Amaran 2024 Movie

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Director: Rajkumar Periasamy
Writer: Rajkumar Periasamy
Release Date: October 31, 2024
Language: Tamil

Amaran Movie Review: Amaran is a biographical war drama based on Major Mukund Varadarajan, a member of the 44th Battalion of the Rashtriya Rifles, who was killed in action during an encounter operation in Kashmir’s Shopian district. The film, helmed by Rajkumar Periasamy, chronicles multiple phases of Mukund’s life — starting from when he was a student at Madras Christian College with the aim of being in the military to his subsequent training at the Officers Training Academy to him rising the ranks in the Indian army.

Tamil mainstream movies, especially the ones that feature a massive star as the protagonist, almost always show their heroes coming out unscathed at the end, no matter how much odds are stacked against them. In some way, it can be said that the audience has also been accustomed to watching the protagonist fight against all odds and emerge scatheless.

In Amaran’s case, we already know that the officer on whom the movie is based is no more with us, and throughout the film, even during the comforting moments that Mukund shares with his family and colleagues, there is a bittersweet feeling that we carry with us. But, even if Rajkumar Periasamy wasn't able to completely do justice to Mukund as a family man, he has given justice to the brave soldier that Mukund was and continues to be remembered as. This is evident from the final moments of Mukund shown in the film; rather than going for an overdramatic farewell, the makers chose to handle the moment with dignity.

With that said, it takes a while for Amaran to get things going. Mukund’s story is told through the eyes of his wife, Indhu Rebecca Varghese. We first see them meet when they are in college, and as their love blossoms, they get past the initial opposition raised by both their families to be together. But both the leads are not at all convincing in these portions. It's only when Mukund gets into the Officers Training Academy that the film picks up.

Each of the action setpieces in the film is nail-biting and keeps us on the edge of our seats. Those portions truly manage to elevate the film and help the film fully justify its genre. Similarly, the interactions between the officers also make us care for not just Mukund but also for his colleagues. All the actors who feature as military officers, including Bhuvan Arora and Rahul Bose, are wonderful in their part.

Not just them; all the supporting cast in the film are aptly cast, especially a wonderful Geetha Kailasam, who plays Mukund’s mother, Geetha. Coming to the leads, Sivakarthikeyan is seen in a never-before-seen avatar in the film. The funny part is that, in the film, the actor, who came into prominence for his boy-next-door charm and comic timing, looks most out of sync in the lighter portions set in the college. But he is phenomenal as the film progresses, and after he puts on the military uniform, the actor doesn't miss a beat.

It goes without saying that Sai Pallavi is good at emoting what her character’s feeling; she always is. In the film, she plays a Malayali from Trivandrum, and even her good emoting cannot make up for the bad Malayalam she speaks. As an actor, she isn't miscast for the part, but, considering how much Malayalam she speaks in the film, they could have focused more on perfecting her pronunciation. Even during a tearjerker moment, where Sai gives her all as a performer, her Malayalam pronunciation acts as an obvious distraction.

This also goes to show how much Tamil mainstream cinema doesn't care when it comes to casting its female actors. In a large chunk of commercial films, they cast a Malayali or a North Indian as the female lead who is supposed to be from Tamil Nadu, but when it comes to casting a Malayali who speaks a lot of Malayalam, they cast someone who isn't fluent in the language.

Also, a moment between the army officers name-dropping Thuppakki to Fahadh Faasil should have been a candid moment between Mukund and his team. But rather, it comes across as a name-dropping contest to mention as many popular names as possible to get the cheers in the theatres.

All said and done, there is no denying that Amaran is a worthy tribute to the legacy of Major Mukund Varadarajan. Even with all the glitches in between, the film makes us cherish and celebrate Mukund and the courageous officer he was.

Pushpa The Rule Part 2

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Director: Sukumar
Writers: A.R Prabhav, Sukumar, Srikanth Vissa
Release Date: December 5, 2024
Language: Telugu, Hindi

Pushpa 2 Review: Director Sukumar’s brilliance shines through in Pushpa 2: The Rule. He masterfully balances a mass entertainer with a film rich in social commentary, weaving layers of emotion, action, and intrigue into a compelling cinematic experience. Despite the extensive runtime of 3 hours and 20 minutes, the film keeps its audience riveted with a mix of high-octane sequences, character-driven moments, and a poignant emotional arc.

