா என்ற முத்துராமலிங்கம் படத்தின் முதல் விமர்சனம் Movie 10 மாதங்கள் முன்

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வியர்வை நாற்றத்தை அடியோடு இல்லாமல் செய்யணுமா? அதற்கு இந்த ஒரு கல் போதும் Manithan

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15 வயதில் ஆணாக மாறிய பிரபல நடிகரின் மகள்! Manithan

மனைவி மகாலட்சுமியை விவாகரத்து செய்கிறாரா ரவீந்தர்? சோகமான பதிவால் எழும்பிய கேள்வி Manithan

இன்னும் சில மணி நேரந்தான்... கடவுச்சீட்டு தொடர்பில் பிரித்தானியர்களுக்கு புதிய அறிவுறுத்தல் News Lankasri

தினம் ரூ. 200 வைப்பு, வீட்டை தேடி வரும் ரூ. 28 லட்சம் - LIC இன் அடுத்த திட்டம் பற்றி தெரியுமா? News Lankasri

பிரித்தானியாவுக்குள் ஊடுருவிய “ஜாம்பி மருந்து” நிபுணர்கள் விடுத்துள்ள கடும் எச்சரிக்கை News Lankasri

Maaveeran Movie Review: Madonne Ashwin’s ‘Maaveeran’ starts off promisingly, with a great premise and an in-form Sivakarthikeyan, and slowly becomes tiresomely generic

• 14 Jul 2023

Maaveeran Movie Cast & Crew

"A terrific premise. A big heart. But too long and, after a point,  too one-note – we seem to be seeing variations on the same themes and jokes." I said this about Madonne Ashwin's first film,  Mandela , and I have the same comments to make about this director's second film,  Maaveeran , which is a  kind-of  sequel to Mandela. Here, too, a man is oppressed. In  Mandela , the protagonist was literally from an oppressed community. Here, Sathya (played by Sivakarthikeyan), is a cowardly lower-middle-class man who is oppressed by the System and its politicians. And in both films, the way out from this oppression is through the protagonist's very identity. In  Mandela , it was a voter ID card. Here, it is through Sathya's identity as a cartoon-panel storywriter, who creates a serialised  Kanni Theevu -like comic strip for a Tamil newspaper.  The maaveeran  – "brave warrior" – of the comic strip is Sathya's id, his Tyler Durden. It's an extension of his identity, representing the rage that's inside him but just won't come outside.

First of all: claps all around for the intentions. A big round of applause to Madonne Ashwin for thinking up something like this as a one-line for a big-hero movie. A big round of applause to Sivakarthikeyan for agreeing to play a coward for most of a movie. A big round of applause for the screenplay's focus, where Aditi Shankar is not allowed to distract the hero's journey with a romantic track. A big round of applause for opening the story with the cartoon version of the hero (i.e., Maaveeran) saving a princess from a collapsing building and an evil magician, and ending the story with the very same images: only, the princess is replaced by Sathya's people, and the villain is now a politician whose initials are MN (as in "Yaman"). This politician is played by Mysskin. A big round of applause for not creating melodrama out of situations like the one where a man breaks open a bathroom latch and sees a woman naked.

And guess who this woman is! The hero's sister. The screenplay is taking a big risk here.  What kind of man does not fight back against the man who (at least visually) molested his sister!  The audience is likely to ask this question, but thankfully, Sivakarthikeyan didn't. This is not an empty-heroism story. And note how the writing has already established the fact that this man likes to use other people's bathrooms. There are many such instances of clean writing, where things don't happen randomly and to random people. During a song, Sathya puts up a cloth cradle and when we see the baby injured later, we recall the earlier bit. When the heroine gives a mini-lecture to the hero in a late scene, about channelling his inner anger, it is not womansplaining. She has already been shown as his champion, encouraging him to sign his name on the comic-strip story and appreciating his attempt to make the story more about the problems faced by the common man. 

