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Showing posts with label Tamil Movies. Show all posts
Showing posts with label Tamil Movies. Show all posts
Thursday, July 10, 2008
Muniyani Vilangkayil Mondramaandhu Tamil Movie Online
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Wednesday, July 9, 2008
Unakkaga Tamil Movie Online
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Monday, July 7, 2008
Chakra Viyugam Tamil Movie Online
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Sunday, July 6, 2008
Vallamai Tharayo Tamil Movie Online
Interestingly, the titles of the two Tamil films that are releasing today have lines from the legendary poet Subramaniya Bharati.
While Giriguja Film International's Tamil venture, Vallamai Tharayo (Lend me Strength) directed by newbie Madhumitha is from the song Nalladhor Veenai Seidhey... immortalised by Kamal Haasan [Images] in Varumaiyin Niram Sigappu sung in the film by his bhagavathar father, Poornam Viswanathan, the other movie, Ayudham Seivom is derived from Bharati's song Vellipani Malaiyin Meedhulavuvom, immortalised in the Sivaji Ganesan [Images] film Kappalottiya Thamizhan.
Titles aside, Vallamai Tharayo bears testament to the difference between a veteran maker's movie and a raw director's first attempt.
Thousands of movies have explored the nuances in a relationship before this and it's the director's screenplay-writing prowess, and the actors' performances that determine the quality of the product.
It is not that the film doesn't have its moments. Picking up where movies usually end, this film begins with a painful divorce, where wife Nanditha (Chaya Singh) accuses husband Anand (Parthiban) of all kinds of abuse in court, and finally walks free from him.
Rewind to the past, and we see scenes of domestic happiness in Nanditha's parents' household, where her mother (Kuyili) and father (Anandraj) head a large family, but are not on friendly terms with the latter's sister.
After a great deal of lectures and disputes, Nanditha, who has come home for a function, finds that her father is set on thwarting her love. Once she sees his cruel side, she reluctantly agrees to an arranged marriage. Enter the groom: Anand.
Naturally, bride and groom don't hit it off, despite Anand's best efforts to try and lead a life with her. Rarely do you see such understanding and affection from a husband to an unknown girl.
His show of affection borders on desperation which makes you pity him. An unforgiving Nanditha, however refuses to acknowledge his efforts and ultimately walks out, trying to make a new life with her long-lost love.
This forms the basis for a remarkably shaky second half, leaving you bored out of your mind. As Nanditha weeps, flings things at the TV, gets a remarkably attentive maid and is wooed back mercilessly by Anand, you long for the end.
It might be Chaya Singh's comeback vehicle, but what could a girl do when she's asked to portray every emotion in slow motion, alternately wringing her hands or scrunching up her face in anger? Still, the actress has done her best, shining especially in the first half.
But the movie, undoubtedly, belongs to Parthiban. The actor has slimmed down, and even with a scruffy beard, portrays the hassled husband to perfection. He delivers the dialogues in his typical spirit, bringing some much needed relief to the staid proceedings.
Kuyili as the harried mother is flawless. She sympathises with her daughter, while poor Anandraj is made to deliver punch dialogues over and over again, making us laugh over his efforts.
Bharadwaj's music fits the bill for a nice but forgettable romantic fare.
What lets the movie down is a shaky script. Heavily inspired by Mani Rathnam's Mouna Raagam, the director has obviously tried a hand at explaining every thought and emotion, and failed miserably.
Vallamai Tharayo tries to paint idealistic people into Utopian situations and that's where it falls flat on it's face.
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Friday, July 4, 2008
Vambuchanda Tamil Movie Online
Director Rajkapoor has made it pretty clear that he is not intended to make any effort to make the movie with substance. Though he has shown his ability to execute scenes that are worth to be parts of a masala flick, he hasn’t taken any strain to make it credible.
The first scene shows a co-education collage campus (one wonders why no filmmaker dares to make a film around men’s or women’s collage), in which boys flirt with girls in obnoxious manner. The scene informs you that you could not expect any finesse in the film. It moves on to introduce Prabhakaran (Uday Kiran), son of psychiatrist Nehru and Lakshmi, beating up the thugs. Then comes the introduction of the heroine (Diya), sister of Assistant Commissioner of Police Ravichandrtan (Rajkapoor), which is followed by the inevitable love between the two.
The revelation of the real identity of Prabhakaran comes as a relief after the tiring first hour, which is filled with meaningless fights and absurd romance. The crux of the movie is that Nehru and Lakshmi (Livingston and Sabitha Anand) are not the real parents of the hero. He is the son of an ex election officer Jeevanandam (Sathyaraj), who has become mentally ill after a turmoil in his life. The son is determined to redeem his father’s life at any cost. He gets him to Kerala for Ayurvedic treatment.