Sukumar doesn’t just focus on the grandeur of action; he incorporates subtle humour through the quirks and mannerisms of the characters, whether it’s Pushpa Raj, Banwar Singh Shekhawat, or the supporting cast. Each character has a distinct identity that enriches the story. Even when the film seems to linger towards the end, the emotional payoff in the climax redeems it, providing satisfying closure to Pushpa’s internal and external conflicts.

Allu Arjun ascends to a new echelon of his career with a transcendent performance. He is firmly in a "god zone," surpassing expectations and cementing his status as a force to reckon with in Indian cinema. The Jathara sequence is a landmark moment in his career, bound to be celebrated for years to come. Every aspect of his performance during this sequence—his physicality, emotional depth, and sheer energy—is awe-inspiring. The choreography, visuals, and editing amplify the impact of his performance, creating a euphoric high for audiences. In Pushpa 2, Allu Arjun proves yet again that he is not just a star but an artiste who redefines the boundaries of performance.

Rashmika Mandanna shines as Srivalli, moving beyond the archetype of a supportive partner. She becomes Pushpa’s emotional anchor, adding layers of resilience and warmth to the narrative. Her chemistry with Pushpa Raj captivates, and their peppy number Peelings is thoroughly entertaining, showcasing their dancing skills.

Fahadh Faasil is chillingly entertaining as Banwar Singh Shekhawat. His understated menace and simmering quest for respect create palpable tension in every scene he inhabits. As a formidable antagonist, he matches Allu Arjun’s intensity with a performance that commands attention.

Rao Ramesh and Jagapathi Babu bring depth to their roles as political leaders, adding intrigue and complexity to the narrative. The supporting cast, including Sunil, Anasuya Bharadwaj, Saurabh Sachdeva, Tarak Ponnappa, Jagadeesh Prathap Bandari, Brahmaji, Ajay, Kalpa Latha, Pavani Karanam, Sritej and Divi Vadthya, ensures the world of Pushpa remains immersive.

The film’s technical excellence is remarkable and a step up from the first instalment. Mirosław Kuba Brożek’s cinematography vividly captures the vibrant chaos of the forest, the intensity of the action, and the emotional nuances of quieter moments. Scene transitions are seamless, and the framing of shots is exquisite. Devi Sri Prasad’s music elevates the narrative, with tracks like Sooseki and Kissiki blending into the storytelling. The background score complements the film’s tone, while the action choreography balances grit and grandeur, offering a visual treat.

Though the film has its flaws—like, a not-so-strong story and over-the-top action sequences—its smart screenplay, brilliant performances, and top-notch production values overshadow these drawbacks.

Pushpa 2: The Rule is a sequel that surpasses its predecessor in scale, storytelling, and emotional depth. Sukumar’s vision, combined with Allu Arjun’s powerhouse performance, layered narrative, breathtaking visuals, and stellar ensemble cast, makes it a cinematic triumph that demands to be experienced on the big screen.

Kanguva 2024

Kanguva Full Movie

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Director: Siva
Writer: Madhan Karky, Adi Narayana, Siva
Release Date: November 14, 2024
Language: Tamil, Hindi

Kanguva Movie Review: The opening sequence of the present-day Suriya is the trailer for the outdated writing of Kanguva. Yogi Babu hypes up Suriya’s Francis, a bounty hunter, as he jumps out of his shower and attacks a few enemies, and there goes our hero introduction. What follows is a template romance song in Goa and a breakup that’s announced just using TEXTS (a different approach to the “show, don’t tell” format?). We are introduced to so many characters within the first five minutes of Kanguva – including those played by prominent actors like Disha Patani, Redin Kingsley, Kovai Sarala, and KS Ravikumar – but disappointingly, we hardly see them for 15 minutes on screen.

The film oscillates between two different timelines: 1070 and 2024. In the present, Francis feels strangely drawn towards a young kid, a mere stranger. He goes to the lengths of risking his own life to save the kid. On the other hand, back in 1070, Suriya’s Kanguva, a mighty tribal prince and warrior, vows to save a kid. While the premise, connecting the two mysteries, is quite intriguing and you look forward to seeing how their bond is depicted, the execution tires you. Just like how too many characters are introduced in the present, you are transported to a different world in 1070, where five different villages with different ethics and ideologies co-exist. Two worlds are built and are overdosed with so many details that add little value to the story. But even if you want to try and understand the world – the five villages, their ethics, their past fights, etc – you are given limited time to grasp it all. Besides the reason that the makers have nestled in too much information, the way it is presented also contributes to the confusion. For instance, if texts are how the characters in the present day are introduced to you (eg: Francis, Bounty Hunter), you are welcomed to the past with a strange narration in Sentamizh, haphazardly explaining the five different villages. Also, the tonal shift as the film jumps from a party in GOA to an upcoming war in an age-old village is jarring.

