Tejabhai And Family Movie Review

When the current action hero of Mollywood, Prithviraj comes up with his first full time comedy movie, that too with Dipu Karunakaran- the director of 'Crazy Gopalan', the fundas are evident at the very outset. This is 'never ever going to be for those looking for path-breaking cinema, nor for the critics. As it turns out to be, it is one entertainer that attempts for laughter unlimited, but with logic that may take a complete backseat. Thejabhai and Family' is one such movie that try to follow that Priyadharshan route of entertaining the masses in the eighties, loaded with similar brand of wit and humour mostly around confusion dramas, that are still the order of the day.

The movie has Prithvi as super underworld don of Malaysia named Thejabhai, who falls for an ordinary Malayalee girl, named Vedhika, engaged in social activities in Kuala Lumpur. To impress her, Theja takes the name of Roshan Varma and starts behaving as if he is a do-gooder for all. But his plans go awry as the girl's father Damodharji expresses his interest to marry off his girl to a youngster from a reputed big joint family. Theja, who is an orphan, now with the help of a fraud Swami Vashyvajassu(Suraj Venjaaramoodu), moves on to Kerala to find out his family who deserted him at the age of three. Swamy now plays wiser as he posts a full page advertisement in a leading daily asking for candidates to fill in the posts of father, mother, uncle, aunts and their relatives for a young lad. And in comes the entire gang of comedians of Malayalam cinema to fill in the posts, at a pay of 1500 rupees per day. The movies follow the confusions and chaos that prevails in the 'built-up' family as Vedika and Damodharji (Thalaivaasal Vijay) arrives to check the background of Roshan Varma and to fix the marriage.

Teja Bhai on the look out for festival viewers, demands you to lock your brains in the cupboard and throw your thinking caps out of the window. The scripts, by the director himself, is loaded with nonsensical and juvenile humour that makes you laugh at regular intervals. The film, on the outset looks like an amalgamation of several well executed sequences, of many films starting from 'Kalyanji Anandji'. But discrepancies aplenty do sweep in, especially in the post-interval portions, as this comic caper has too many characters with narratives that goes on and off in the second hour. Some of the attempts on slapstick, where everyone is chasing everyone, fall flat. Also, the climax resembling 'Pokkiriraja' loses its sheen and looks hurried. But the glitches and blemishes may easily be overlooked if eyed through the perspectives of a masala comic entertainer.

In the positives, Suraj venjaaramoodu is the man who holds the entire movie together, evoking mirth all along. The sequences including that of Salimkumar's take on 'Mahabharatha' as their family story, the confrontation scene between Akhila and Prithvi supported with the scenes of TV and the visuals of the remixed 'Oru Madhurakinavin' are all well applauded by the viewers. Also is the slick production values displayed in the entire movie..

The performances of the entire cast are loud, but one doesn't mind that since the film is lighthearted in any case. Prithvi as Theja comes out with a decent performance and fine tunes his timing of presenting humour. And so is Akhila who is extremely attractive and photogenic, though she doesn't get much scope to display histrionics. The songs and BG scores by Deepk Dev are embellished with foot tapping elements, of which 'Pranayanila' is the pick. All the three songs are well picturised by Dipu, with the help of some interesting framing by cinematographer Shaam Dut and visual effects by editor Manoj.

At the box-office, the patronage by its target audience, fantastic promotions embarked by its makers and the opening response should help 'Thejabhai and family' for a relatively decent run in the coming days. All in all it's a mindless entertainer 'never ever' meant for those thinking types.

