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Bramayugam. Mammootty proves he is a flabbergasting ogre in performance. Review by M. Siraj

Bramayugam, directed by Rahul Sadasivan, is a brilliant folklore horror thriller that explores power corruption and human greed, and Mammootty's standout performance versatile acting, and script selection make it a must-watch cinematic experience. In the 17th century, Devan (Arjun Asokan) runs away with his friend Kora in the thick forest, at night Kora is dragged away by Yakshi (Witch/Goblin) making him fall into a trap of enchantment as he enters into a nearby dilapidated Mana (mansion) to save his life from it. In the beginning he doesn't know the mansion belongs to Koduman Potti (Mammootty) who trapped him in the supernatural house of cruelty.

Movie is slow paced in the beginning and takes time to set up the plot, later goes fairly engaging with an extraordinary creepy and scary performance of Mammootty. Every scene goes elaborated with visuals and sound effects. The art work is excellent as the Mana (Mansion) and its surroundings are untidy, nature has reclaimed parts of it, with vegetation creeping up the walls and many roof tiles broken as the look itself screams, "visitors not allowed".

Mammootty excels as the role of a Villain in howling horror, as seeing his shadow comes the shudder that comes from seeing the shadow of Dracula, the horror effect he gives with his vision and voice while sitting majestically in a chair distorts the stomach of audience. Ogre

Hats off to Director Rahul Sathasivan for framing the story in Black and White with only 3 characters throughout the film, slowly narrates how Devan escaped from that Mana (Mansion) full of occult and ambiguities to become his prison. Mammootty has brought the character to life with his trademark voice, laughter with stained teeth and sitting posture, as well as the tone of the legend and nerve-wracking intimidating gaze. In some scenes, his voice, even his shadow, makes us convulsion to compensate for his presence. Cinematography is the backbone of the film, shot entirely in black and white, (Hats of the Director's courage) with a single ruined mansion (Mana) palace as the plot. Along with the lighting for black and white, his compact frames go hand in hand, transmitting horror and the supernatural in depth. In fact, every frame and angle of Mammootty replicates the voice of that Koduman potti character. Background music plays a pivotal role in the movie by transmitting to the audience many feelings of mystery, deceit, aggression and fear, vividly through a mixture of folk and Carnatic music giving boundary shots in horror scenes. Director's concentrated collage can be felt not only in the thrill scenes, but also in the scenes that show the mental state of the characters. Director Rahul Sadasivan made an absolutely terrific folklore horror with brilliant metaphorical layers on power corruption and human greed whereas Mammootty proves he is a flabbergasting ogre in performance.

There is a famous Dialogue by Mohan Lal in the Film "Manichitrathazh" as follows:

"Oru mano roga chikilsakanum sanjarichittillatha vazhikalil koodi gnan sanjarichu ennirukkum. (I may travel in any route which other Psychiatrist were not travelled) Oru branthanai pole. (As a mad man) Ente nakulanuvendi. (For my Nakulan) Avante bharyakku vendi. (For his wife) I am going to break all conventional concept of psychiatry".

Here Mammootty breaks all the conventional concept of a Hero. Even after 400 films in his credit, his quest for new roles, passion for acting never ends. Really, he is a mad man who had the courage to travel in different routes which other actors are not dare enough to try. He is least worried about his image, concentrating only for the Character he portrays.

Yes. Mammootty is a Mad Man.

Review by M. Siraj.

"JOE" A feel good romantic movie My review for the Tamil Film "JOE" Director Hariharan Ram gave clean depiction of college romance, egoistic fights among lovers, and the attitudes youngsters who became partners in an unwilling marriage, by narrating the romance of a young man who is in love with his college mate how ends in heartbreak. Finding romance after suffering heartbreak with first love isn't a fresh trope in Tamil Cinema, here director attempts recite a romantic tale in a sensible and engaging manner without the feeling of recurrence.

The plot revolves around Joe (Rio Raj) who falls in love with his classmate Sujithra (Malavika Manoj), in college. Even though the Malayali girl reciprocates, the romance is doomed, eventually, Joe marries Shruti (Bhavya Trikha), a strong-willed woman, who isn't ready to accept him as her husband because of the shudder from her own past.

First half of the film is filled with love and friendship scenes, the scenes adjacent to the break and the emotional scenes director made it have a relevant impact. The mental struggle of the couples (both have a previous history of love failure) who cohabit in a late involuntary marriage is displayed in maturity with both their feelings and justifications equally important. After Rio Raj, the hero survives a suicide attempt, the verses in which his father and mother speak to him separately are hooked as a gripping message against suicidal moods of youngsters. As the film gets serious, the occasional natural humour lightens the mood of the audience while the portrayal of female characters and their feelings have been handled with dignity is really praiseworthy.

Rio Raj is perfect for all ages-School student, college youth, and married. He has done an incredible job in emotional scenes. How do the couple rediscover happiness, director Hariharan Ram narrates this tale with earnestness, audience to have they-must-get-together feeling, supported with Siddu Kumar's background score to do the heavy lifting. Even though there is a slight lagging in the second half, the director manages to get the audience engaged with scenes that register quite strongly, like the scene where Joe's mother talks emotionally about her love at first sight.

If there's one word that can be apt to define Rio Raj, it's decent, for a film involving college life and youth, a very mindful film that attracts the youngsters, highly appreciable aspect is, it treats its female characters with respect, and even when its protagonist uses verbal abuse, he's quickly corrected by his mother, hats off to the director to capture the love scenes without any vulgarity, aptly suitable for the entire family to watch the film with a never expected twist at the end.

The screenplay is packed with the necessary lively and emotional moments and the iconic ideas that make you smile, a story that we are all familiar with and is based on a love story that has happened in some form in all of our lives. The first half starts off with a bit of fun and ends with a heartwarming interlude. The second half of the film starts off with new life-filled scenes and the film goes on a very positive course, a fulfilling feel good movie with an unexpected twist at the end. The climax scene, which is particularly unexpected for anyone, is the biggest strength of the film to shore up the film with audience. Though it is a romantic film that we have already seen many times, the visuals and screenplay structure are brushed and reinforced by the music of the film, giving a perfect blend of emotions wherever you want to laugh, wherever you want to cry, wherever you want to be moved, giving the feeling of having seen a full-length family movie.

This film gave us a positive feeling that a help that we have done in the course of our life and later when we are at the wits end, that help turns our life upside down and makes us travel in a different direction and that life becomes our favourite model.

Finally, special mention to the Director who casts, a homely new actress from Kerala, Malavika Manoj with her innocent mannerisms who captured the attention of the audience, an unconventional performance, expressing her emotions in superb manner for any scenes she appears. Malavika is the perfect choice for the heroine who came to Coimbatore to study from Kerala, her clear acting, beautiful dialogues and elegance facial expression have lifted the character, which is a huge plus to add edge to the film, ensuring a potential girl to reign the Tamil films in the near future.

In short, the Film Joe is must watch movie to be seen with family at theatre.

Review by M. Siraj.

Review of Leo by M. Siraj

Vijay's best performance in a step back movie of Lokesh Kanagaraj.

Mr. Lokesh Kanagaraj, who is the most wanted director in the Tamil Industry after the block buster of Vikram 2, much hype for his joint venture with Mr. Vijay is quite natural, Vijay gravely worked his level best to get out from the hitch of Beast.

Lokesh leisurely starts to concise about Parthiban (Vijay), a café owner who lives in Himachal Pradesh with his wife and two children, Lokesh rebelliously avoids grand entry of Vijay as usual in his previous films with introduction song, he is accentuating an ordinary man's life. Once Vijay came in the lime light through media for saving people from Hyena attack as well as an incident in his coffee shop gets superfluous attention, the situation intensifies, some callous thugs notice him as gangster Leo Das, son of infamous warlord Sanjay Dutt. Parthiban (Vijay) antagonizes various skirmishes to protect his family, as the Sanjay Dutt and his brother Arjun believe sturdily Parthiban is Leo. The rest of the film merely rest on the subject that both Sanjay Dutt and Arjun are trying to prove Parthiban is Leo, is what forms the nub of the story.

As a family man Vijay outshines as a father, a lovable husband. Hats off to Lokesh to bring out a never before emotional performance of Vijay, especially when he burst into tears to his wife Trisha, not to doubt him. The high-octane action sequences in the Car chase, the trademark of Lokesh beguiles the audience with fascinating camera effects and bgm.

Anirudh's music is pleasing, especially in the dance for Vijay with thousands of dancers, Vijay's energy and dancing skill is second to none as well is action sequence in the cafe in the first half is hypnotizing. Anirudh presence is benchmarked with pulsating background score to accompany the explosive action sequence on screen. Leo is engaging because of Lokesh Kanagaraj's improvisations and the innovative methods he employs to recite the story.

In spite of having a galaxy of stars through out in the film, Leo is a one-man show, Vijay is terrific in both characters, to keep audience guessing if he is really Parthiban or Leo, the shots were wonderfully shaped to audience to a certain extent. The absence of a power packed Villain in his earlier film Beast, this time he confronts with Sanjay Dutt and Arjun, both done their job remarkably, but the impact of Ajith and Arjun combination in Mangatha is definitely missing, definitely a setback for the audience who expected much.

The film is solely depending upon the star value of Vijay, preparing the audience to be taken to an action-filled violent story, but Kanagaraj seems to made some compromise for the Hero image of Vijay, the anxious audience who had Vikram hang over in their mind, cannot not digest, as he fights with 100 goons alone, holding the neck of a Police officer at Police station amid other Policemen.