One of the few interesting aspects of Kanguva is its innovative fight sequences – one involving snakes and scorpions and another of the women in 1070 attacking their enemies. Watching it in 3D also gives you the effect of being part of blood baths and sea waters splashing out of the screen. Props to the acting, you also get a few emotional sequences. But the grand visuals – Vetri Palanisamy captures the bright streets of Goa and the scenic visuals of the past world aesthetically – and impressive fights are all you get in Kanguva, as the story meanders a lot without a central focus.

For instance, after announcing a war, Suriya is temporarily exiled from his village for a few reasons. And immediately, we get a song where Suriya and the little kid are reconnecting. Now, as previously said, the bond between them is central to the whole film. However, their sequences are inserted randomly in the film’s runtime, mostly as montages, so you don’t get the chance to emotionally connect with them. There’s also too much happening around – a war, a foreign invasion, the return of a past feud, a simmering vengeance, all while you are just still trying to wrap your head around the lifestyle of the village people.

There are a few moments that impress us like the fight sequences, the metaphorical moon and birds, the reason behind Kanguva wanting to protect the child and more. There are also glimpses of how Francis could be the reincarnation of Kanguva – even with the sea of differences they share, there are hints that connect them. Like how Kanguva forgives and protects someone who tries to kill him, Francis, too, goes out of his way to save his ex-girlfriend, who minutes ago wanted him dead. Suriya also impresses as Kanguva – the difference he brings to his two characters in terms of body language is quite intriguing. And after a point, it becomes a one-man show, with Suriya solely carrying the entire film on his shoulders.

Interestingly, although there is an overdose of information, you can see how the makers have carefully crafted this past world, which has a personality and culture of its own. For instance, each village has its own dance traditions, punishment plans, etc. Likewise, Kanguva’s village has a ritual of not using weapons while praying before a big war. There is also a focus on the kind of weapons they use – like a double-edged sharp stick. However, all of these are shown in glimpses. Even the villain (Bobby Deol), who rules the enemy village has four sons – but we never get the time to know or understand them. Add to this the sequences set in the present timeline, which are filled with bland jokes and outdated writing – there is so much you wish the makers had avoided. And this is why you wish the film had focused only on one timeline, letting the frames and the characters breathe a little more. Its ambitions go unnoticed in its mess of convoluted and confused writing choices.

Yashoda(2022)

Yashoda(2022) Full Movie

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Director: Harish Narayan, K. Hari Shankar
Writers: K. Hari Shankar, Harish Narayan, Pulagam Chinnarayana
Release Date: November 11, 2022
Language: Telugu

Review: Survival thrillers are not a new genre but Tollywood does one of them so few and far in between that it's a delight to see- especially when done well. Hari and Hareesh's Yashoda takes a very real-world situation, ups the ante and on top of everything, bank on a dependable actor like Samantha to carry it through.

Yashoda (Samantha Ruth Prabhu) is a surrogate in desperate need of money. Instead of carrying out her pregnancy in the basti she lives in, she is urged to move to the high-end facility Eva, owned by Madhu (Varalaxmi Sarathkumar). It also helps that she has Dr Gowtam (Unni Mukundan), who's easy on the eyes, looking after her health. While the clinically white rooms, pastel outfits, luxurious food and great company seem like a dream-come-true for any pregnant woman, cracks soon form on the surface. A disappearance here, a glitch there and soon Yashoda finds herself unravelling the mystery behind it all.

On the other hand, in the world outside Eva, we also have a murder mystery unravelling. A Hollywood starlet dies under mysterious circumstances, so do a tycoon and a super model. An unknown drug (apart from a fairness cream!) seem to hold the key to the whole mystery. Secret codes, dead policemen, loose ends - how does it all connect to the facility?

The first half of Yashoda banks heavily on comedy and emotion. The scenes where smart-mouthed Yashoda flirts with Gowtam, pulls pranks on the facility workers and banters with the many women like her there makes you chuckle. Every woman there has a story and more often than not, it's much more to do with than just being a vessel to help childless parents. The more Yashoda seems to find out about the facility, the more a team of police men (Murli Sharma, Shatru, Sampath Raj) seem to lose track of their investigation, stumbling upon road blocks.