Pranayam Movie Review

A Blessy film is always special. Moving on with his exceptional penchant of creating worthy movies centred on human relationships, 'Pranayam' is one that matches the qualities of his previous endeavours. You need to hand it to him for picking up stories from a novel territory that defy stereotype and tell it with this sport of purity and simplicity that can win you over. And it also makes him undoubtedly, the best of the storytellers to have emerged in Mollywood, after late Padmarajan. The movie opens with the scenes of Achutha Menon (Anupam Kher), who had recently survived a heart attack, now trying to find right powered specs from a city eye hospital. He is currently living in a city apartment with his only son Suresh's (Anoop Menon) family. In the very same day while returning to the flat with the help of his granddaughter, he gets the glance of his ex wife named Grace (Jayapradha) in the elevator and faints down. Grace, after the divorce from Achuthamenon is married to Mathews (Mohanlal), a retired philosophy professor who is partly paralysed after a stroke and is at present left in a wheel chair.Now staying in the same flat with their daughter Asha (Dhanya Mary), the couples share an honest and chaste relationship, confiding the smallest of incident to one another. But this chance acquaintance with Achutha Menon after forty years, offer the three to walk down their memory lanes and to blossom the rarest of the relationships, ever to have portrayed on the Molly wood screen. This unique story is translated beautifully on celluloid, thanks to the director's deft handling of a finest script, creating a world that's so simple and relatable. There have been very few films in the past that have captured the relationship between man and woman with this kind of sensitivity. Of course, a story like this unwinds at a unhurried pace, but there's no denying that the proceedings keep you engrossed for most parts, as the complex relationships, their motives and the culmination is peeled off layer by layer. The climax, of course, takes the viewer by surprise and was the best way out to culminate the story. Casting the best available talent of Mohanlal and Anupam Kher for two pivotal parts and doing complete justice to their roles is tough. But the ease with which Blessy handles the tense moments, the considerate dialogues between the lead players and also the emotional finale shows his expertise as a master narrator. Blessy's choice of actors is perfect. And the characters they portray are real adorable, so close to life or so inspiring. Mohanlal and Anupam Kher comes up with scintillating performances, with loads of emotional precision in each of the heavy sequences. But the star of the show is definitely Jayapradha, who had enlivened the central role to such perfection that to state that she is exceptional would be an understatement. She as a charming, mid aged lady is flawless and a treat to watch that it will definitely be her role of a lifetime. Anoop Menon also uses his limited space to craft an unforgettable character, while all others in the cast are appropriate in their roles. The technical side of 'Pranayam' is topnotch with Satheesh Kurup supplementing beautiful visuals aptly matching the poetic ambiance of the narratives. RajaMuhammed in editing also has gone for the right cuts to build in real emotions, all along. And there is a killer title track and a few good songs by M Jayachandran in the lyrics by ONV Kurup. 'Pranayam' is for the family. It is well acted, deftly written, entertaining and broadly appealing drama. Watch it with someone you love!