Lokesh has to think new ideas, should give more importance to Story with resounding Screenplay, the novelty of using the same thing over and over again is archaic, for instance, cold blooded gangsters looking to enter the home of Vijay remind a sequence in "Kaithi" where the mobsters enter and take control of the police commissioner's office.

In short, Leo is the first half that can claim 100% Lokesh making and the second half is only an average output. Other than character Vijay, the rest of the film give the audience only a soulless feel.

Review of Leo by M. Siraj.

Kannur Squad. Investigative Thriller with Top notch performance of Mammootty.

Review by M. Siraj The story starts at Kasargod where a serios of murder is taking place, Mammootty as George Martin an undercover officer who is famous for solving cases in heretical ways, took over the case with his team to search of the reason and killers, travelling from Kerala to different states in a rousing investigation genre with a visual treat in different venerations, including Mammootty's staggering performance, cinematography and BGM, produced by Mammootty Kampany directed by Roby Varghese.

Director excels in proving the productivity of Mammootty's team of Police officers in the beginning with a short investigation, their inclinations, before tumbling into top gear chase that is at the heart of the film. As the capable team travel through different states to unearth the secrets, they delve into arcane exploration, to uncover a web of conspiracy, director succeeded in taking the audience also along the team with crossed fingers, sincerely wishing the team to succeed when they face dead ends simultaneously the natural feelings, anguish professional struggles and personal problems of normal Police men were vividly explained by simple shots to emphasize Policemen are also normal human beings with catchy dialogues. As the movie highlights the importance of team work, bravery with integrity to face adversity, sometimes it reminds the Tamil Film "Theeran Athikaram ontru" but superb screenplay and visuals with Mammootty's screen presence boosted the movie to another level with striking unseen travel shots.

As a hero Mammootty understand his previous experiences, competencies, with that benchmark he measured himself to fit into this role with dedication, not a single minute lag for a never ever before uniqueness in his characterisation, he expresses the inner feeling of the insult and non-co-operation from his superiors with his grinned looks and refusal of order. Even though he has played investigators numerous times, most performances good, his character in Kannur Squad, is exciting to garner viewers, he endeavours to deliver a performance devoid of repetitiveness, the two action scenes at the last quench the appetite of anyone seeking thrills to get goosebumps feeling.

Even though there are only 4 officers including Mammootty in the team as a fifth element the Tata Sumo which take them to different cities, is a part of the crime investigation, when it got completely damaged, the team is returning back leaving behind the Tata Sumo, the 4 people look at the vehicle with sadness, their realistic lens of affection is mind-blowing as they lost one of their close companions. The latest technology is amply used with pervasive mobile tower tracking of the suspects, gripping journey with unimagined quandaries they faced keeps the audience glued to their seats.

The picture released without any much hype or gigantic promotion activities, but their trust in the screen play, Mammootty's confidence on the new Director, true to life acting of Mammootty, pragmatic back ground music finally gave a pleasing treat to the audience.

Kannur Squad. Investigative Thriller with Top notch performance of Mammootty.

Review by M. Siraj.

Jawan - Shah Rukh Khan's High-Octane Action Thriller.

Review by M. Siraj

Shah Rukh Khan's Jawan was the most anticipated film in Indian cinema directed by Atlee, the second hit followed by Pathan for SRK within 6 months' time, Atlee as a director put his foot stalwartly in Bollywood, fascinated the audience with his first and most exciting Paka Hindi commercial debut film which received a lot of attention for the fact that, when we heard that Bollywood Badshah Shah Rukh Khan is playing the lead in Atlee's film, every audience expected what jawan will be, and that's exactly what Atlee has given them. Jawan, told by Atlee in his style of vengeance story which has been seen many times by the audience in many ways, but Atlee style with songs, stylish dances, love, affection for our country, emotional moments, vogueish action scenes, eye-catching colourful scenes and stunning canvas made the film inimitable. Shah Rukh Khan plays dual roles, Vikram a soldier and Azad as a Robin hood in disguise whose main job is to robe the rich to help the poor, Atlee, clearly gives a strong political message, touched exclusively some social issues, including corruption, Farmer suicide, even he conveyed the true fact of Dr. Kafil Khan's subject in a reverberating manner with a female character. Atlee has made the film with the audience in mind who has given priority to the general audience and has a clear sense of what they expect from him and delivered exactly what to do to get them thrilled for whistling goosebump moments.

Jawan is a very engaging film; he has done an exciting expression of a commercial storyline without allowing the audience to think too much for a single moment. Written with Shah Rukh Khan fans in mind, he precisely merged all the elements for a mass entertainer, whereas he has overcome the minor shortcomings of the script with the excellence of its visual language, starting from the introduction of SRK. He not only made the audience laugh, but he minted some emotional scenes also, Shah Rukh Khan's performance was very stylish and his looks, expressions and dialogue style were used in a very good way with some highlight's combination and emotional moments in an appealing manner. While the director succeeded in connecting the characters emotionally with the audience in the first half, in the second half, audience may not bother for the logic, SRK and Atlee wrapped the audience without even giving them time to breath. Shah Rukh khan with his pretty gym fitness, was able to capture the audience in a very rousing way and thereby move them along with the film. Even at this age, Shah Rukh Khan's energy and impact on the screen with his looks, body language and mannerisms are miraculous. Vijay Sethupathi a never before type of Villain enhanced his role seamlessly, took the audience by surprise with his easy-going acting style as usual, Nayanthara was seen for the first time in the film validating her nickname Lady Superstar with her action scenes as well as a lovely mother of a child. The visuals were gorgeous while the songs composed by Anirudh, the darling of South Indian music, drudged well to refresh the audience with energy and enthusiasm. His contribution to the film worth to be mentioned, whereas the editing is at its best to keep the two-hour film moves at a rapid pace. We can say without a doubt that Jawan is a perfect mind-blowing entertainer to be experienced only in theatre.

Great work by Director Atlee who presented SRK in a superb manner how the audience wants to see him in the big screen and SRK again proved he is the King Khan.

Review by M. Siraj.

Jailer. Rajini ism strikes again. Review by M. Siraj

01 Story

Rajini's Jailer screened worldwide amid festive celebration, Nelson gave a mass clean entertainer after the backlash of his earlier film Beast, that can bring the family to the theatres. The story of Jailer is very casual, Muthuvel Pandian (Rajini), who retires from his job and leads a quiet life with his family, playing with his grandson who is interested in making reels for fun. But the difference in narrative style makes it somewhat different from other recent Rajini films. The plot revolves around the life of Tiger Muthuvel Pandian, whose son, a police officer, goes missing while on a mission to snitch a gang of idol thieves, heartbroken Muthuvel, ventures out to avenge his son's death.

02 Director Nelson Director Nelson's "Jailer" takes a unique twist on the thriller genre, infusing it with his signature, bringing Cameos by stars like Kannada Shiva Rajkumar, Malayalee Mohanlal, Hindi Jackie Shroff, add to the star value in a perfect blend not giving any chance to their fans to worry about. He neatly handled the crux of the story with a commendable climax that features Shiva Rajkumar, Mohanlal and Jackie Shroff for the much-required drama and energy, 100% sure Rajini and producers have given Nelson a free hand in delivering a master piece. It is a life and death mission for Nelson, he succeeded in that in every respect.

03 Actor Vinayakan

One may wonder how a slender man like Malayalam Actor Vinayakan can match as a Villain for Rajini who has a fan face base all over the world, but Vinayakan just lights up the screen with his persona. In performance wise he is equalling Rajini like Raghuvaran in Badsha, who became the character in every frame with the look and the depth required by the character. From the introduction itself, Vinayakan is stunning with negative role synonymous with brutality, with every emotion halted in its perfection and in the combination scenes with Rajini his natural acting slightly overshadowing Rajini with an impressive show with his bloodshot eyes. His role may not wonder Malayalee audience, but definitely shock the Tamil Nadu and other audiences with this role, a queue of directors can be expected at his door, forgetting his recent unwanted comments in social media about Late Mr. Ummen Chandi.

04 Shiva Rajkumar

Nelson opened door of new multitude of fans to Kannada Shiva Rajkumar, who is not so famous for Tamil Audience, but in this movie, his short and effective goosebumps cameo is giving a twist, undoubtedly, he steals the scene with multi-vibes, added with scintillating BGM, his swag on the screen can erupt the Kannadigas friends that is more than of a regular Kannada movie.

05 Jackie Shroff Jackie Shroff's intense look in Jailer creates a stir and add glitz, who essays Rajini's previous History to Vinayakan.

06 Mohan Lal Vintage look of Mohan Lal as Mathews, a never seen before avatar who replaces the ruthless leader among the antagonists, stands with the Rajni, whose performance is only ten minutes long, but vibrant. His beard, long hair and colourful shirts were a treat to be watched. The versatile actor in performance wise, conceived serious scenes with a hint of comedy, sequences with Rajinikanth are greeted by viewers with thunderous claps. Towards the climax, Mohanlal's screen presence worked well in a scene where tankers were blasted, brilliant idea of Nelson to cast Mohanlal in the cameo role.