A fight scene right before the interval sets the tone for what's to follow - an edge-of-the-seat thriller that sees Yashoda claw and fight her way out of the situation she's in. If you've seen the 2004 Hong Kong horror film Dumplings you can kind of guess the secret behind it all. That's not to say Hari, Hareesh and Samantha don't make the ride as interesting as they can. There's something visceral about the way Samantha's character is hunted and even more so in the way she fights for survival. Even if you're able to predict what happens next (which is rare), the film ensures to keep you engaged.

Where it doesn't work is when it gets hammy with some of the dialogues regarding Yashoda, mother's love, pregnancies and deliveries. The film could have done even without them because they just seem to add to the run time and don't land how they're expected to. The VFX could've also been much better in order to sell the story completely. And if we're really picking at the nitty gritty, characters of the other girls at the facility could've also been fleshed out better. Few key scenes depend on it and it's not as immersive as it should've been. Art director Ashok, M Sukumar's cinematography, Mani Sharma's score and Yannick Ben's stunts aid the film well.

Samantha steals the show as the titular Yashoda. This is her film through and through. She even draws whistles with the way she kicks butt and delivers punch dialogues with ease. The more she gets into action mode the more you both have fun and flinch at the same time. Varalaxmi and Unni Mukundan sell their roles well. You just know there's something simmering beneath the surface, waiting to come out. And when it does, it comes out well. However, Varalaxmi struggles a little with her dubbing and you wish it was better. Rest of the cast, including Rao Ramesh, Murli Sharma, Sampath Raj and co play their parts well.

Yashoda is the film to catch this weekend if you're looking for something beyond the usual masala fare or love stories. Watch it especially if you're a fan of thrillers or are a fan of Samantha. You won't regret it.

Parking (2023) Full Movie

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Director: Ramkumar Balakrishnan
Writers: Ramkumar Balakrishnan
Release Date: December 1 2023
Language: Tamil

Parking Movie Review: In the initial moments of Parking, we see a young couple moving into a new house as tenants, making friends with the existing tenant, settling down in the new place and just looking forward to an exciting phase in their lives. The husband, Eshwar (Harish Kalyan), has an IT job, and the wife, Aadhika (Indhuja) is expecting a baby. They have a love-filled relationship, and Eshwar would do anything to keep his wife happy. Their neighbour, Ilamparuthi (MS Bhaskar), a government official who is just a year away from retirement, is your typical old-timer. He'd rather repair a faulty appliance at his home than buying a new one, go on a two-wheeler under the hot sun than buy a car, and save as much money as possible to marry off his daughter. As they go about their daily routine, director Ramkumar Balakrishnan presents that as just life unfolding right in front of our eyes. It is just the kind of beginning that makes a viewer sit up and look forward to what comes next.

And that comes in the form of a conflict about parking space. The duplex house has parking space that can fit a car and a two-wheeler. While Eshwar buys a car so that the pregnant Aadhika can travel in comfort for her checkups, for Ilamparuthi, it's a source of mild annoyance (initially, at least) as he has to give up the space that he has been enjoying for the past 10 years. Given his giant-sized ego and Eshwar's quick temper and sharp tongue, conflicts around this parking space lead to a war of words that escalates to an ugly place from where there seems to be no going back for these two men.

Even though Parking is in the space of a domestic drama, Ramkumar Balakrishnan narrates it in the tone of a thriller, ratcheting up the thrills, with help from Philomin Raj's sharp editing and Sam CS's suspenseful background score. Agreed the structure of the film does bring to mind the films of the late Malayalam filmmaker Sachy, but the director pushes this tale into much darker territory, making us feel wistful at what a hurt ego can do to seemingly nice individuals.

The rock-solid performances of the cast adds not only realism but also an the edge to this tale. Playing a character who we might come across when we step out of our homes, MS Bhaskar is just outstanding, displaying a range of dark emotions - indignation, envy, misplaced righteousness, anger, and cold-bloodedness. There are moments when a glance sends a chill down our spine. On the other end, Harish Kalyan manages to match up to this, capturing the hot-headedness of Eshwar, his hurt and his shame. Indhuja and Rama, who play the wives, and Prathana Nathan, as MS Bhaskar's daughter, who is put in an extreme moral quandary by her father, are equally effective.