Ulakam Chuttum Vaaliban Movie Review

What all are your expectations, when you are on to a film with Jayaram playing the sole hero. Yes, you all expect to bump into our hero amidst a family of financial difficulties, trying ways to find solace from his distress by masquerading and attempting different routes, finally landing into more troubles. Rajbabu's 'Ulagam Chuttum Vaaliban' is another such tale with all that Jayaram ingredients, nothing more...nothing less. The movie has Jayaram as Jayashankar, from a silent hamlet of Krishnapuram. Living a happy life as a wholesale vegetable vendor, with his mother and only sister Kalyani(Mithra kurien), his only big dream is to somehow marry off his sister to a good family. But as a bag with his ten lakhs is suddenly lost, Jayashankar is required to move on to the city to meet Sethuraman(Suraj venjaaramoodu), his distant relative and richest man in his family, to borrow some big money to make a return to his peaceful life. And when Jayashankar lands into the city, he bumps into the TV channel presenter Varsha(Vandana) and her brother Saajan Joseph, the circle inspector of police. Jayashankar also finds that his relative Sethu is running a big gang of pickpockets and petty thugs with the support of the local MLA Brahmadathan. Jayashankar is forced to join the gang, learns the tricks from the professional trainers in the circuit and emerge a big player in a few days. But everything goes upside down for Jayashankar as he is selected for the Sub Inspector Post, for which he had applied quite a few years back. The movie follows the life of Jayashankar, now an expert thief who suddenly starts his police life in the same station of Thrikkara, where he had been roaming free as the master pickpocket. 'Ulkam Chuttum Vaaliban' definitely has an interesting plot line and boasts of a few endearing moments, but the outcome is plain and simplistic. Director Rajbabu seems to be stuck in the masala potboilers of nineties but times have changed, Mr. Director. Also, the writing by Krishna poojappura is quite inconsistent; it involves you at a few places, but is inducing yawn most of the times and is a tad long at two hours and forty minutes. The only aspect that's amusing are the sequences involving Biju Menon and his son with an acerbic tongue. Some of the gags are genuine, but they are few and far in between. The movie has four songs, which all pop up at the wrong moments and are a total letdown, with the attempts on the visuals of the songs failing miserably to evoke laughter. .. Having said that, it's also true that the movie is better towards the latter reels, than its former half. Cinematography by Anandhakuttan is also just up to the mark. Talking of performances, Jayaram as usual, is dependable in a role that he had been to umpteenth times. Biju Menon once again sparkles in his shorter role as a stupid CI, who is more concerned about his beauty and personality. The ladies in the frame including Vandhana and Mithra kurien look graceful but don't get ample scope to display their emoting abilities. While Sureshkrishna as the MLA Duttan is in another regular villainous mould, the rest of the cast consisting of the comic faces of Mollyood including Suraj, Salimkumar and kalabhavan Shajon tries to evoke mirth with little success. On the whole, this old fashioned 'Ulagam Chuttum Vaaliban' doesn't travel with a perfect route and is often directionless, with a few funny moments. In the B.O., the holidays ahead may help its prospects at the big cities essentially, but in the villages it will be dull.

Doctor Love Movie Review

'Dr.Love' is a movie primarily aimed at the youth .An interesting plot loosely inspired from the Tamil flick 'Shahjahan', this debut attempt from director K Biju is a feel-good film and though it has its share of loose ends, the outcome leaves you feeling pleased than many of the recent entertainers. The movie has Kunchakko Boban as Vinayachandran, a struggling young writer, who is trying different ways to make a living. He has a friend in Gowry(Ananya), who is a staff in the local telephone booth. Mainly threading his plots for novels around love, Vinayachandran accidentally happens to meet Sathya Sheelan(Innocent), the P E Teacher of a college, who comes for advice to somehow fulfil his love for a fellow teacher in the college. And for that Sathyasheelan finds ways to post Vinayan as a supplier in the college canteen. Once inside the college, Vinayan instantly strikes a chord with the students helping some to reward with their first love. Instantly rechristened as 'Dr. Love- the Romance Consultant', he starts to deals with people who are affected with love and becomes the last word for youngsters in the college struck by Cupid's arrow and those who have a problem with their love affairs. The after-effects of his so-called 'guidance' and the consultant's own love story is what that takes the story forward. K Biju in his debut screenwriting relies on the tested formula, but packs in a lot of unpredictable situations that has been smartly woven in the screenplay to make it more exciting. The movie with a unrealistic, sometimes unconvincing plot lines, is interspersed with light moments aplenty and much of them have been handled deftly. Things are smooth sailing till the emotional angle comes up, where the narrative dips a little, but the experience as an assistant to many big names of Mollywood helps Biju to manage the climax with out much chaos. Dialogues deserve special mention, as the youth are sure to identify with them! The performances are topnotch. Kunchakko Boban seems to be riding in the best of the times in his career and here he gets ample scope to display his potential as an actor and he takes full advantage of the opportunity. Bhavana just manages to play to he demands of her Ebin, a tomboyish character who is the de facto leader of a group of friends in the college. Bhagath and Hemant are lovable while Manikuttan springs a pleasant surprise with his witty one-liners.! Ananya in another good role is completely natural with a fine performance. All others in the cast including Salimkumar, Vidhya Unni, Rejith menon and Kalabhavan Shajon come up with right performances to suit the demands of the roles they are on. Debutante Vinu Thomas's music is more than okay with a mix of good and melodious numbers, but those that stand out are the title track 'palapoo', 'Aakasham doore' and 'Ninnodenikkulla' for their honey-sweet tunes. Cinematography by Shaji is eye-catching and the beautiful ambiance of SB College are utilized to the maximum to give that colourful, chic look of the campus flick. All in all,' Dr.Love' has some interesting moments and the ensemble star cast pitches in real performances too. On the whole, the movie could' be an ideal popcorn flick targeted to strike a chord with the youth and those who relish candy floss and madcap entertainers. If you are not looking for wisdom and rationale in a light-hearted entertainer, We are sure you will savour this campus carnival .