Ex minister Dharmalingam (Fepsi Vijayan), who made the election officer’s life miserable, has also become mentally ill because of the defeat caused by the officer. His son Narayanan (Riaz Khan) gets him to the same place for treatment, where he finds that the officer is still alive. He decides to take revenge by killing Jeevanandam and the rest of the story shows how Uday saves his father.
Rajkapoor should be commended for his neat execution of the flash back episode that shows the electioneering. The movie would have been a refreshing entertainer had the director extended such an effort to the entire movie. Unfortunately, he prefers clichés and illogical sequences to move the story and hence fails to impress the audience. As a result the movie as a whole leaves much to be desired.
Sathyaraj as an election officer is more likable than Sathyaraj as mentally ill person. He adds credibility to the role, which he handles with amazing ease. The decision to take up a role suitable to his age too is commendable. Chitra Bhama as his wife is competent.
Uday Kiran, who made his debut in Tamil with K. Balachander's `Poi,' has shown that he could handle romantic and fighting scenes like any other young heroes. But he has got a lot to go when it comes to emote.
Diya has been entrusted with the sole responsibility of providing glamour to the fare. She tries to sizzle in almost all the scenes she appears and manages to succeed in a few scenes. If she wants to build up her career, she must look for the roles that demand more than skin show.
Riaz Khan as a powerful villain is flawless, while Livingston and others are impressive. Vijayan as a politician with vengeance is remarkable. Ramesh Kanna provides some relief to the predictable proceedings.
Imman's music is just about okay but the picturisation of a couple of songs in the first half is good. Suresh Devan has done a neat work with his camera.
It is disturbing to hear the way the word ‘mental’ is used by many in the film. It is quite insensitive, to say the least. Filmmakers should take extra care to ensure sensitive portrayal of persons with any kind of disability and those who are marginalized. Likewise, the way sari is made as a symbol of shame too is objectionable. Gender sensitivity is another area in which Tamil cinema needs to learn a lot.
Overall, 'Vambuchanda' has come out as a routine masala flick. But for the neat l.
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Aayutham Seivom Tamil Movie Online
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Wednesday, July 2, 2008
Chella Thiruda Tamil Movie Online
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Kattavarellam Padalam Tamil Movie Online
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Ponmagal Vanthal Tamil Film Online
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Kelvikkuri Tamil Movie Online
Jailaani who was working in Uk produced a movie in Tamil titled KELVIKURI. The story is about custodial deaths. Kelvikkuri has managed to get on the wrong side of the Censor Board, which has questioned the very premise of the film. The Board has refused to certify the film claiming that it portrays the police in a bad light. But the film’s director Jailani feels otherwise about it. “They are banning it for a reason that I think is unreasonable and that hurts all the more,” Jailani says. The Board’s examining committee, which includes a police officer, has objected to certain scenes in particular like when the hero takes the police commissioner hostage. “Immature minds are bound to get some inspiration and there is a likelihood of them taking the law into their hands,” Regional Officer, CBFC, Babu Ramaswami says. But this is not the first time when a hero has taken the law in his hands to save the day.
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Ponnuthai Tamil Movie Online
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Singakutty Tamil Movie Online
Sivaji, the grandson of legendary Sivaji Ganesan, makes his debut as a hero in this film built around the usual police-terrorist game. Director A. Venkatesh, who is adept at making so-called masala flicks, could not do much to be different with "Singakutty". He has succeeded to an extent in projecting Sivaji as a hero material. And the debutant actor has lived up to the expectations despite the constraints imposed on him by the not so well-structured script and other deficiencies. He has made most of the opportunity to prove that acting is in his blood.
A happy-go-lucky youth (Sivaji) falls in love with the daughter (Gowri Munjal) of the owner (Avinash) of a unit making soft drinks in Madurai. The girl's father gives his nod for their marriage and when he conducts talks with Sivaji's mother (Saranya) to finalise the proposal, she lays down a condition that her boy should become a police officer before the marriage. The entrepreneur agrees to wait. When Sivaji completes his police training in Chennai and returns to Madurai, he is in for a shock. Danger stalks him. His mother, sister, and fiancée have been abducted by a terrorist who has a large network. His sinister plan is to get the new police officer sucked into the vortex.
If the police officer wishes to see his mother, sister and lover alive, he should plant a powerful bomb during a temple festival attended by hundreds of thousands of people. Who is the villain? Would the bomb go off? And, what is the fate of the hostages? These are the questions answered in the climax. The story is told in two parts; romance followed by action.