The relentless of this battle of egos does become a bit exhausting towards the end, and despite its relatively short duration, we do get the feeling that the film could have been shorter by 10 minutes. But this is a minor complaint against a film that is terrific from start to finish.

Raayan (2024) Full Movie

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Director: Dhanush
Writers: Manish Bhavan, Dhanush
Release Date: July 26, 2024
Language: Tamil

Raayan Movie Review: As with his debut directorial effort, Pa. Pandi, Dhanush shows yet again that he can do solid work behind the camera as well. The world he explores this time is far removed from the warm, feel-good world of his first film. Raayan has a raw and rage-filled setting, and is populated by characters who are rugged, violent, deceptive and also vulnerable.

Raayan begins in the past when four siblings - three brothers and their new-born sister - fleeing their village and ending up in the city, where they, fortunately, end up under the care of Sekar (Selvaraghavan), a handyman in a vegetable market. The film then cuts to the present where we see that the four have grown up into individuals with distinctive characteristics. The youngest brother Manickam (Kalidas Jayaram) is a college student, filled with righteousness. His elder brother Muthu (Sundeep Kishan) is rash and rage-filled. The eldest, Raayan (Dhanush) is the responsible one, and more like a father-figure. It's their love for their sister Durga (Dushara Vijayan) that's holding them all together, and as Raayan puts it, only seeing her wedded and with a child would truly make them a family.

But even as he tries to get her wedded, due to circumstances, he finds himself caught up between a power struggle between Sethu (SJ Suryah) and Durai (Saravanan), two gangsters with a history between them, who control the locality. Meanwhile, there is also the new cop in town (Prakash Raj), who is silently stirring up things between them so that he can clean up the city in the eventual clash that would ensue.

It is a credit to the strength of Dhanush's command over storytelling and the performances that Raayan manage to overcome its weakest aspect - predictability. Even if we realise at the back of our minds that given this particular premise, almost all the plot points that the film reaches are inevitable as the story moves towards its logical conclusion, we also can't help but wonder if Dhanush could have been a little more ambitious and chosen to take things to a different space, at least with some of them. This might not have come across as a noteworthy issue if this had been just another sophomore effort, but given the credentials of this filmmaker and actor, who has raised the bar quite high for himself, it feels a considerable one.

That said, he doesn't try to coast on the drama that is inherent in this premise and makes an earnest effort to make this film look and feel different. The filmmaking is sure-footed, capturing the aggression lurking within the characters, both male and female, while his pacing keeps the narrative moving at clip that has us engrossed in the proceedings. He's also ably supported by his technical team. There's the dramatic cinematography by Om Prakash, which gives the film its distinct mood, where danger might be lurking just beyond the frame. AR Rahman amplifies this tension with his score that captures the constant darkness and dread.

And there's the film's beating heart - the relationship between the siblings. Dhanush ensures that we never forget that this is first and foremost an emotionally charged drama, so despite all the heroism and bloodshed that we see on screen (the filmmakers also deserve praise for going with the 'A' rating) , we care for how the events affect the bond between these brothers and their sister. That is his biggest success as a director.

Captain Miller 2024 Movie

Captain Miller 2024 Full Movie

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Director: Arun Matheswaran
Writers: Arunraja Kamaraj , Madhan Karky , Arun Matheswaran
Release Date: January 12, 2024
Language: Tamil

Captain Miller Movie Review: The Koranar deity is the guardian of a small village in Tamil Nadu and its tribes, who is believed to be safeguarding these tribes for as many as 600 years. The king and the prince have their eyes set on the land of tribals, which they claim belonged to them before it was given away to the tribes. Kept away from the temples built by them and at the mercy of the king and his son, the villagers are hoping to attain freedom from the oppression they are subjected to. Meanwhile, the British, who hear about the power of Koranar deity,

 want to take it to England to please the king of Britain, just like they did it with the Kohinoor. With no option left, the local king hands the deity over to the British. But he also hatches a plan to hire Captain Miller aka Analeesan (Dhanush) and lures him with money and an offer to allow the villagers to the temple to get the deity back. Will Koranar deity be brought back to the village? Or does the rouge Captain Miller have another plan on his mind?

Captain Miller, at large, is a film about struggle for freedom, not just from Brcitishers but also from the oppressors. Captain Miller is one of the rarest film that tells the story of freedom struggle from the view point of an oppressed class. Dhanush gets three different looks in the film and he stands out tall among the sea of some brilliant performers. Dhanush cult is sure to enjoy each and every mass scene written with finesse. Shivarajkumar as Dhanush’s brother Sengolan is a perfect choice. Despite differences in the cause they are fighting for, when they come together, they bring in an electrifying chemistry on big screen.