07 Anirudh One can sure say without the BGM of Anirudh, Jailer is not complete as he keeps the audience with hype, from the score of the mass scenes to the punch of the interval block as he is the second pillar of Jailer, proving his mettle again. He elevated Superstar in an excellent manner with his thumping background score. Separate BGM for Mohan Lal, Mr. Shiva Rajkumar, Jackie Shroff and Vinayan keeps stunning, their fans will be highly impressed in seeing their favourite stars were portrayed most ravishingly.

08 Rajinikanth Finally, it is Rajini, who was at his absolute best in this film, every fan moment he performed perfectly, from his coolness with a Cigarette to effortlessly throwing it into his mouth with style, ample opportunities for Fans to see plenty of whistle-worthy Rajini-ism as the erratic script is shouldered on Rajini. The uniqueness of Jailer is that it shows Rajini without the usual intro song or grandiose entry seen as his regular films. Rajinikanth gives an age and maturity performance of Tiger Muthuvel Pandian in the film without a duet song with Heroine as well as unwanted sentimental scenes. He knows his limits due to his age; he is smashing his enemies without fighting hundreds of goons with single hand as he had in old films, but he uses his mental power with the support of Mohan Lal, Shiva Rajkumar and Jackie in taking revenge that's why Superstar Rajinikanth's craze is unparalleled across the globe. The interval block, the dining table scene where he is relaxingly sitting with Ramya Krishnan and daughter, the fight, he is not moving from the Chair but the goons are falling down one by one, with snippers he arranged through Shiv Rajkumar is the classic cult scene. In this scene, Rajini does not do any significant action scenes but the audience feels the swag that shakes the audience go frenzied with his style, looks, punch dialogues, mannerisms and foresightedness.

08 Final Verdict The incredible cameos from legends like Jackie Schroff, Shiva Rajkumar, and Mohanlal, there was one scene that brought them all together, the applause from the audience was thunderous. Rajini still owns the multifield dignity and impressiveness as said by Neelambari Character in Padayappa "Intha Vayasanalum un style'um azhagum unna vittu pogala" (Even though you have aged, your style and charm has not left you).

Jailer is really a theatre vibe film. Taking the words from Vinayakan "Manassilayo Sare" Jailer. Rajini ism strikes again. Review by M. Siraj.

Mamannan Review by M. Siraj

Once upon a time audience used to explode in laughter, at the mere presence of Vadivelu even without a dialogue, but today, the same Vadivelu surprises us with his role as the title character in the film 'Mamannan' after a big gap. The paradigm shifting, he made in the minds of the audience through this film is amazing, without any double meaning dialogue or silly rotted comedies, he is freezing the audience with his pungent looks and body language.

Like Mari Selvaraj's other films, Mamannan also discusses caste politics about oppression, reservation, capitalism, lawlessness and egoism. Story revolves around Mamannan (Vadivelu), popularly known as mud, is an MLA, is staying with his son Aathiveeran (Udayanidhi) had to confront with Rathinavelu (Fahd Fazil) a political giant from the same village. Rathinavelu (Fahd Fazil) is a cruel leader who wants those who stay with him to bow their tails like dogs he is raising, always following the Mantra taught by his father "do not bow down to him who is below, if you bow down to him, you will die, finally his father's advice, law and authority transformed Rathinavelu into a human animal, whereas Mamannan is a kind hearted who respects everybody whoever he meets, he used to ask his visitors to sit in Chair every time, why he forces everybody for that is the content of the film, which Mari Selvaraj develops with powerful events. Mary Selvaraj's message in this film is that no one should be treated as a slave and everyone is equal, the common man will be helpless even after he comes to power due to local thugs' money and caste. He answers all these questions through the climax of the film, travelling through a path which no directors dares, he explores how caste influences political parties that openly advocate social justice and equality, and how a senior politician should pave the way for a new generation.

Vadivelu.

Nobody can deny, it is a life-time role of Vadivelu, a simple and complex character at the same time, he made it great with his best performance management, proved his mettle as an actor. At the beginning of the film, the scene in which he weeps with disappointment and pain as he silently stands on a rock in frustration that he has not been able to get justice for the cruelty to his son neatly injects to audience. Tamil cinema has never used Vadivelu like this before, performance on that flashback scene was so genuine, he's just lived in the character. The way how Mari Selvaraj staged each scene; what a realistic, apt decision a wise man could take on that situation, his outstanding performance alone is enough to salvage the film from its well-intended screenplay. Mari Selvaraj crafted Vadivelu's character which easily stands out among all, who portrays the titular role effortlessly, carries single handedly on his shoulders, the helplessness, warmth, repentance, calmness and courage leaving the audience hooked, a total divergence from the comedy characters he played before. He pulls off a serious look throughout the film, his gap from the Tamil Films for a decade, moulded him thoroughly and Mari Selvaraj made him stands tall and powerful and on par with any other mass hero in Tamil Cinema is a complete surprise to the viewers. Mamannan is a relevant political drama that is elevated by the powerful performances of Vadivelu that wasn't nearly enough to stop the house full of fans from venting thunderous applause every time the legendary Tamil actor shows up on screen.

Fahd Fazil: Fahd Fazil who steals the show by becoming the human form of terror he wishes to instil in people around him. His eyes significantly evoke the character features, he treads carefully to become an emblem of injustice. This idea of a full-fledged antagonist is quite unique to Mari's films Fahd completely owns the character with his intense and 'deadly' performance. He speaks to the audience through his eyes and exhibits a wide range of emotions, interestingly, his performance doesn't remind any of his previous films. Fahd completely owns the character with his intense and 'deadly' performance, he speaks to the audience through his eyes and exhibits a wide range of emotions. Fahd Fazil's intimidating performance, which debuts with the villainy of mercilessly beating the dog, makes the film seek him out across the entire screen. Fahd Fazil, stellar acting makes it a relevant political drama with his power packed performances and in combination scenes he easily overshadows others.

Udaynidhi: In Udayanidhi's film career it is the best work, he aptly fit to the role, delivers a laudable performance between the two acting monsters. He gave an aggressive and tight-fisted performance as a son, a young man with pains to earn the right for his dad. The interval block, a life time remembrance for the Tamil Film Industry, Udaynidhi expresses his pain while requesting his father Vadivelu desperately to sit in the chair, to keep his self-respect, the real goosebump, worthy acting by Vadivelu, Fahd Fazil and Uday is unique, followed by the terrific action sequence by Udaynidhi. The film's most iconic moment is that intermission sequence where Udaynidhi repeatedly asks his father (Vadivelu) to sit down in front of Fahd Fazil, whereas Vadivelu and Fahd Fazil repeatedly tell him that such things are not in their custom. When Vadivelu sat down on the chair, the theatre reverberates with thunderous applause,

AR Rahman: ARR background music for the film is decent, score perfectly matching the emotions, uplift the film to another level with his signature.

Mari Selvaraj: While detailing the reason why Udaynidhi and Vadivelu are not talking together, through a flash back, Mari Selvaraj shows a group of children from oppressed community are swimming and playing in the temple well, the upper-caste men stone them to a watery grave. The caste-related violence is not new, but the way Mari Selvaraj's cinematic magic frames this stunningly captured scenes supported with ARR BGM, stand apart and make feels the audience in the place of that village kids. As usual Mari Selvaraj love for visual metaphors are there in plenty, used his metaphorical storytelling throughout the film, the country goddess, the dog, the Buddha, the pig, clubbed with sharp political dialogues penned such as 'it does not matter who wins, it is important who is afraid', 'how is the killing spree of four men a problem for 400 men', 'we have to come to a position to question others?", "Have you told him to sit? All have banked the minds of viewers. Fahd Fazil's Rathinavelu character is obsessed with winning dog races, for him, his own people are like dogs - he wants them to obey him without questions. On the other hand, Aathiveeran loves pigs - the 'discriminated' animal, Mari Selvaraj briefs the voiceless and oppressed sections of the society. Mari Selvaraj uses these animals as metaphors to establish the characters of Rathinavelu and Aathiveeran and the political ideologies they speak.

Mamannan is a politically fearless movie that hits us hard right in the soul.

"Pathu Thala" A Hattrick Victory for Simbu (STR) Review by M. Siraj As we know South Indian film indusdtries have no dearth of movies that depict the enmity between a callous cop and a feared gangster but what really keep this" Pathu Thala" stand out in this style are the events and incidents that unfold, bringing the audience closer to the characters' world and constantly engaging the audience throughout the film.

An undercover cop (Goutham Karthik) goes into the big bad world in Kanyakumari which is run by a feared don STR a powerful gangster who rules the government at the flick of a finger, to investigate the disappearance of the Chief Minister of Tamil Nadu.

His world that is filled with blood and carnage ensures he finally gets to meet the don once he proves his worth. As the cop works to gain STR" s trust, he uncovers disgusting revelations that shake his tenacity. STR is facing his life under threat by Police as well as from Gautham Vasudev Menon, a politician who wants power and does conspiracies and his abettors betray him.

As a hattrick victory from Maanadu, Venthu Thaninthathu Kaadu, followed by Pathu Thalai, Simbu as usual adds strength to the film with his performance. From showing anger to enemies, longing to talk to her sister, and fighting scenes, he gives fans the expected treat. Understanding the depth of the story, Simbu has big heart to give enough screen space to Karthik Goutham, despite having a very limited screen time, really shines in a role that he strongly elevates just with his presence, and gripping moments. Even though STR appears just one minute before the interval at a critical point in the narrative and with his swagger and body language, he predominantly occupies the second half where the narrative becomes tighter and more engaging as the soul of the film lies in the post-interval sequences, as the strong pillar of the film, STR delivered a standout performance with ample bloodshed in the film. Obvious reason for STR to turn against government and form his own administration for people is because of his frustration at the functioning of the government. The plot rounds, STR has a fond sister who is not speaking for the stern decision of her brother. In the fake medicine case, he kills his own greedy brother-in-law. That is the reason for his sister to become quiet for a long time. Director cleverly handles the situations and it is close affinity for brother and sister.