Kanchana Movie Review

Larencce, once a choreographer, was promoted as a director by Nagarjuna with 'Mass'. His next film as director is 'Style' where he himself played the hero. Both the films were big hits. Some time later, he directed 'Muni' which was not that successful. But, he had decided to bring out a sequel to 'Muni' and that was how 'Kanchana' took shape. The film was a thriller and Lawrence worked out the entire script in an impressive manner and it was Saratkumar who brought life into the film, by portraying a different role. Story Raghava (Larencce) is a carefree boy and he loves to play cricket with friends. Though he is daring and dashing during daytime and could be able to thrash even goons, he is a timid fellow during night as he was scared of darkness and ghosts. He stays with his brother (Sriman), sister-in-law (Manobala) and mother (Kovai Sarala) and two children of his brother. While searching for a good playground, Raghava and his friends find a vacant place and clean it and make it a good playground. Unfortunately, that place belongs to one eunuch called Kanchana (Saratkumar). In fact Karthik, a boy was pushed out of home in childhood for behaving differently and for showing the signs of a girl, though he was a boy. Knowing that he is behaving like a girl because he was a eunuch, a Muslim brings him up with the name 'Kanchana'. Noticing that everyone hates eunuchs for no fault of theirs, 'Kanchana', who had an ambition to become a doctor, adopts another eunuch and gives her good education and makes her to study sincerely. Her efforts turn fruitful and that girl stands first in her plus 2 studies. The school which gave her education agrees to bear the entire expenditure for her MBBS course. But, Kanchana saves Rs 25 lakh for her education and she wants to spend the money to build a hospital and purchases land. Local MLA (Devan) unauthorisedly occupies that land. When Kanchana goes to the MLA to question him, Kanchana, the Muslim, who brought her up and his mentally challenged son get killed by the MLA. So Kanchana turns a ghost and decides to avenge her killing. It was the same land where Raghava and his friends cleared for playing cricket. Raghava unknowingly brings the three ghosts to his home along with him. Raghava's mother and sister-in-law find Raghava behaving indifferently by wearing sarees, using haldi while taking bath and wearing the bangles. Noticing this, they approach a Muslim peer in a dargah to throw them away. The Muslim Peer captures the ghosts and questions who were they and Kanchana reveal the entire flashback. The Muslim Peer ties a thread to Raghava and warns him not to remove it as it may bring back Kanchana. Whether Raghava removed the thread to help Kanchana avenge her death? Did Kanchana able to teach a lesson to the MLA? Did Kanchana�s ambition to build a hospital for her adopted daughter was fulfilled? Answers to all these questions form part of the climax. Performance Though Saratkumar made an entry just before the interval bang and appeared in a few scenes in the second half, he gave a superb performance and filled the life into the entire film. A hero of Saratkumar stature accepting to portray the role of a eunuch is something noteworthy and he lived in the character. Raghava Larencce, who played the lead role did justice to his role and he did the character with good ease. Lakshmi Rai, who played the ladylove of the hero, filled the glamour slot perfectly. Devan is justified as a politician with a touch of negative role. Other artistes did justice to their roles.