Sivaji, who is assigned the dangerous mission, enters the arena with the confidence of one who has gone through the mill. He makes his mark in both romance and action sequences. His reflexes are good. He pounces with amazing fury on the rowdies playing mischief with his lover (Gowri Munjal).To wreak vengeance on them, the very next day he raids a soda water factory and destroys it. In these scenes Sivaji is really terrific. He gives a stunning performance when he has to be at two places at the same time to rescue a family and the festival crowd. His role is action-oriented and there is not much scope for acting. As for his body language and expressions, he has to go a long way.
Gowri Munjal plays the heroine with finesse. In both romantic scenes and while being in trouble her expressions are striking. Her image of a glamour girl sticks.
Saranya has by now become a familiar 'screen mother" and she fits the role.
Anal Arasu plays the villain for the first time and gives a thumping performance.
Vivek as a fan of Malavika comes a cropper. His comedy is clichéd and fails to click.
Stunt scenes under the direction of Kanal Kannan and Anal Arasu prop up the film.
Malu dances to the 'kuthu' song 'Attama Therottama."
Prasanna Shekar's music is passable. Of the songs, "Enda Rakshasa" is outstanding.
R.D. Rajasekhar's camerawork and choreography by Brinda and Tharunkumari enhance the aesthetic quality.
The narration is on the fast-track in the flashback mode. The same tempo could not be sustained after the kidnap episode. The script is to blame.
"Singakutty" is nothing more than a launch pad for Sivaji. The title is apt as he is still a cub and has to grow up to be a roaring lion, like his grandfather, the Nadigar Thilagam.
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Vasool Tamil Movie Online
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Wednesday, June 25, 2008
Kalaipani Tamil Movie Online
Review - Kaalaipani
Star-casts: Jay Jay, Vasundhara, Nasser, Sathish, K.A. Nethaji Balu, Gokul, Action Prakash, Lollusaba Swami Nathan, Balaji, Kavitha Balaji, Ponmaaran and many others.
Production: . Nethaji Balu, B. Vijayalakshmi and A.B. Pulithevan Sethupathi
Story, screenplay, dialogues and direction: Rajesh Selva
Music: Satish Ramalingam
Kollywood must feel proud of good directors making their best and bold attempts, thus bringing new themes on the screen. In particular, Director Rajesh Selva, the young cool debutant has his best delivered with a murder mystery. Perhaps, Kaalaipani makes us feel that are we watching a suspense thriller with partial traces of Hollywood.
The film is about Samvedha (Vasundhara) and her father (Nasser) who shares a good relationship and embodiment of excellent father-daughter relationship. More witting as a responsible individual, Samvedha weaves her time splitting up with her father and close friends. Apart from this, the good hearted missy gets involved in social service activities of an orphanage. More concerned with the good services at this orphanage home, she develops a love for an young man on the way.
But sooner, her father possessive of daughter starts intervening in all her activities that Samvedha carries with her friends. Bits and pinch of fights lead out to a great conflict and it is when she steps out the house. Things don’t end here, but a great perplexed situation after few days when cops find a buried body of a woman. With Nasser already been launched a complaint of his daughter missing. When called for the identification of body, his answer goes yes and that’s because of the dress he finds on the corpses…
Now starts the investigation of who the mysterious murderer is? What was the intention of getting her killed and is there anything behind individual involvement in this murder forms the crux of the story?=2 0Well, more than answering this, a great stunning spine chilling climax has something more than this….
Samvedhai in supporting role with the debut film Vattaram had gained the attention of entire tinsel town and she continues to put on the same effort and piece of work with this flick. Her performance goes well in both the scenes of father-daughter encounters and in times of romance. The next performer on the screen who strikes with appealing and naturalistic approach is Nasser. We needn’t describe on his part of acting.
Apart from this, the others Jay Jay, Sathish, K.A. Nethaji Balu, Gokul, Action Prakash, Lollusaba Swami Nathan, Balaji, Kavitha Balaji, Ponmaaran have breathed lives on the characters they have played… Director Rajesh Selva has very well applied his paper works on the screen and that’s so nice for Kollywood to have a new director like him. Whatever may be the flaws he has made, he has to be well for a different theme brought amidst of many directors who are coming up with irritating masala movies.
Bottom - Line: New of its genre
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Tuesday, June 24, 2008
Valluvan Vasaki Tamil Movie Online
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Thursday, June 19, 2008
Dasavatharam Tamil Movie Online
One Liner - A must Watch
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Tuesday, June 17, 2008
Sollamal Thavikkiren Tamil Movie Online
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Monday, June 16, 2008
Malarinum Melliya Tamil Movie Online
Films with new or up and coming artistes are generally not talked about much. "Malarinum Melliya", set in the rural background, is one such film, but deserves critical acclaim.