The best writing conceit is the fact that the story revolves around bad-quality housing. Sathya and his neighbours are relocated to a highrise building that soon proves to be breaking apart at every opportunity. And that is how Sathya becomes a  kind-of  superhero. Because he loses his footing and falls, and then it rains, and ink from his own comic strip enters his ear. Tyler Durden, aka Maaveeran, literally enters Sathya's body and becomes his "inner voice", heard in the form of Vijay Sethupathi's voice. What a magnificent idea! His own secret identity seeps in through his ear and becomes a voice that only he can hear. (And this voice even speaks in clipped, comic-strip sentences.) We have heard of narratives where the protagonist is roused to action by a guru or a philosopher, but here, the man that Sathya can only be on paper becomes the man who rouses Sathya to action.

But this is where the film slips up completely. The idea is that the coward dies and the brave man is revived: it's a sort of reincarnation. But the two-hour-forty-five-minute  Maaveeran  takes  so long  to get to this point that I lost all patience. The second half is a terrible drag. All the good stuff – from Yogi Babu's jokes to Saritha's screaming about her situation – are crammed into the first half, and the film refuses to move on from "Sathya is still a coward". It's as if they were able to get to the point where Sathya is given his "superpower", but kept wondering how long to wait until he is able to unleash it. And the resulting wait makes for an extremely generic watch. We would have had a similar second half even with a regular hero-villain story. Also, there's a curious pacing issue throughout. The crackling excitement of what must have been on paper is missing on screen. There's a mild dullness in many stretches.

And the inventiveness in the writing also vanishes. You can see the death of a man coming from a mile away. When Sathya leaves the colony, you know he will come back – given that this fact is inevitable, you wish this had at least been written more interestingly. How many scenes do we need of Sathya trying to shake off his inner voice? How many generically choreographed fights do we need? The biggest disappointment is seeing a new-age director succumb to the cliche of a crying child in danger. The one nice touch in the post-interval portions is that the villain has a sort of inner voice, too, in the form of an advisor who just won't shut up. I also liked Bharath Sankar's score. It is a big score, but with very interesting instruments like the snare drum and the piano in unusual situations. How refreshing to see Madonne Ashwin continue with the same  Mandela  composer even for a much bigger movie, where he could have got any big-name composer of his choice. (It's the same cinematographer, too: Vidhu Ayyanna.)

While it's nice to see young filmmakers being courted by big stars, you wish they wouldn't lose their voice. For all its flaws,  Mandela  was quirky and unique. But in  Maaveeran , the Big Idea gets mainstreamed to the extent that there's very little of that Big Idea left by the time the end comes around. Sivakarthikeyan is so earnest and so good that you want the writing around him to be better, to take him to more places a mainstream hero has not been taken. Some of you may say: "Why complain when there is at least this much invention?" But that is the exact problem. When there is so much newness, you want to see it taken all the way. You don't want to see it in a compromised form. But maybe these are the baby steps we are going to have to endure till the industry decides our heroes can do anything. With  Prince  and  Maaveeran , Sivakarthikeyan has proved he is game for anything. Now, the writers and directors have to step up and repay this faith.

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Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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சினிமா விமர்சனம்

கள்வன் விமர்சனம்

வெப்பம் குளிர் மழை விமர்சனம்

ஹாட் ஸ்பாட் விமர்சனம்

ஜோஷுவா இமை போல் காக்க விமர்சனம்

அதோமுகம் விமர்சனம்

சைரன் விமர்சனம்

லால் சலாம் விமர்சனம்

லவ்வர் விமர்சனம்

டெவில் விமர்சனம்

வடக்குப்பட்டி ராமசாமி விமர்சனம்

மறக்குமா நெஞ்சம் விமர்சனம்

ப்ளூ ஸ்டார் விமர்சனம்

சினிமா விமர்சனப் பக்கத்தில் புதிதாக திரைக்கு வரும் திரைப்படங்களின் வெற்றி, தோல்விகளை நடுநிலையோடு சமயம் தமிழ் அலசுகிறது. திரைக்கதை, நடிகர், நடிகைகளின் தேர்வு, அவர்களின் நடிப்பு, இசைக்கு அளிக்கப்பட்ட முக்கியத்துவம், கலை அம்சங்கள், ஒளிப்பதிவு, எடிட்டிங் என ஒவ்வொரு பகுதியாக ஆழமாக தெரிந்து கொள்ள முடியும். சினிமா விமர்சகர்களின் பார்வை, ரசிகர்களின் பார்வை, சமூக வலைதள விமர்சனங்கள் என பல்வேறு கோணங்களில் திரைப்படத்தின் மீதான பார்வையை பெறலாம். திரைப்படத்தில் சொல்ல வந்த சமூக கருத்து, அது வெளிப்பட்ட விதம், மக்கள் மன்றத்தில் அதற்கான வரவேற்பு உள்ளிட்ட தகவல்களை விமர்சனப் பகுதியில் தெரிந்து கொள்ளலாம்.