Dookudu Movie Review

We guessed it right. Dookudu is really a big leap in Mahesh brand entertainment. There is, delightfully, a bonus. The film is a big leap in Vytla brand entertainment as well. To put it in a nutshell, this awesome film has got everything which you might have expected to see in Khaleja (2010) but did not find in it. Dookudu has got everything - comedy, action, romance. On the top of it, there is an intelligent screenplay that coalesces adrenaline punches with comic drama and sentiment. And when the sentiment involves a superstar like Mahesh Babu and an ace like Prakash Raj, who strike a perfect chemistry on screen, you cannot ask for more. It would be far-fetched to even suggest that Dookudu is a classic, as the hero had wanted it to be, but it is indubitably a must-watch film. Shankar Narayan (Prakash Raj) is a people's man, a Godfather for the inhabitants of Shankar Nagar, Hyderabad. Some villains (Kota Srinivas Rao and company) conspire to eliminate him and get rid of him successfully (though it turns out to be a temporary success). As it happens in every other film, the do-gooder father's son Ajay (Mahesh Babu) grows to be a heroic cop and is based in Mumbai. He and his team (headed by the inept Nasser) are on a hunt for the dreaded underworld don Nayak (Sonu Sood looks old but his performance is routinely fresh). Team Ajay head to Istanbul, Turkey, to nab Guru Talwar, Nayak's aide, to eventually catch hold of the big fish. Twenty minutes into the film, uninterrupted action and edge-of-the-seat drama gives way to a pleasant romantic track involving Mahesh and Samantha (as the wannabe fashionista Prashanthi). As Ajay and co prepare to outsmart Talwar, Shastri garu (Vennela Kishore as Mahesh's junior cop) makes us laugh by gushing about his Bamma, who has got a talent for predicting things as they will happen. This goes to show that Vaitla never rmisses an opportunity pepper the proceedings with humor). Some dialogues (Kona Venkat) show traces of Trivikram-style satire and humour in Istanbul. While Mahesh goes verbose (well, he says he has got noti doola), displaying much more maturity as an actor than he did in Khaleja, Samantha adds the glamour quotient. The monumental beauty of Istanbul, resplendent with magnificent buildings which form the backdrop in a duet, lends a rich feel. (Thank the camera of Guhan). It is not long before Ajay completes his Operation Istanbul and returns to Hyderabad. It is at this stage that Vaitla introduces his brand of comedy. The film is now set in the house in which Shankar Narayan lived. Shankar is back in the house but his return is kept in the dark. Ajay wants to make his father, who had lived in coma for years, happy by creating a make-believe world of lies around him. The rest of the film is all about how Ajay accomplishes the task of annihilating every villain who had backstabbed and wanted his father to be dead. Thankfully, the drama and action are not routine. They are laced with rib-tickling comedy and touching sentimentality. Vaitla blends all the commercial ingredients in his inimitable style and makes Dookudu an enjoyable fare for all and how? Well, here it is how he does it. Much like Dhee, Ready and King, this film too sees the the hero making everyone live in a fool's paradise: things go as the hero wants them. Nayak marvels at old Telugu classics and Ghantasala's rendition of the Gita; Brahmanandam, who believes that he is part of a reality show (this one, believe us, is top class), has you in splits as he is fooled around without a respite; MS Narayana's spoofing of Magadheera and Simha is superb; Prime Minister NTR, speaking on the ramparts of Red Fort in chaste Telugu, promises to bring black money back; Master Bharath participates in multi-crore land dealings and brings smiles. Even a get-to-gether of Mahesh, Samantha's families becomes an occasion for comedy of lies and bakras. Episodic treatment keeps your interest alive. Every murder comes with a touch of humour. Welcome to the world of Srinu Vaitla. As for the performances, Mahesh delivers one of his career bests. He can now safely claim, without inviting ridicule, that Dookudu is a slap on the face of those who declared that he is not good at comedy. He shows verve and energy in action scenes. He is convincing in the khaddar get-up. He is remarkable at spouting one-liners as the super-efficient cop. He is trigger-happy, but is immediately funny in taking digs at his stupid senior Nasser. All comedians and character artists do justice to their roles. On the flip side, however, Samantha is not seen much in the second half. But when she sizzles on the screen in Itu Raye number, you swoon. Tehnicially, it is proof what a Digital Intermediate finish can make a film look like. It is visually rich. Post Script: Babu land aithe opposition ku bande, Dharmavarapu Subrahmanyam says to a frightened Sonu Sood. Prince proves he is Numero Uno. The fight for top slot is over. Cool.