 Shivarajkumar repeats the Jailer template in terms of his appearance in the film, but he has a bigger role to play here, especially during the climax. Dhanush is perfectly aided by brilliant cast that includes sudeep Kishan, Priyanka Mohan, Aditi Balan, John Kokken, Edward Sonnenblick and Vinoth Kishan, who shine in their moments, but Dhanush hogs the limelight.

The movie doesn’t lag per se, but it is a bit slow for the genre the makers have decided to tell the story in, making it a poetic action film, with some fabulous camera work. The first half truly testes ones patience with the second half taking off with good action set pieces. Yes, Dhanush is the lead of the film, but composer GV Prakash Kumar is indeed the hero of Captain Miller who manages to bring in emotions lacking in the film with his fabulous background score. The elevation BGM is one of the best in the recent times and coupled with bullet sounds, the music hits the crescendo throughout the film. He has perfectly blended rural percussion with fusion that soothes as well as pump up the audience. Coupled with Cinematographer Siddhartha Nuni’s fabulous long shots of confrontations, Captain Miller gives the old Hollywood vibe in some scenes - a composition you find in classic films.

Arun is known for telling a violent story in his own way. The film is filled with various action set pieces majorly involving gun violence, which may not be everyone’s cup of tea. Akin to Rocky and Saani Kaayidham, Miller is also about an underdog thrown around in the society, who raises like a phoenix, fighting the battle with the powerless. The big moments aren’t big in a conventional sense, but they are big in scale and sense and are mostly painted with blood.

Staying true to signature Arun Matheshwara’s style of storytelling - like Sani Kaayidham - Captain Miller also has non-linear narration and broken up into 6 chapters and narrated in a non-linear fashion. The sixth chapter hints at a sequel. With a socio-political undertone, just like his previous films, caste discrimination is what rakes up the story and ultimately conveys a message that is relevant even today, despite being set in the pre-Independence era.

Thangalaan Full Movie

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Director: PA. Ranjith.
Writers: Azhagiyae Periyavan,Tamil praba, Tamizh Prabha.
Release Date: August 15 2024
Language: Tamil, Malayalam, Telugu, Hindi, Bengali

Thangalaan Movie Review: With Thangalaan, Pa Ranjith crafts a stunning spectacle on human greed, societal oppression, and self-assertion. The film often feels like a psychedelic trip through pages of history, and Ranjith, through the story of Thangalaan (a fantastic Vikram, who delivers a beast of a performance that is full of fury and fear), takes us from the 18th century onwards all the way back to 5 BCE.

When Thangalaan begins, we are introduced to the simple 18th century life of its titular character, who is one of the very few land-owning members in his community. Most of them are already bonded labours to a landlord, who has managed to deprive them of their land through crooked means. And soon, Thangalaan, too, falls a victim to his wily ways.

But he sees a way out when Clement, a British explorer, seeks help from the community to get gold from a region believed to be haunted. Thangalaan, who has already heard of his forefather's vain attempt at getting gold from the region, decides to accompany Clement, hoping that discovering gold might help him earn money to win back his land and even empower his people. Can he succeed in his mission, especially when it's not just the unforgiving landscape that's standing in the way.

The term visionary is so casually tossed around these days, but with Thangalaan, Pa Ranjith can stake a valid claim to it. The film is a true-blue big-screen experience that immerses us into its world and keeps us glued with arresting visuals and intense drama. Not since Aayirathil Oruvan have we seen such go-for-broke filmmaking where we are left in a trance by the visuals even if the narrative doesn't make complete sense. Interestingly, GV Prakash Kumar, who was the composer of that film is also behind this one's music, and he comes up with a score that's grand even if it's a little loud at times. It also doesn't help that the dialogues aren't clear in some places; this is a film that would have benefitted from having subtitles.

But the four to five setpieces, like the flashback involving Thangalaan's forefather, and an extended stretch that involves a perilous crossing of a river that is followed by a battle with a black panther and culminates with a guerilla attack where chaos reigns, that are truly world-class in the way they have been conceived. The visual effects of the creatures, though, are a sore point.