The film has the needed mass introductions and fights, as Goutham Karthik shines in a role that he hasn't played before. He gets a massy introduction sequence which is another highlight of the film and he in the first half wins convincingly for his action, with minimum of dialogues for his composed performance, he succeeded well in his comeback. Gautham Karthik's character comes across as stiff and stern throughout the film.

STR and Goutham Karthik makes their roles with an equally stylish, where two stars are pitted against each other as an underworld don and a cop.

Gautham Vasudev Menon's performance as the deputy Chief minister is commendable, but give a feel that, he is not up to the level of a Villain for STR.

The climactic fight sequence is accompanied by an effective background score by AR Rahman, which strikes a chord with the audience and elevates its impact, is another major highlight of the film and admirable to the way it's shot and presented.

Forgetting some minor mistakes, like showing a Goods Train where Goutham Karthik is stealing the money, is running without a Guard Van, but in overall, Pathu Thala is worth watching for STR" exuberant screen presence and acting.

"Pathu Thala" Review by M. Siraj.

Christopher Review by M. Siraj. Mamootty's never dying thirst for distinctive acting.

Those who loves mass thriller films, Mammootty's "Christopher" fills their excitement and anticipation.

Its stylish teasers and theme songs were made a hysteria of anxiety, director flourished in satisfying their expectations with a perfect thrilling entertainment package that validates it. Director has made this film with such speed and technical perfection that we don't want to take our eyes off the screen. Christopher is a senior IPS officer who has a reputation of having lot of fan-following on social media, for his strong belief on delayed justice is injustice and for encounter the accused people in rape cases before trials.

The film narrates the story of him, played by megastar Mammootty with the tag line Biography of a Vigilante Cop, who punishes criminals in a vigilante model with his own law as his justice, director succeeded in telling the story in a non-linear way mixing present and past of his life more convincingly.

We can comprehend Director B Unnikrishnan's excellence through this mass gripping film who always has a special talent for making stylish investigation thrillers, while writer Udaya Krishna has penned a tight, loop-holed rousing screenplay, Director's mode of sculpting the Christopher character can be said to be the film's biggest success.

Throughout the film, the director has managed to tell the story by combining all the entertainment elements, that Christopher stands out for being able to present the audience in a very funny and trendy way, despite dealing with a lot of social issues, it touches on the present viral subject of violence against women and harassment against them with piercing strong punchy dialogues.

Needless to say, footing of this film is the mass performance of Mammootty only, who gave life to his character very sophisticatedly and coolly, director very meticulously used Mammootty's stardom as an actor very beautifully in this. His patting on the shoulders of victims with his hand, director gives a clear indication to the audience what is going to happen to the accused. While listening the agonies of the victim Mamootty's facial expressions in side angle shot, his chin shrinks and expands clearly essays Mamootty's inner feelings, Oh My God, even 100 pages of dialogue cannot give the effect, Mamootty express it in a single 30 seconds' frame.

While Mammootty's energy and screen presence as Christopher is worth mentioning, Vinay Rai as an antagonist gets applause, in every scene he appears, Aishwarya Lakshmi, Sneha and Amala Paul have also given life to their characters in an attention-grabbing manner in this film.

The cool visuals and thrilling background music is another element that stood out the best in this highly technical thriller film.

There are some minor setbacks in this film, lack of ability to find interesting or new ideas, it is almost like they want to show Mammootty the star in more slow-motion walks and the pattern is highly predictable.

Keeping aside the negligible short falls, in brief, Christopher is a mass entertainer that exhilarates and excites from beginning to end with a good movie experience for the audience.

Baadsha is the King. Pathaan Review.

Review by M. Siraj

A hilarious outlandish spy thriller that's marks Shah Rukh Khan's return to the big screen after four long years after his last film Zero, satisfied the general hype which created by his fans as well as people given free publicity through their anti-campaign.

Story plot which starts slowly but steadily finds its stability, refers India's revocation of article 370 and its impact to our enemy Country, their army officer hires Jim (John Abraham) for this, Indian spy Pathan (Shah Rukh Khan) sets out to lock eyes and horns to thwart John Abraham's retaliation. Another spy, Rubina (Deepika Padukone), also joins Pathan to go Russia to learn a secret related to John Abraham. Pathan is giving electrifying performance that has kept the hopes of the fans alive despite being in the midst of controversy prior to the release of the film, due to the song scenes in the film.

The film tells how Pathan and his agency foil Operation Raktbeez against India. The film satisfied all well because of its high packed action & chase sequences, death and gravity-defying stunts on cars, bikes, ice and helicopters, immortal heroes and villains mouthing punchy dialogues clubbed with flooded patriotism.

Making:

Creating a villain alongside the hero has helped to forget the minor shortcomings of the screenplay, which presents the adventures, patriotism and sacrifice of military and intelligence officers, definitely retains its interest, the picturisation in India, Pakistan, Spain, France and other foreign locations, usage of expensive cars, trains, helicopters, various vehicles, modern war equipment and grand sets have given an innovative stylishness to every frame of the film, that makes goosebumps for the viewers.

Action scenes are filled in film that will leave the audience in awe, the 'references' of Producer's earlier secret agent characters have been used liberally, savouring multifaced fans.

Director brings Salman Khan as Cameo is best part, who starred in 'Ekta Tiger' and 'Tiger Zinda Hai', his sparkling actions sequences immediately after the Interval, along with Shah Rukh Khan as the character of Tiger in this film, has made both fans ecstatic.

Deepika Padukone unlike her previous films, she apt the role perfectly as the dutiful, double-crossing agent, who is seen performing implausible actions, is a shocker array, her actions scenes equally match with Sharukh Khan, and she gives an unexpected Interval block to euphoric audience.

John Abraham's rock-solid portrayal as Jim is farfetched with enough screen space, provides a fitting macho villain for Sharukh Khan, his menacing physique makes a classic case of villain overshadowing even the hero in certain portions and his action Is on Fire.

Finally, it is Shah Rukh Khan, who appeared on the screen after 4 years, portrayed as an action hero with stylish 6 packed physique with amazing action sequences, has patiently waited for four years to prepare an action banquet for the fans. The fight between John and Shahrukh is mind blowing. SRK who is most perfect in romance scenes, his new avatar as Action Hero predominates emotions in major part of the film, as a full-fledged action hero.

Even though there are some minor drawbacks like oversized adventure sequences, unbelievable fight scenes, non-clarity of Deepika Padukone's role, 'Pathan' is an enchanting entertainment for those who want to see the King Khan' action magic. The movie is enjoyable, as the plot has a lot of twists and turns that will keep us glue seated, enjoyment remains constant till the end.

One has no chance to forget the most highlight and whistle moment as Bhai (Salman Khan) meets the Badshah (Shah Rukh Khan) in the train, the audience gets furious.

Undoubtedly Badshah is the King of Indian Film Industry.

Kooman Malayalam Movie: Jeethu Joseph quivers us; begets out the best in Actor Asif Ali palpitations. Review by M. Siraj

Auspicious Director Jeethu Joseph's camera rolls into the mind of a common man veiled in the darkness of primitive consciousness, garnering positive trend to watch the film again and again because of its neat script and making.

The film revolves around the revenge of Policeman Asif Ali, in a tiny village Police Station on the Tamil Nadu Kerala Border, finally reaching an impossible psychological and incredible moments that follow, it is still doubtful for me if anyone else can match this tailor-made roll perfectly matching to Asif Ali. The selection of characters were done perfectly, each scenes scripted adequately suspenseful to take the audience to the peak of excitement. Viewers will not miss the horror and silence of the night which are beautifully captured supported with good background music. For every Jithu Joseph film the Tea shop and Police Station are very much eminent, here too he used Tea Shop to get Asif Ali best ideas, as it's like a doorway that gives him the most crooked notions.

Director clearly portrayed the emotions of normal Policeman when he has been snubbed by superiors in front of others, when things cross the breaking point, he wants to react against them without any loose ends. Asif Ali brilliantly express the shame and embarrassment, compel him to become protege to a local thief played by Jaffer Idukki, who activates the other side of the Hero's personality, gradually Jithu Joseph shifts to top gear and we get an experience that makes us lean forward in anticipation, moreover Jithu's Kooman manages to excite with a unique, psychology-obsessed story pivoting around a fascinating character in the form of Giri and a perfectly-cast Asif Ali playing him, which was not tried before by him.

Usual film shows the psychiatric dis order happens to a Hero because of some of his Childhood mental disorder or accident something like, but in this movie, Director opens a new definition validated by Anoop Menon's psychiatric counsellor in a nicely done expository scene and the entire investigation also provides an opportunity for Asif Ali, who has yet to overcome his demons, to redeem himself, ending scene vouch that.

While watching one may raise, do these things happen even in this modern age, but the recent headline grabbing incidents in Kerala proves that it is happening. The title Kooman meaning something like night traveller, or a witness to the events of the night perfectly matches to the focal story point of a Policeman. Asif Ali, a mere civil police Constable, has intelligence, vision and a willingness to take on challenges beyond ordinary people, so he sees many things as unusual which could not be digested by his senior officers.