Mummy Punjabi Movie Review

Ok, so chances are that you haven't heard about this film called 'Mummy Punjabi'. Even bigger chances are that you don't even know that it released alongside 'Bodyguard'. And one can be really sure that you don't really care about whether it is entertaining or not. However if you really do, then here are some deep insights around the film that would help you make up your mind and satiate your curiosity. - First things first, 'Mummy Punjabi' is NOT a Hindi movie. No, it is not a Punjabi movie either. It is in fact an English film which has been dubbed in Hindi. Seems like the makers had plans to take it internationally; you know, one of those 'crossover' kinds. However none of that happened and they had to struggle to release it even in India. - It was earlier titled 'Mummyji' and all of a sudden it was rechristened to 'Mummy Punjabi'. - It's dated value can be noticed from the fact that when dear old 'Mummyji' (Kirron Kher) hands over a book to her daughter, it turns out to be a 2006 year book. - Seems even a favourite amongst 'crossover flicks', Anupam Kher, wasn't quite interested in doing the film. No wonder, the veteran actors slots are filled by Kanwaljeet Singh and Jackie Shroff (in a Sikh get up no less). - Jackie Shroff looks as haggard as has been the case in films like 'Bhindi Baazaar Inc' and 'Tum Hi To Ho'. - 'Mummy Punjabi' is the kind of film where 'ghar ki bahu' starts dancing to 'Kaanta Laga' during a wedding celebration and then says 'jab achcha music chalta hai toh mujhse control hi nahi hota' and stuff alike! - 'Mummy Punjabi' is the kind of film where 'ghar ki doosri bahu' starts dancing to 'Kajraare' in front outside her house in a 'verandah' because there are no keys to get in and her hubby feels like having some 'fun'. - 'Mummy Punjabi' is the kind of film where the makers can't procure the rights of either 'Kaanta Laga' and 'Kajraare' and actually go on to play some random music in the background even as the actresses keep referring to these songs right through the film. - 'Mummy Punjabi' is the kind of film where 'ghar ki grown up beti' stands on a balcony, invites an absolute stranger from the other balcony for 'fraaaaandhsip' and questions him if he is gay when he refuses to be her 'fraaand'! - 'Mummy Punjabi' has exactly two moments right through it's two hour duration where you manage a smile - First where Mummyji welcomes 'ghar ki doosri bahu' into the house and second when she steps out of the house for 'karvachauth'. - 'Mummy Punjabi' tries to send out quite a few social messages - 'equality between 'bahu' and 'beti'', 'allowing your grown up boys to fend for themselves', 'respect for the lady of the house' etc. etc. - but fails miserably in this endeavour. - The director of 'Mummy Punjabi', 'Pammi Somal', would be unleashing her next, 'Na Jaane Kabse..', in September. - And if you are looking for that final punch then here is one - Even Dolly Bindra's voice has been dubbed by someone in 'Mummy Punjabi'! Go figure!