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The writing tries to be truthful, reflecting the mindset of contemporary 20-somethings when it comes to relationships.

Lover Movie Review: Lover is a brutally honest and bittersweet relationship drama

• Times of India

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Anvi Upadhyay 16 2 days ago

There are lots of people going through this.&nbsp;<br/>Modern society is currently facing the independence of women and the end of misogyny and patriarchy because of which so many men and even women are unable to cope up with the change. This leads to high male ego in some men. This movie really spoke a lot about curing the inner self conflict first before committing with someone else because hurting your partner is never justified.&nbsp;<br/>Alcohol is so much stronger than the grass. It gets people so violent. How is it not banned? So many husband's are doing domestic violence after getting drunk!&nbsp;<br/>Such a real movie! Indian crowd really needs to grow up if they didn&rsquo;t understand the complexities of this film.

Gwen Richard 259 7 days ago

Hero is useless and heroin is semi useless. Movie never give good impression. Manikandan look so horrible for this movie. Romantic movie should show good teachings for future generations. This kind of movie will make youth scared to commit. Psycho director.

Manmath Behera 1 9 days ago

Not happy feeling this movie

Md Shahahnsa Aalam 220 31 days ago

Sylent Screamer 748 49 days ago

Waiting to watch on Netflix

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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Kalvan X Review: GV Prakash Starrer Adventure Drama Movie Promises A Blend Of Action And Emotion

Kalvan X Review: "Kalvan" is an action-adventure drama starring GV Prakash Kumar. Directed by cinematographer PV Shankar, the film also stars Bharathiraja, Ivana, and Dheena in pivotal roles. Kalvan, produced by G. Dilli Babu under his Axess Film Factory production banner, hit theatres on April 4th.

Good buzz among celebs and others who watched @gvprakash ’s #Kalvan special show. The man-animal conflict is said to have been well picturised with a neat message. #Kalvan opens tomorrow- April 4th! pic.twitter.com/XRfdFVfvuH — Sreedhar Pillai (@sri50) April 3, 2024

The recently released trailer of 'Kalvan' reveals a gripping narrative. Opening with a news report detailing the intrusion of a herd of elephants into the Panamkaadu forests via the Kadambur forest, it sets the stage for tension. Consequently, the villagers of Iruttipalayam receive strict orders to avoid forest exploration. This development presents an ideal scenario for GV Prakash and Dheena's characters to set their plans into motion, although specifics remain shrouded in mystery. As anticipated, the protagonists find themselves face-to-face with the elephant herd, heightening the suspense.

#Kalvan - Painfully boring movie. Makers tried to present an emotional tale but ended up conveying none. GV Prakash was just ok while Bharathiraja was the only stand out. Avoid pic.twitter.com/3maH0uPMeu — ForumKeralam (@Forumkeralam2) April 4, 2024

The film's title, meaning "thief," and its trailer suggest a profound question: Who is the real thief? Is it humans encroaching on the forest or the forest dwellers reclaiming what rightfully belongs to them?

Kalvan Premiere Screening Review

"Kalvan" has been reviewed by box office tracker Sugumar Srinivasan after its premiere, who describes it as a village drama with a fun-filled first half followed by an emotional second half.The film is praised for its comedy in the first half and adventure elements in the second half. Highlights include Bharathiraja's performance, Gv Prakash's contribution, Dheena's comedy, Ivana's performance, the intermission, climax, and top-notch VFX. The overall rating stands at 3.5 out of 5 stars. According to Sugumar Srinivasan, "Kalvan" promises to entertain viewers with its perfect entertainment blend.