The film begins in a very low tone with the lives of a beautiful hilly village. The fast-paced scenes take the viewer to new levels of investigation or crime, the usual bench mark of Jithu Joseph. Even though it carries out a strong awareness against customs and superstitions, the movie finally reaches it through many events and leaves it to the audience to judge. The heroine changes into a surprising costume in a sudden last scene without giving any clues to the viewer whereas Jaffer Idukki utilised the opportunity well as an old thief to train Asif Ali the techniques of theft. It is also excellent that the audience does not feel that the background music is separate from the film, simultaneously camera has also managed to capture the story taking place in a beautiful village even more beautifully.

In short, Jithu Joseph proves again he is the unchallenged creator of Crime movies, Kooman is presently streaming in Prime OTT Platform.

#Drishyam 2 Ajay Devgan is creating a legacy in Hindi. Review by M. Siraj

The beautifully encrusted Crime Drishyam 2 released in Hindi, the perpetual investigating story of Jeethu Joseph about a common indomitable man to protect his family till his last breath.

Undoubtedly #Ajay Devgan and Shreya gave their best performance in their career for this film, I could not keep myself from comparing it with the Malayalam Version. Mohan Lal with his minute expressions keep the audience with crossed fingers, namely, when he come out from the Court room, seeing the Shadow Police with direct eyes for their no trustworthiness, lowering his eyes when he sees SP and her husband because of his guilty feelings, moreover his financial progress from an ordinary Cable operator to a theatre owner is convincingly narrated by #Jeethu Joseph, whereas Ajay Devgan's financial progress is something abnormal.

Secondly, screen play has been changed, (may be to tune with Hindi Audience) but original screenplay in Malayalam was one of the best. The character of Kalabhavan Mani is not coming in the second part, but in Hindi that character (Kamlesh Sawant) appears again, to corner Ajay Devgan with full of venom. Regarding the role of Police SP played by Tabu simply overshadowing Nadiya Moidu with her look and perseverance in taking vengeance on Ajay Devgan, specifically her dialogues with the Poojari on her son's yearly death day.

Finally, #AkshyeKhanna as IG gave a spectacular effect on the screen, but in Malayalam version Introduction of Murali Gopi as IG and the two Mohan Lal neighbours as Shadow Police pulls up the heart beat of the Audience for its unexpected twist, which is missing in Hindi.

Finally, those who have not seen #Malayalam Drishyam 2, the #Hindi version definitely make you thrill and no doubt, it is going to be a Blockbuster in Hindi.

Watched Drishyam 2 Hindi at Jeddah Al Andalus Mall, Empire Cinema.

Rorschach

Rorschach My review M. Siraj

Mammootty's Rorschach, is a unique and interesting psychological thriller promises an immersive experience if you are willing to pay the full attention it deserves for its visual storytelling and connecting the dots between the past and present. Even though all the actors score with their convincing performance, explore intriguing shades of Gray, it is one and only Mammootty who aces his role as a conflicted protagonist, and the music adds a whole new dimension to the narrative. Rorschach challenges our notion of life itself with a tale of an unprecedented scenes, when the wealthy NRI Mammootty walks into a rural police station to report his wife disappearance, the situation odours suspicious, arouses inquisitiveness from the beginning, story is unpredictable in more ways than anyone could guess. Director redefines revenge and challenges our definition of life itself as it tells a tale of excruciating loss.

Presenting the story of Rorschach is something new to audience because it plunges from the past to the present, into his imagination and out into the real world, with a smoothness that does the screenplay proud, the capturing the interiors of gloomy homes, troubled faces, the giant mountains and lonely forests where Mammootty roams, and the settings of an intimidatingly spacious, half-built home, and finally Mammootty submit himself fully to a script of grey character radiating different expressions and suitable body language to quest his thirst for new characters.

The film, is a complete class picture, which tells the story of revenge in different way, it is not creepy in a conservative way, yet presents a terrifying vision of the depths of a resentful, probably splintered psyche. The director is so confident of the subject he's working with, that he does not speed up matters at any point to amplify the excitement, in different way it resists genre boundaries with its paranormal elements and existential questions in a psychological thriller, to be a milestone in Malayalam Film Industry with Mammootty's full dedication to the character, despite being the megastar of this project and its producer, Mammootty does not monopolise in screen, every member of the cast is outstanding, and half a dozen are given plenty of space.

That's worked out well for its success.

Ponniyin Selvan 01 My review M. Siraj

Kollywood once lacked films that were ostentatious and grandiose that pointed out the ancient history, Mani Ratnam finally brings the dream alive with this spectacular adaptation of Kalki's Ponni's Selvan story written in 1955, historic epic Drama, which has been attempted by various giants in Tamil cinema for many years. Now has come to the screen after almost 67 years due to Mani Ratnam's hard work, released as a Pan India Movie in 5 Languages. Over the years, Tamil Cinema has tried to cinematise this heroic novel so many times including late MGR who also attempted to adapt 'Kalki's Ponniyin Selvan' as his second directorial venture.

Mani Ratnam on Magnum Opus 'Ponniyin Selvan: 1', an Adventure, an intrigue, meant for only big Screen, the story revolves around the rise of Chola Empire and the kingdom later is under threat from forces both internal and external, and with crown prince Aaditha Karikalan, his younger brother Arunmozhi Varman and the emperor, Sundara Cholar who were separated by situations, Mani Ratnam has conveyed the novel 'Ponniin Selvan' as a story superbly captures the conspiracy, thrills and page-turning quality of the books through the character of Vandiyathevan who stood shoulder to shoulder with the success of a war, Aditya Karikalan sends Vandiyathevan, after knowing the conspiracy against him. The manner in which they have abridged the novel is marvellous, with the minor changes, like Kundhavai storming into a secret discussion, the introduction of Ponniyin Selvan's mysterious saviour, accelerating the momentum of the narrative. The story and the performances of the actors make Ponniyin Selvan a great movie experience.

Casting which is very crucial, especially in a historic film like this, where somebody should carry off a period look convincingly and be the face of that character, be the physical presence of that character, Director carefully worked out and succeeded in selection, be able to give an actual face to it and actual body language to suit, hereafter Public who are reading the Novel again, definitely each character will flash the Actors face in their mind.

Karthi is awesome as the playful Vandhiyathevan, Jayaram as witty spy Alwarkadiyan is superb, Aishwarya, the pivotal role captures the spirit of Nandhini with her enticing looks as if it has written for her, Vikram as Aditya Karikalan has brought out the aggressiveness of the character in his own style, thrilling fans with his screen presence, Jayam Ravi's has done justice to his mass role won applause with his majestic look, Trisha as Kundavai, beauty and full of desire to save the regime has done the role well and entire focus of the movie is on the performance of the actors.

The frames have grandeur, cinematographer Ravi Varman gives us gorgeous visuals of grand fort walls, the spacious halls with multiple pillars and high ceilings, a solitary boat on a wide stretch of the ocean and innumerable bodies lined up on the beach. While AR Rahman's widely appreciated songs are mainly used to further the narrative, his score helps in lending an exciting quality to the proceedings in the second half, the BGM is excellent especially when Kunthavai and Nandini sharing the Screen. Art director Thota Dharani actually takes us into the land of Tanjore where there are so many works like palace, ship, battlefield to bulge our eyes. Ravi Varman's cinematography is amazing and befitting for a historical film.

Those who have not read the book may feel too many events being overflowing in a short time, which might make it hard for them, to follow the plot. The rapid character summaries also mean that we are already on to the next character before we have fully grasped the motives of the one, we have just been introduced to. After Interval when the action shifts to Sri Lanka, where Karikalan's younger brother, Arunmozhi Varman (Jayam Ravi), the titular Ponniyin Selvan, is trying to capture the king of the land, the pace quickens and the film races towards the end, with nail-biting sequences involving the slain Pandya king's personal guards, who land there to kill Arunmozhi and the director sets up the sequel on a high note, with a swashbuckling stunt on a ship on the stormy sea jointly by Jayam Ravi and Karthi against the rivals.

Finally, Mani Ratnam, kudos to him who has managed the unthinkable effort put on at this age who starts telling the story in war related scenes and moves the story till the end in his own style. His narration does full justice to Kalki, everything from Aishwarya Rai's introduction scenes, where Vikram meets Aishwarya Rai, the handling of the palace scenes, the songs and the battle at sea at the end had the touch and signature of Master Mani Ratnam who never compromises his style, his unquenchable desire is clearly visible in every frame to bring this epic poem with finesse and impact, the half hour in the climax endorse that.

Definitely there will be repeated audience for this film because of several high moments sprinkled throughout the film, Vanthiyathevan's meet-up with Nandini, the epic Nandini-Kundavai face-off, Aditya Karikalan's monologue or Arunmozhi Varman-Vanthiyathevan's climax fight, audience get grandeur-laden visuals, backed by strong storytelling BGM.

Mani Ratnam renowned Master Story teller, achieves with flying colours, with the unthinkable film adaptation of the Ponniyin Selvan which he presents with enough thrills, manoeuvre and drama to keep us pinned.

"Venthu thaninthathu Kaadu" Review by M. Siraj The highly awaited Simbu's "Venthu thaninthathu Kaadu" after 'Maanadu', directed by Gautham Vasudev Menon, hit the theatres on September-15.