Bodyguard Movie Review

Remember Salman from the days of 'Bandhan', 'Hum Aapke Hain Kaun', 'Hum Saath Saath Hai' etc. where he could do nothing wrong and was always there for his loved ones? Not just that as he spoke every word only after going through it in his mind and never once mouthed anything that could be offensive to anyone, be it the ones known or unknown to him. When the film begins, it seems like a regular love story in the making. Salman is hired by Kareena's father (Raj Babbar) to protect her from feudal enemies (Mahesh Manjrekar, Aditya Pancholi, Chetan Hansraj). Of course it is known from beginning till the end that this band-of-brothers would be beaten to the pulp and Salman won't allow a single scratch on Kareena's body. However beneath the exterior of this action packed setting, there is a delicate love story in the running that reminds one of the soft-hearted Salman that one saw once during the 90s. Off late due to his 'Dabangg', 'Wanted' and 'Ready' image, one expects him to throw smart one liners at every juncture and be his goofy best with ample funny antics at display. However he takes a turn which is quite pleasant to say the least. This means that even when he is following around Kareena in her college or trying to find the identity of the mysterious caller who is trying to woo him over the phone, one never sees him indulging into any buffoonery. Instead of focusing the film on Salman's screen presence and presenting him in a way his audience wants, writer-director Siddique lets the story do all the talking. For Kareena too it becomes a good enough platform to showcase her true calibre as an actor, especially after relatively much light hearted '3 Idiots' and 'Golmaal 3'. With 'Bodyguard', and especially during the second half of the film, she reiterates loud and clear all over again the reason why she has been ruling from the top for so long. Does the movie show a dip anywhere? Not really though one does feel during the first half of the film at least that there is quite some time being spent on the entire build up. Also, the mischief around mystery calls seems a little too simplistic considering neither Salman nor Kareena can be expected to get into such childish pranks. Also Kareena's initial annoyance with Salman seems a litte unjustified considering they had hardly met and the man was just doing his job. Moreover Salman's reference to Raj Babbar as 'Maalik' seems out of place in today's times. Technically the film is reasonably polished, especially during the action sequences though due to it's overall simplistic nature, 'Bodyguard' hasn't been presented as an overtly flamboyant experience. Songs have been placed well in the film though eventually it is the sound of Himesh Reshammiya's 'Teri Meri' stay on with you long after you are through watching the film, more so because it also forms the part of the background score. Amongst actors, while Salman and Kareena shine in their parts, the only other actor whom you actually take home is Hazel. Present in almost every scene with Kareena, she is much more than just her supporting buddy. Raj Babbar just passes muster while one wishes there was more of Pancholi. Mahesh Manjrekar is surprisingly out of place this time around and so is the case with Asrani and Sharat Saxena. Talking from commercial standpoint, word in the town is that 'Bodyguard' can' go wrong because of one major reason - 'Salman wave is on'. Oh yes, of course that's true. But then can just a wave be good enough for a film to sail through? Not really, because all said and done, it's an overall package that matters as well. In that context, 'Bodyguard' is pretty much a package deal in the offering. It has ample masala in it to keep Salman's core audience happy. But then it also has a soul to it that comes from Salman-Kareena love story.

Speedy Singhs Movie Review

If you have seen the promos, there are no surprises in the film's storyline. A Canadian citizen with Indian roots, the character played by Vinay Virmani wants to pursue his dream of being an ice hockey player. His dad (Anupam Kher) doesn't hate sports but feels ice hockey will take him nowhere. However with help from his uncle (Gurpreet Guggi), coach (Rob Lowe) and a bunch of large hearted Sikh friends, he manages to rise up the ladder. There are challenges in the form of racism from opponent teams and mischievous relatives (Russell Peters) but with his girlfriend (Camilla Belle) alongside, he manages to defeat all adversities.

With a straight forward plot like this, what is of paramount importance is to ensure that the narrative is gripping enough. In this context, it is apparent that director Robert Lieberman has tried to balance his Western sensibilities with what Indian audience wants. The results are mixed with the story telling oscillating between some exciting, some not-so-exciting and a few ordinary moments.