Pannayar Sivachakravarthi adores his village as much as his family and he are held in high esteem in society. His son, Vignesh, falls in love with Varshini, daughter of the local temple 'gurukkal' (priest). This is a bitter pill to swallow for the Pannayar whose self- pride and status comes in the way of his agreeing to the marriage of his son with the gurukkal's daughter. Whether the two lovers ever marry?
Romance is central to the theme. Director Selvaraj portrays love as softer than a flower; it never wilts not even for the ageing lovers.
The film opens with a flashback showing Vignesh as a lovelorn old man pining for his heartthrob, Varshini. This raises great expectations among the audience. But subsequent sequences follow on the predictable lines of a conventional romantic flick. What makes the difference is the climax which is a surprise and a shock.
Pannayar Sivachakravarathi and his family look natural as the real faces of the village. With a borrowed voice, Vignesh keeps running through farms and plantain gardens all the time looking for Varshini. And he becomes old yearning for her.
Muthukumar as the temple gurukkal, Periyardasan as a cartman, Selvaraj as a teacher, and the comedy team Nellai Siva and Muthukaalai jel with the main characters and provide good support.
The scenes that are heart-rending are that aged Varshini who has been kept away after being separated from Vignesh, enters the village for once to see his aged lover who is battling for life and their exchange of glances pining with love.
For reasons best known to him, the director has replaced Vignesh and Varshini with two others as the lovers grow old. The change of actors in the midway seems unnecessary. He should have let young Vignesh and Varshini themselves play the aged lovers as well.
Cinematographer K.V. Mani just marks his attendance. Soundaryan's music is melodious
Deficiencies notwithstanding, the film strikes a chord.
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Saturday, June 14, 2008
Kazhugu Tamil Movie Online
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Silanthi Tamil Movie Online
"Silanthi" is a provocative suspense thriller with interesting twists and turns. Journalist-turned-film-maker Adhiraj has adopted a new approach in keeping with the changing times when conservatism is giving way for a free society where the so-called IT culture is striking deep roots upsetting the age-old customs and traditions.
It is a small budget 101-minute film shot in just 25 days. With this film Monica, (who played conservative roles in "Azhagi" as Nandita Das, "Sandakozhi" and "Imsai Arasan 23am Pulikesi"), gets her big break and plays a glamorous role without inhibitions. Playing the protagonist is the debutant Munna, who is the nephew of Malayalam actress Jayabharathi. The film was shot in the picturesque locations of Puducherry. It got an "A" certificate from the Censors for the theme is bold and daring.
As the title of the film denotes, the film tells the story of a married couple on honeymoon, caught in a dangerous web. It is about what happens to them in 48 hours. According to the director, it is based on a real-life incident that took place in Bangalore a few months ago. Monica plays a newly married woman who unwittingly gets into trouble and her man, Munna, helps her out.
Munna and Monica visit a resort soon after their marriage. She is haunted by a bizarre incident that took place in the past. A mystery man is on her trail. A flashback shows three of Monica's friends as IT professionals earning fabulous salaries. They enjoy life to the hilt with booze, datings and what not. Their pranks on an LIC agent prove disastrous. The man sustains head injuries in the binge and dies. Though she is in the clear, Monica commits a faux pas. She helps her friends in disposing of the body. The three girls get killed one after another. Even while Monica is on her honeymoon, she is not able to shrug off her guilt and tells her loving husband, Munna, about the incident to which she was a mute witness. The two press the panic button leading to a pulsating climax.
Monica is the pivot around which the film revolves, and she has come out with a stunning performance. She is bold and beautiful. There is a kissing scene which is justified by the script. Monica also does a "dare-bare' act. The honeymoon scenes were shot in a scenic beach island 20 km off Puducherry. Adding to the glamour are two romantic numbers featuring the lead pair.
The first half of the film revolves around Munna and Monica. The second half is action-packed and racy.
Debutant Munna shows promise. He is able to bring out all the nuances the role demands. He makes it all look simple.
The narration, dialogues, the music and the background score are laudable.
With critically acclaimed cinematographer Fouzia Fathima behind the camera and fast-cut editing by Satish Kurusova, the aesthetic value of the film is enhanced.
What is notable is creating an erotic mood without any vulgarity. And, it is a brave attempt by the director to break away from the conventional formula.
"Silandhi" is an experiment in new cinema reflecting the changing mores.
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