Kalvan Cast And Crew

Penned by Shankar and Ramesh Aiyappan, Kalvarn also features G. Gnanasambandam and Vinoth Munna. The cinematography for the film is handled by Shankar himself, with editing by Raymond Derrick Crasta. The songs are composed by GV Prakash Kumar, while the music score is provided by Revaa. The stunts in the movie are directed by S. Dhilip Kumar, with CGI by Resol FX, sound and mixing by Sync Cinema, and DI by Varna Digital Studios.

The release of "Kalvan" is highly anticipated, promising an extraordinary cinematic experience for all film enthusiasts. Stay tuned for insightful X (formerly Twitter) reviews as audiences share their thoughts on this adventure drama film.

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Leo: Bloody Sweet review – leave your logic at the door for rampaging action yarn

The Tamil version of David Cronenberg’s A History of Violence is wildly enjoyable, packed full of hyenas, car chases, fight scenes and, of course, song and dance

I n 1997, John Wagner and Vince Locke published their superb graphic novel A History of Violence: it was the story of an apparently regular guy, a small town Michigan cafe owner, whose unexpectedly accomplished defence of his family during an attempted robbery hints at a dark past which eventually turns out to involve mob entanglements. In 2005, David Cronenberg adapted the novel into the splendid Viggo Mortensen vehicle of the same name, which – Aragorn aside – may represent Mortensen’s finest hour. Now, this new Tamil version has broken several box office records and, at two hours 40 minutes runtime, has plenty of scope to expand on its source material – especially in the 18-certificate “uncut” version which has just entered cinemas.

The film opens with the small town of Theog in the snowbound western Himalayas which is under attack by a feisty CGI hyena that has managed to get into the local school playground. One man steps forward: local cafe owner Parthiban (mononymic star Vijay), and handily bests the slavering beast. The hyena shenanigans, however, do not replace but merely precede the badass cafe robbery triumph.

But please don’t ask why anyone would be shocked that a man who can take down a rampaging out-of-control hyena in hand-to-claw combat can also face down a few human robbers – it simply isn’t that kind of story-world. The incident with the hyena is there to signal that you are entering a world of spectacle, of non-stop set-pieces and ever-more climactic showdowns. Leave your irrelevant thoughts about logic at the door and instead enjoy some physically impossible car chases, bone-crunching fight scenes and hundreds of mobsters singing and dancing in unison, all set to one of the silliest and most pleasurable soundtracks this side of Paul Oakenfold’s splendid work on Swordfish .

Directed with verve and enthusiasm by 37-year-old former bank employee Lokesh Kanagaraj, who moved into directing after winning a short film competition, the influence of the likes of Quentin Tarantino on all of this is very much evident. Indeed, like Tarantino, Kanagaraj has announced his intention to quit directing after completing 10 films. On this evidence, Kanagaraj’s retirement so soon would be a shame.

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The First Omen

A young American woman is sent to Rome to begin a life of service to the church, but encounters a darkness that causes her to question her faith and uncovers a terrifying conspiracy that hop... Read all A young American woman is sent to Rome to begin a life of service to the church, but encounters a darkness that causes her to question her faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate. A young American woman is sent to Rome to begin a life of service to the church, but encounters a darkness that causes her to question her faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.

• Arkasha Stevenson
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• Trivia The First Omen was very nearly given an NC-17 rating--largely for the disturbing birthing sequence. But after resubmitting the film to the MPA four times--with the problematic scene still included with every resubmission--the MPA eventually relented when it was cut down from its original 13 seconds to its final form receiving an R rating.
• Goofs The fashion used by the supporting characters, as well as the extras in the film, do not belong to the early seventies, but to the middle of that decade. Additionally, the song "Daddy Cool" by the group Boney M. is heard in a scene. This song was released in 1976 and the film is set in 1971.

Father Brennan : [from trailer] How do you control people who no longer believe? You create something to fear.

• Connections Follows The Omen (1976)
• Soundtracks Ave Satanis written by Jerry Goldsmith (1976) arranged by Mark Korven

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• Apr 4, 2024

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• April 5, 2024 (United States)
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• Apr 7, 2024
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