STR an youngster from a remote village of TN, whose life of thorns leaves to Bombay in search of a better life, after he barely escapes from a wildfire gets sucked into the Bombay underworld to provide a better life for his mother Radikaa Sarathkumar and sister Angelina. He gets to know of the danger this life poses even before he steps into this world, when he witnesses the death of his relative.

STR thrills the audience in the first shot itself, Simbu with a thin, sweaty body in the dry thorn forest, who enters with a one-armed mannerism with narrowed eyes without punch dialogues and without hyped intro music, this 'pearl' has never been seen like this before, which makes one wonder. His body language, the work he has put into slimming down, and the 19-year-old look is astounding, Simbu's performance is done with great intricacy and caution, one can sure that if he selects directors like Goutham he can carve his skills to another level with his distinctive magic in acting. Goutham exploits the actor STR more than the star STR, perhaps it can be said that it is STR's career best performance. AR Rahman's grandiose songs keep echoing at key moments, superbly underlining the conceit of the story, his background score is a resilient accompaniment to keep the rhythm of the film.

With Vendhu Thanindhathu Kaadu, Gautham Vasudev Menon attempts a gangster saga that takes us deep into the underworld, where those driven by desperation from Villages are used as pawns by their bosses in their game of one-upmanship. The filmmaker presents an unadorned glance at this world that involves exploited lives, unfulfilled dreams and constant danger. The first time we see the Parotta shop, Goutham framed it like a prison, visually signalling what STR is getting into. While STR slowly adjusting to the underworld is a somewhat familiar curvature, Gautham makes these scenes engaging by drip-feeding us the workings of the gang, the swift transformation of STR is picturised brilliantly with a good Interval block. STR mother Radhika, who strongly believes STR destiny will be committing murders, forces him to leave the Village, but finally how STR ended up with the gun that comes into his hand in the earlier scenes, Goutham's nice narration feels fresh.

We can feel, Gautham making an attempt to move away from his usual formula both in terms of content (character-driven rather than plot-driven) and form (lengthy shots, no voice-over), but the understated, more realistic approach in much of the scenes drags the flow. The last few minutes unnecessarily dragging with an intention for a second part, otherwise it will be a satisfied movie.

#Vendhuthanidhathukaadu #VTKBlockBuster #VTKBumperHit #SilambarasanTR #ARR #LACinemas #Trichy.

Vijay's Beast An overloaded gimmicks with hollowness. Review by M. Siraj.

Even though Vijay is proficient to give accurate dose of entertainment to his fans, something is missing in this most awaited movie Beast after a period, a story centres entirely on the character of Vijay as Raw Agent Veera Raghavan's mission is to free the captives from the mall hijacked by the terrorists and kill them. In the previous years every Vijay movie changes the Collection trend of Tamil Industry due to his brilliant acting with cautiously selecting the Screen play, suitable for his fans and general public by slightly touching the Politics and giving a positive messages like Ladies prominence in the society in BIGIL, Voting rights in SARKAR.

But in Beast, keeping in mind his previous pictures confrontation with Political parties, he preferred to take a safer zone, stereotyped depiction of Muslims as terrorists, who are keeping the Public as hostages in a mall, reminding films of 1990s one of the most outdated concepts for present Cinema.

Nelson the successful Director, who had bagged well appreciation for his films like Kolamavu Kokila, it is only natural that Nelson's film 'Beast', which has captivated audiences in high expectation, but failed miserably due to well predicted story and illogical scenes. On top of that, it can be a big coincidence that not even a single bullet is fired by the terrorists who are firing indiscriminately and hero escapes unhurt, with a drawn knife.

The only biggest positive of the film is the energy level of the actor Vijay with his stunning dance movements and fights. Anirudh background music is the undercurrent of the film, the songs give the audience a great experience in the theatre whereas another acme of the film is the conflict scenes prepared by Anbariv which have well-choregraphed in excellence at par, except for a few supernatural scenes meant for Vijay's hardcore fans. The cinematography of the film is pleasing, it has been able to capture fight scenes and mall scenes on camera very well. The frequent propagation of build-ups makes the film lags, in addition lack of a strong script make the audience yawn, in spite of lead role of Vijay. The introduction sequence for Vijay may be the lowest key one in recent years, the well-known actor of the recent years Shine Tom Chacko, his calibre is squandered in such a poorly written role.

VTV Ganesh, keeps the comedy track well, and Pooja is dazzling in 'Arabi Kuthu' dance, more than that she has nothing to do. In the climax Vijay's surgical strike actions, makes the film feel gratuitously stretched since the accomplishment looks far from convincing. One should not wonder how Vijay take a fighter jet to neighbour country, landing there safely, killing almost a dozen people there, finally bring back the Villain to India.

In brief, other than Vijay's terrific screen presence, Beast lacks to pull the audience to merge with the film fully, Director Nelson serves only snacks to viewers who are coming with an expectation of a full meal.

"VALIMAI" The one and only Ajith. Review by M. Siraj

Ajith's Valimai, the most awaited action thriller, tracks the story of an intelligent cop who unleash the knots, behind a series of crimes like chain snatching, Suicides, Drug trafficking by masked men etc by the cat-and-mouse game between Ajith and Kartikeya which excite the viewers from beginning to end. Of course, it is a foreseeable story, but the screen play fastened with brilliant action sequences, Director Vinoth keep the audience cemented to their seats, as he knew the pulse of Ajith Fans for whom, an Ajith film without Bike race and action is unimaginable.

An outlaw biker gang exploits the fecund jobless youths to organise theft, drugs, in which his brother also unintentionally involved and how Ajith bring out them in front of law, The story is simple but the segregating element is that, the film uses action to its strength and rides with rollercoaster screenplay, director H Vinoth has created a socially responsible cop who understands perfectly, the socio-economic motives behind the crimes where his investigation leads into a world of stolen bikes, the dark web, drugs, and hitmen.

Fans getting furious on seeing him again after a gap of nearly two and years of Nerkonda Parvai release, Ajith a major crowd puller keeps his fans happy with his stylish and undaunted screen presence who berms the entire movie. As a cop he is someone who doesn't believe in custodial violence or encounters, and strives to find out roots for reforming criminals. The emotional scenes were equally matching with his dance and action sequences to make Valimai a crowd-pleaser, who shares good messages of family values and his own personal, real-life views of life that makes you get up from the seats and clap for him.

The antagonist Kartikeya delivers a neat performance, making him the feared dreaded villain with excellent physique where as Huma Qureshi shines in a role to do some fight sequence who supports Ajith in the investigation without any typical duet songs.

Nirav Shah who won the best cinematography award for Dhoom 2, his cinematography is remarkable, especially the bike chase sequences which reminds Tom Cruise chasing sequences of Mission impossible, supported with another important aspect, BGM by Yuvan Shankar Raja who raises the tempo of the film, the song "Nanga Vera mathiri" catapults the viewers from the seat to the floor.

Dhilip Subbarayan's action, enriches the theatrical involvement for the audience by giving a visual treat as some of the action stretches really standout, it involves a lot of chase sequences and each scene will raise your BP, the long chase of bike-and-police-van sequence immediately after the interval is undisputedly hair raising, which is tastefully done and has a lot of twists, the entire stretch was very terrifying for the audience. One can confidently say other than Boney Kapoor nobody can invest this much for that scene cost wise. Director Vinoth carefully visualised whenever the audience feels little dull, he rejoices them with an action sequence as a salvage. Being Ajith a racer by himself, does power packed hardcore stunts involving bikes and cars in top notch, choreographed by Stunt Master Dhilip Subbu Rayan, which is beautifully filmed to keep the fans with cross fingered. Ajith completely steals the show with electrifying performance and Mission Impossible-style bike chase.

Valimai, the 3-hour run time movie is highly appealing and entertaining and its success is due to: Karthikeya's brilliant physique with ominous appearance, Huma Qureshi's skill, Dhilip Subburayans stunt choreography, Nirav Shah's eye-catching cinematography, Yuvan Shankar Raja's thrilling BGM, Director Vinoth's clarity and sense of direction through his screen play, Boney Kapoor's determination even after two and years production process with so many impediments, and finally one and only Ajith's screen presence keep the audience to be happy while coming out from the theatre.

Pushpa: The Rise (An Allu Arjun Mass Film) My Review (M. Siraj)

One of the most awaited Telugu Film which has been creating waver ever since the first look release long time back, today "Pushpa: The Rise" hit the screen amidst high anticipation and rage. Evident from the content Allu Arjun has put his blood and sweat for the film, the crowd goes berserk with his introduction scene.

Director Sukumar selected a beautiful backdrop, which was not explored much on Telugu screen before, who penned the story of a protagonist smuggling red sandal wood. At three-hour-long, "Pushpa" manages to stay engaging for the most part and never makes sitting through the film tiring. Even though there are some loose ends in the plot, the way Director portrays it as solid story package nullify it. Pushpa aspires to be unique as it a template gangster story of Allu Arjun from a simple coolie who smuggles sandalwood for a Villain Character, to becoming someone as powerful as them, and finally ending up as the biggest force to reckon in his town, that amped up by the music and performance which help from the predicted story.

The camerawork and editing are on par and cinematography is perfect groove to make the film technically strong and its production values stand out. Camerawork is excellent by capturing the forest sequences so well moreover Peter Hain's action sequences are hair raising. The VFX effect is perfectly matching with every scene, one cannot differentiate the VFX and original especially in the water falls sequence where Allu Arjun is saving the red sandal wood from Police.