Much of the film unfolds like a horror movie, with the horror coming in many forms - mythical, personal and social. And in between these, we get brief moments of tenderness that capture the simple lives of Thangalaan and his people. Ranjith does a great job capturing the intimacy between Thangalaan and his wife Gangamma (Parvathy Thiruvothu, who adds more to the role with her performance even if the way it's written falls short), and the psychic connection of sorts between his protagonist and Aarathi (Malavika Mohanan, who looks every inch a warrior woman), the fierce guardian angel who has been protecting the land of gold.

Even without the social aspect, the film would have been an engrossing adventure, but it's this element that elevates the film into something truly special. Though the oppressor characters (especially the Brahmin interpreter, who works for the British) come across as somewhat caricaturish, Ranjith shows how "varna sadhi" has managed to deprive a few communities of what's rightfully theirs. Early on, we see Genguvan (Pasupathy, another actor who fixes the writing shortfalls with his sheer presence), one of Thangalaan's community members, urging them to follow in the footsteps of Ramanujar and wear the poonal, so that they will no longer be discriminated, only to later realise that just the mere prop might not be enough to 'uplift' an oppressed person.

The director doesn't spare the British as well. Even if Clement promises better things for the people who agree to work in his mine, we later see how greed turns him into just another version of an oppressor.

The magical realism in the final act does make us wonder how much of what's unfolding is happening inside Thangalaan's head, but Ranjith's refusal to spell it out is what makes the film singular. And while history may have played out otherwise when it came to deciding the fate of the workers who worked in the Kolar gold fields, the director's revisionist take doesn't come across as fanciful, but only as an effort at self-assertion.

Vedaa Full Movie

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Director: Nikkhil Advani
Writers: Aseem Arrora
Release Date: August 15 2024
Language: Hindi , Tamil , Telugu

Review: When Vedaa (Sharvari) signs up for a boxing training camp in her college, she is aware that this step will invite opposition from the village pradhan’s family, but she wants to take that chance. For her, boxing is the way out of her oppressive life in Barmer. The village head, Jitin Pratap Singh (Abhishek Banerjee), while maintaining a progressive facade, favours the caste discrimination and his extremely violent brother, Suyog (Kshitij Chauhan), is often seen ruthlessly bashing up those who defy the societal norms. 

But when a court-martialed Army Major, Abhimanyu (John Abraham) comes to Barmer, winds of change begin to sweep in. He takes Vedaa under his wing and starts training her to become a boxer. And the two eventually form a formidable team, when the injustice against her family crosses all limits.

Inspired by real-life stories 'Vedaa' speaks out loud against caste- based injustices and crimes. While using a social message to propel the high-octane action, the film's narrative (Aseem Arora) harks back to the Hindi movies of the 90s – high on drama, raw action (which is one of the highlights of the film), songs interspersed during tension and turning points in the story. 

John Abraham as Abhimanyu is a man of few words, but his punches and kicks that come flying fast and furious do all the talking. The film plays to his strengths and scores high on stunts and he is every bit the action-star we've been looking forward to on screen. Sharvari in the title role, is raw and unhinged, holding her own very well in emotionally charged scenes. As the resolute Vedaa (who is called Fighter Vedaa by her sister), unwilling to give up, she is quite impressive. Abhishek Banerjee channels his menacing side in this role to fight the protagonist.

The film's gritty texture and tension are well-etched out and so are some of the evocative scenes. And songs like 'Zaroorat Se Zyada' blend in well to the mood. But a few notes in the film don't ring true - especially the long drawn out and convoluted climax, a couple of oddly inserted songs and some scenes come across as staged. Many portions are predictable, and follow the formulaic route, but the hardcore action sequences, especially in the second half, keep the adrenaline rush going.

Nikkhil Advani serves up a massy, masala movie with a message and whistle-worthy action.

The Goat Life Full Movie

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Director: Blessy
Writers: Benyamin Blessy
Release Date: March 28, 2024
Language: Malayalam, Arabic, Tamil, Hindi, Telegu

The Goat Life Movie Review : Najeeb leaves for the Gulf to provide a better life for his family in Kerala, but in caught in the cruel realities of work here


You don’t see Prithviraj the superstar in Aadujeevitham. Thanks to the real Najeeb’s presence during the movie promotions, you can see that the actor has brought alive on screen the character on whose life the story is based.