The film is largely engaging and set against the backdrop of red sandalwood smuggling, a terrific Allu Arjun not just shines in the role with exceptional performance as Pushpa Raj, his transformation of the physique is perfect and makes it one of the most memorable characters in recent years. As far as Allu Arjun is concerned, he came out from his normal chocolate Romeo image and shines in playing this rustic character that is hard on the surface but vulnerable in ways that others don't see, he truly gleams when he's in a tussle for power. Whenever he gets a chance to show off his acting chops, he perfectly utilised it, when he shoulders a film as massive as this one, and he ends 2021 with one of the most entertaining movies of the year. The pre-interval sequence of his smartness in the smuggling business is one of the main highlights. He imitates the mannerism of great actor Mohan Lal, slightly downing one shoulder definitely attract his Kerala Fans.

Fahd Fazil one of the best actors in Kerala, makes a late entry, played as the Police office is setting up a fierce clash in the second half even though he appears only twenty minutes before the end of the film, the final confrontation didn't give the desired effect, but he makes his presence felt. His humiliating Allu Arjun is simply superb, One cannot understand why a seasoned actress Samantha comes for a number song, but the Fans go bizarre as she sputters on screen. There are plenty of Characters throughout the film but none leave any impression. Even though there are multiple but powerless antagonists here and there in the film, other than Fahd Fazil, nobody could deliver a stunning or worth performance, shoulder to shoulder with the Hero, the entire film looks like concocting the ground for the second part.

The movie 'Kunjalimarakkar Arabian Sea Lion' tells the story of a historical hero who died fighting for his homeland, based on hearsay and imagination Priyadarshan Mohan Lal give a visual spectacle that deserves a big screen experience. Even though it is packed with high octane action, and touted as a stellar star-studded cast, bagged awards for Best feature film, Best Special Effects and Best Costume etc. Even before the release, and the most expensive Malayalam film ever made with a 100-crore budget, something is missing to give full satisfaction to the cine goer.

The positive side of the movie is heavily depended on direction, costume, the art work, VFX, music and the cast including the stunning performances by Mohanlal and Pranav. Pranav as junior Kunjali, does his part well but he doesn't have a huge screen space for obvious reasons. Arjun is the best choice for his character, in action scenes, Kunjali's ally Chinnali and Arjun fight is breathtaking, proves even now Arjun is the Action King.

No one will be exempted in saying the film is a bench mark for Sabu Cyril, who created the Zamorin's palace, interior, wooden walls, warships and artillery, special accolades for S. Thiru's ability to handle the camera, including in battle scenes, deserves special mention, stuns everybody at the scale in which this Malayalam film has been mounted. The film entails with a spectacular view of the sea, naval battles, raging waves, blazing fires and the Cannon/Boat scenes were graciously presented in most realistic manner.

But the story and plot wise movie is boring and dragging many times though super action sequences occurring often to cover it. In spite of huge cast, it fails to stay in our minds due to frequent ingress of characters thereby its missing links to one another. The poor screenplay makes a very bog-standard script that barely manages to survive on the back of a strong production design. Absence of depth characterisation of Marakkar on this purported first freedom fighter on whom the film was based and hence the add-ons in the name of love, humour and friendship all feel ostensible.

Malayalam Film world never experienced such a Hollywood standard in making, grandeur visual effects, but the film pulls back with poor screen play and the excessive weight of the expectations given to the audience before the release of the film.

"#Maanadu" A Come back for Actor Simbu. My Review

Film Maanadu produced by Suresh Kamatchi, Music composed by Yuvan Shankar Raja and starring Simbu definitely a brake through for Simbu who was terribly in need of one Hit movie, Mr. Venkat Prabhu beautifully carved a different story line as a time loop thriller and presented in a highly enjoyable and crowd-pleasing way

'Maanadu' is a political sci-fi thriller, Simbu arrives to Coimbatore for a friend's wedding and in the flight he meets Kalyani Priyadarshan who is scared of flight journey and Simbu wants to kidnap the bride as his friend falls in love with her, but he encounters Assistant Commissioner SJ Surya and he handovers an assignment to Kill the CM during a 'Maanadu' and when Simbu dies the day repeats again in a loop. He needs to pass the day or save the chief minister in order to walk out of this loop. A different level of screenplay penned and directed by Venkat Prabhu, edited by Praveen KL.and Back ground music by Yuvan supported by action Director Stunt Silva, the manner in which Venkat prabhu directed the film with famous actors keep the boredom aside which strikes at one point when re-watching the same scenes seen.

Simbu has outshined in his performance after losing lot of weight, he is cheerful, refreshing, all impressive throughout the film after a long time, he scores in emotional as well as in action scenes, he brassed his unused acting weapons from his armoury brilliantly, promises a blockbuster comeback for his fans, by slightly touching the Politics with simple but punch lines. His acting is so elegant and mature and proves he is the man who shows a huge mass by the entry on the screen after a long hiatus, specially he exhibits physical fitness while his fast-running chase scene at Airport.

SJ Surya, the antagonist of the film, the screen ignites as soon as the man arrives, does the same thing as Time Loop happens to Simbu, SJ Surya literally scores every frame he appears and his body language where he evokes villainism with humour is too good. He makes us enjoy the scenes with his elegant body language and verses in his own style. Rather than being the other hero of the film, he has aggressively expressed his assault acting to the extent that he can be said to be the hero of the film.

Another hero of the film is Yuvan Shankar Raja's background music. Yuvan has given some super hit materials with proper tunes, both different BGMs he is providing for Simbu and SJ Surya is fire for fans to be sure to come back and watch the film again and again. Yuvan has vividly embroidered BGM for the hero in way and another way for the protagonist in appreciable manner which is Yuvan's brand to keep the hype of the film

The first half moves at a leisure place and the real show begins in second half which is carrying a lot of inceptions as it is the first political time loop movie in Tamil which is not so familiar to Tamil Audience before. Selecting a story line with Time loop concept is just like walking on a rope, but Venkat Prabhu triumphed in giving a jolly entertainment film to be seen with the family, time loop concept was perfectly screened by top notch brilliant editing, not boring while showcasing the same incidents again and again. The showdown between the hero and villain will be unique and strong with exhilarating sound effects by Yuvan Shankar Raja's stylish background score.

Captain of the crew, director Venkat Prabhu is credited with the overall success of the film, who has taken a very complex, challenging story which goes steady pace from start and filmed it in a way that makes sense by doing well in the screenplay without causing any confusion anywhere thereby proving once again that he is an elite director.

In brief, Simbu simply strikes back with Venkat Prabhu.

Jai Bhim. The voice of the voiceless and their faith in the justice system.

Police terror and caste discrimination are not new in Tamil cinema, why Jai Bhim is set apart from others is because of the intensity in the presentation.

Judgments are made in each court but to what extent can people gain faith in the court and the judiciary through those orders? Director TJ Gnanavel who wrote the screenplay and directed, reveals that belief moreover argues that not only those in power, but the oppressed also should have right to have a piece of land and justice for them on this earth.

Jai Bhim's screenplay is based on a real-life incident that took place in Tamil Nadu in 1993, a legal battle fought by Sengani; the wife of a young man named Rajakannu with the support of Advocate Chandru played by Surya. In the real life when Chandru was a judge, he would ask lawyers in court not to call him 'My Lord' since he was neither at all interested in such expressions of power nor did he have a personal security, moreover he did not hesitate to declare his private property publicly. From the day he became a judge until the day he retired, he left his official vehicle and drove home on a local train. Justice Chandru has settled 96,000 cases in his notable judicial career, that too during his six and a half years as a judge.

'Jai Bhim' directed by TJ Gnanavel, a biopic of Chandru (later Justice Chandru retired from the Madras High Court) is being discussed everywhere. The film is about the legal battle and victory of Rajakannu's widow Sengani against the police during 1996-97 with the help of Advocate Chandru. The Rajan case in Kerala is widely cited in the Habeas corpus case filed by Sengani to find Rajakannu.

The film begins with those who are released from jail being segregated by caste, showing how much caste is deeply rooted awkwardly in our society even after so many years of Independence. Throughout the film we see the life of Irular (dark class) caste who are seen and ignored by society as slaves, the screenplay accurately canvassed their work, culture, food, and customs very precisely, the director never failed in detailing it throughout the film. The film says that the voice of the voiceless should be the judiciary system. There are many lessons to be learned from the Raja Kannu for the crime he did not commit and the tears of Pregnant Sengani who waited in hope for his release but in vain at the last. In spite of many years passed after independence, the Irular tribe does not own land or voter ID and ration cards, their social status is conducive to being prosecuted in unproven cases.

When it comes to actors, the first thing to mark is Actress Lijo Mol who came as dark skinned Sengani, has succeeded in conveying all her agony to the audience with minute actions precisely, a national award will be on the way to her.

Actor Manikandan who essayed the crucial and pivotal role Rajakannu has been basking in the glory of the incredible success who had the strenuous job of interpreting the character that has various stratums of complex emotional phases. He did a fabulous job and the whole story revolves around his innocence and the torture he had undergone by the corrupted power. He tailored his character so astonishingly, the audience felt they are getting the Police brutality and pain.

Surya reaching as Chandru is extra ordinary in his performance keeping aside his usual introduction BGM, Slow motion, dances and acrobatic stunts and has to be appreciated first, for making such a film to bring out the life of the suppressed to public and secondly for playing such a convincing role 100 percent loyal to real Lawyer Chandru and giving more screen space for the character Rajakannu. When Sengani describes her plight, the slightest movement in the muscles of Chandru's face is enough to understand how much Surya, the actor, is drawn into the role.