Based on the book by Benyamin, Blessy’s directorial is almost a dystopian take on migrant life in the Middle East. Najeeb mortgages his property to get a visa for the Gulf. In the layered story, we see Najeeb leave behind a verdant Kerala in the hope of providing better opportunities for his family. But he and a friend, Hakim, are unwittingly picked up by the wrong Arab sponsor when they land in Saudi Arabia and are taken to separate desert camps to herd goats.

The first half superbly juxtaposes life in Kerala and the harsh and cruel realities of the desert, where Najeeb lives a torturous existence with barely any food or water to meet his basic needs. And it would seem that the animals are kinder than the masters. Your heart goes out to the character and the trauma that his life has ironically become, in the hope of better pursuits.

As one horrible day grows into another, Najeeb suddenly meets Hakim again and there is a slight hope of the chance to escape with the help of an African labourer, Ibrahim Qadri, who is, apparently, familiar with the area. Will they be able to come out safe forms the rest of the story. But the second half falls slightly short, for one, with the story stretching on, and also with the director’s propensity for gimmicks, which takes away from the overall gem of a story.

What to say about Prithviraj, except that he lives the character and is superb as Najeeb, who is completely lost and at wit’s end in this unfamiliar region. Quite apart from the stunning body transformation, he brings the right mix of innocence and vulnerability to the role.

The cinematography by Sunil KS and KU Mohanan give the film the feel of a masterpiece. The desert is stark under their gaze and adds to the emotions of the storytelling. AR Rahman’s soulful music is already a hit on social media.

Having said all this, there is a slight lack of emotional resonance that was found in movies like Manjummel Boys and Premalu, the recent big Malayalam hits. But for a realistically told story of a man’s resilience and for Prithviraj’s acting, Aadujeevitham is bound to move audiences.

Garudan Full Movie

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Director: R.S Durai Senthilkumar

Writers: R.S Durai Senthilkumar, Vetrimaaran

Release Date: May 31, 2024

Language: Tamil

Garudan Movie Review: The film opens with Minister Thangapandi (R.V. Udayakumar) setting his sights on a large parcel of land belonging to the Kombaiammam Temple. In Kombai, we meet Aadhi (Sasikumar) and Karuna (Unni Mukundan), inseparable friends since childhood, and Sokkan (Soori), a loyal servant to Karuna’s family. Sokkan, an orphan who saved Karuna’s life years ago, is a constant presence in both families, handling their affairs with dedication.

When the minister’s henchman (Mime Gopi) arrives in Kombai, he offers Karuna a tempting deal: betray Aadhi and hand over the temple documents in exchange for riches. Karuna, influenced by his wife’s ambition, agrees, setting off a tragic series of events. Karuna’s grandmother, Sellaayi (Vadivukkarasi), dies under mysterious circumstances, creating an opening for the control of the lands. Karuna manipulates Sokkan’s loyalty, making him the new trustee,a strategic move to facilitate the theft of the documents. Aadhi, unsure of his friend’s treachery, is brutally murdered, and Sokkan is a witness to this horrific act. Torn between his loyalty to Karuna and his innate sense of justice, Sokkan makes a hard choice, setting the stage for a violent confrontation.

Garuden maintains a brisk pace with hardly a dull moment. The movie really shows how close the three main characters are, which makes the betrayal hit even harder. Sokkan is a standout figure with conflicting emotions. He’s built in a way that’s almost counterintuitive to his own instincts of loyalty. He also cannot lie when his master is around, and his stream-of-consciousness word vomit makes for some amusing moments.

The film’s reliance on graphic violence and bloodshed, while contributing to its intensity, feels excessive. The constant barrage of stabbings, throat cuttings, and maimings becomes repetitive and loses its impact. It’s also the same old betrayal drama plot which you’ve seen before. One’s reminded of Sundarapandian. Also, why does Aadhi bring a baby to a knife fight? It felt out of place. And despite multiple warnings, he still walks into his demise.

In a way, all three - Soori, Sasikumar and Unni Mukundan have equal screen time. Sasikumar plays with his usual flair and does a neat job. Unni Mukundan has given an earnest performance. However, it’s Soori who elevates the film. His journey from a loyal servant to a man fighting for what is right provides the emotional core. He has given an amazing performance, and continuous his good streak of serious roles since Vidhuthalai. Vadivukkarasi’s brief appearance is memorable, and Shivada Nair makes the most of her limited time.

Yuvan Shankar Raja’s backgrounds are good. There are hardly any songs -perhaps for the better. Arthur Wilson shows the brown, muddy vibes of the brickfield really well. Garuden will appeal to those who like an emotional rural action flick.