The director made a detailed study to communicate his feelings through the screenplay to the audience and in one scene, we can see the reference related to the Rajan murder case during the state of emergency in Kerala, Chandru argued in the Madras High Court at that time that this case (Rajakannu) should be seen in the same way as the Rajan case and filed a habeas corpus. Jai Bhim travels with Sengani, Rajakannu follwed by Chandru, their tears are burning in the audience's chest.

Prakash Raj as IG Perumal Swamy, who slaps a Hindi-speaking witness in the face with a dialogue 'Tamil Pesuda', (Speak in Tamil) evokes the anti-Hindi Dravidian spirit inherent in Tamils. All the supporting actors are real people from Irular Caste, never familiar with any modern visual medias, hats off to director bringing them in the frame as it is.

After watching Jai Bhim the movie goer definitely will be in a state of trauma as Rajakannu's and Sengani's quandary sink deep down in their heart, and at the outset that's the success of the film.

Drishyam 2 is a drama/thriller which completed its shooting with less number of days in Corona period with a Special team assigned to observe the entire film crew abiding the Covid 19 protocol. The real Hero of the film is Director Jeethu Joseph, after watching the film only, one can understand why he took 7 years to make a second part, who made a befitting sequel to keep the legacy of part one with his well-choreographed screen play which grips from the beginning where most of other directors fails in making sequels because of force-fitting narratives and plot points which can kills the essence of a thriller.

Film starts from where George Kutty dumped Varun's dead body at Rajakat Police Station, but there is no such thing as a perfect crime, Police who were beating around the bush for long 7 years to re lock him silently, found out some loop holes through a local criminal, in George kutty's carefully orchestrated plans in dumping Varun's body. The surrounding people which supported and shown sympathy to George kutty in the beginning, slowly making gossips because they envied on his status as he prospered and owns a local cinema theatre along with his old Cable TV. The family sentiments as well as the discussion between the family members are maintained jovially as in the first part, mainly the breakfast table scenes, but when they come to know that Police have been shadowing them all this period to catch him, the real haunt starts there. The beginning was with a jerk under night effect giving a light clue about unruffled George Kutty's future, the unexpected twists pull the carpet under your feet, especially when the audience comes to know George Kutty's alcoholic neighbor and wife are shadow police sniffing around George Kutty family appointed by SP Murali Gopi. Some of the scenes which are shown in the beginning seem to be irrelevant and less important, but Jeethu's narrative explores various threads are tightly knit at the end rolling back with the loose ends in the beginning. There are various simple elements which are kept on a slow burn, getting to simmer, kept the audience anxious while unraveling the truth of Varun murder by Police and the twists are presented convincingly. Comparing to first part less violence is shown except in one scene Geetha Prabakar slaps George kutty to vent out her anger when he starts again to narrate the cooked up story of Thodupuzha Thianam (Worship)For taking a sequel of Drishyam, which was too risky as walking on the rope, to keep the tempo and satisfy the viewers who are with high expectations, only one way is establishing George Kutty is the Killer and there should be an eye witness for register a case against him and finally George Kutty has to escape again from that plot. Jeethu Joseph manages to draw out an impressive and enthralling storyline where all the incidents are logic enough to believe and audience are convinced through the discussions between Ganesh Kumar, Asha Sarath and Murali Gopi.

Words are not enough to describe about flawless Mohan Lal's acting, he once again given life to George Kutty whose intelligence and resolve are intact, following the same mannerisms as part one, his measured words, silences and glances of a normal man in outlook, especially in the last scene his pungent look to the shadow police is equaled to 10 pages dialogues, who betrayed George Kutty as poor neighbors, but when he sees Geetha Prabhakar and her husband, he lowers his eyesight because of his guilty feelings, a master piece only Mohan Lal can excel in that.

The complete actor Mohanlal lies in the fact that, though as Georgekutty he faces the challenge to not express any emotion that could lead him to get caught; he convincingly puts his cinematic knowledge again to escape when he got by the Police with an unexpected suspense and that's why Drishyam 2 came out surprisingly and a satisfying sequel.

I can confidently say Mohan Lal and Jeethu Joseph kept the legacy of the seat edged thriller Drishyam and both are 100% loyal to people's expectations. Drishyam 2 released on 19th February 2021, streaming in Amazon Prime now.

Drishyam 2 is a drama/thriller which completed its shooting with less number of days in Corona period with a Special team assigned to observe the entire film crew abiding the Covid 19 protocol. The real Hero of the film is Director Jeethu Joseph, after watching the film only, one can understand why he took 7 years to make a second part, who made a befitting sequel to keep the legacy of part one with his well-choreographed screen play which grips from the beginning where most of other directors fails in making sequels because of force-fitting narratives and plot points which can kills the essence of a thriller.

Film starts from where George Kutty dumped Varun's dead body at Rajakat Police Station, but there is no such thing as a perfect crime, Police who were beating around the bush for long 7 years to re lock him silently, found out some loop holes through a local criminal, in George kutty's carefully orchestrated plans in dumping Varun's body. The surrounding people which supported and shown sympathy to George kutty in the beginning, slowly making gossips because they envied on his status as he prospered and owns a local cinema theatre along with his old Cable TV. The family sentiments as well as the discussion between the family members are maintained jovially as in the first part, mainly the breakfast table scenes, but when they come to know that Police have been shadowing them all this period to catch him, the real haunt starts there. The beginning was with a jerk under night effect giving a light clue about unruffled George Kutty's future, the unexpected twists pull the carpet under your feet, especially when the audience comes to know George Kutty's alcoholic neighbor and wife are shadow police sniffing around George Kutty family appointed by SP Murali Gopi. Some of the scenes which are shown in the beginning seem to be irrelevant and less important, but Jeethu's narrative explores various threads are tightly knit at the end rolling back with the loose ends in the beginning. There are various simple elements which are kept on a slow burn, getting to simmer, kept the audience anxious while unraveling the truth of Varun murder by Police and the twists are presented convincingly. Comparing to first part less violence is shown except in one scene Geetha Prabakar slaps George kutty to vent out her anger when he starts again to narrate the cooked up story of Thodupuzha Thianam (Worship)For taking a sequel of Drishyam, which was too risky as walking on the rope, to keep the tempo and satisfy the viewers who are with high expectations, only one way is establishing George Kutty is the Killer and there should be an eye witness for register a case against him and finally George Kutty has to escape again from that plot. Jeethu Joseph manages to draw out an impressive and enthralling storyline where all the incidents are logic enough to believe and audience are convinced through the discussions between Ganesh Kumar, Asha Sarath and Murali Gopi.

Words are not enough to describe about flawless Mohan Lal's acting, he once again given life to George Kutty whose intelligence and resolve are intact, following the same mannerisms as part one, his measured words, silences and glances of a normal man in outlook, especially in the last scene his pungent look to the shadow police is equaled to 10 pages dialogues, who betrayed George Kutty as poor neighbors, but when he sees Geetha Prabhakar and her husband, he lowers his eyesight because of his guilty feelings, a master piece only Mohan Lal can excel in that.

The complete actor Mohanlal lies in the fact that, though as Georgekutty he faces the challenge to not express any emotion that could lead him to get caught; he convincingly puts his cinematic knowledge again to escape when he got by the Police with an unexpected suspense and that's why Drishyam 2 came out surprisingly and a satisfying sequel.

I can confidently say Mohan Lal and Jeethu Joseph kept the legacy of the seat edged thriller Drishyam and both are 100% loyal to people's expectations. Drishyam 2 released on 19th February 2021, streaming in Amazon Prime now.

#ThePriestReview Mamootty Horror Movie. The fans who were curious about the release of the murder, mystery, horror crime flick "The Preist" the highly anticipated Film hit the screen where Mammootty played the role of Father Benedict, a never seen cameo of him as on date and he thrilled the audience.

Just to avoid spoilers in my review, in a nutshell it is an investigation by a Priest and a Police officer to dig out the mysterious suicides in a family, as their investigation succeeds, it surface it for another unbelievable crime with sufficient twists. Definitely the viewers will be satisfied with effort less performance of #Mammootty who perfectly reaping his role and fits in Priest character with his looks, mannerisms and voice modulations. Even though it is first time Mammootty pairs with Manju Warrior, the combo scenes are not much, but what we have, are proved worth and praiseworthy.

Surely one can visualize it is Mammootty's thirst for new roles even after a span of 40 years in Film Industry, only give the opportunity to a debutant director like Mr. Jofin T Chaco who establish, soul will not leave the body without fulfilling their wishes, and Jofin presented Mammootty in such a brilliant way in portraying the role of father Benedict with perfection, scary and mind-blowing moments to tie up the audience to the edge of their seats from the beginning with its captivating background music which is very crucial in keeping the tempo . Mammootty succeeds in maintaining the mysterious atmosphere around him with sheer brilliant in voice inflections and mannerisms, but it is Baby Monica, the promising baby artist and backbone character of this horror mystery thriller, however surpassing Mammootty with tough competition with her piercing looks and varying expressions which gives jolts to audience at some of the most critical scenes.

With the excellent performances and body language once again Mammootty reminds me his famous dialogue in a 1989 film (Chanduvine (Mammootty) tholpikkan avilla makkale) .

A great movie to be watched.