So while the film does start off well with Vinay joining his friends in rising from an amateur to a professional team, at times you do feel that entire crowd of relatives around him are thrust upon to fit it all into crossover genre. Though one would have expected the film to take a one-dimensional route here i.e. a youngster striving to rise in the world of sports, there is a family drama angle added in which only ends up diverting viewer's attention.

On the other hand what still makes one sit through the film comfortably are the performances and the easy-to-eyes persona of Vinay. The youngster does quite well in fact and acts with very good confidence. He has a very likeable screen presence and though he has started with a film which has sports as its genre, he can very well fit into romantic genre in films to come. He doesn't go overboard even in dramatic sequences and gets able help from Anupam Kher who comes up with yet another convincing act.

Another actor who stands out is Rob Lowe. As a coach with a humane side to him, he is quite natural and his experience in working on quite a few mainstream Hollywood films shows. Russell Peters would be liked by those who are familiar with his stand-up acts though how one wishes he had actually come up with a few scenes which were out and out riotous. Camilla looks good but gets minimal scope. On the other hand Akshay's cameo comes at just the right juncture in the film and contributes to the film moving forward.

What does further contribute to the film are the songs that play on and off as a part of the film's background score. However the one that takes the cake is 'Shera Di Kaum' that plays during the end credits roll. A chartbuster track already, this along with the ice hockey encounter in the climax are two of the major reasons why one doesn't really mind watching 'Speedy Singhs' till it's very end.

There aren't many films based on sports that are attempted in Bollywood. In this context it is a rare occasion to see a film belonging to similar genre getting a good widespread release. This despite the fact that a) It is an Indo-Canadian collaboration, b) It is an English film dubbed in Hindi, c) It features an absolute newcomer and d) It talks about a sports unknown to majority of moviegoers in India - 'Ice Hockey'. Keeping these factors in mind, 'Speedy Singhs' at least makes an attempt to find visibility.

Mausam - Mammoth disappointment

As per the makers, 'Mausam' tries to bring in an old world charm into the proceedings. Just to jog audience's memory though, even Raj Kanwar directed 'Sadiyaan' [Ever heard of that? It was Luv Sinha's debut vehicle] had attempted that some time back and the results were miserable. Well, 'Mausam' isn't any better and that by itself is a terrible piece of news.

Frankly, this is one film for no season whatsoever. It turns out to be such a pointless experience that you start wondering even before the interval card flashes that whether there would be any respite whatsoever. The movie meanders aimlessly, moves from one country to another, adds on to boredom with every passing chapter and eventually reaches a climax which, by the way, doesn't even make an announcement around its arrival. Sad, in fact utterly shocking, because despite low expectations, this isn't the deal that one was looking for from 'Mausam'.

Shahid, a naughty young man from a small town in Punjab, is waiting for his appointment in IAF. He sees Sonam Kapoor, a Kashmiri refugee, and it is 'pehli nazar mein pyaar'. Unspoken love brings them together but the world around them tears them apart. Their journey of hide and seek stretches for a decade and even as other riots and global attacks threaten to distance them forever, eventually they end up being united.

Now all of this could still have been tolerable had the episodes being woven with some interesting moments. What one gets to see is one boring scene after another that just dilutes whatever little impact that could have been made. In fact the most drastic of them all, and something that happens within the first half of the film itself, are the series of events that unfold on Scotland. As one understands by this time that it is going to be an exercise in futility, what happens from this point can't be comprehended at all.

Now that's a disappointment because the film actually started off nicely. No, it didn't quite give one a feel of an epic in the making but still a few light hearted scenes, all involving Shahid, were presented well. In fact the actor too comes across as a mixed bag. While he is totally convincing and quite endearing as a villager, his stiff persona once he becomes an IAF officer makes one believe that he has done much better in films like 'Kaminey', 'Jab We Met' or for that matter, even 'Kismat Konnection'. No, he doesn't act badly but given the parameters in which he has to perform, the outcome isn't satisfying. Ditto for Sonam who is again trapped in a 'Saawariya' kind of subtle situation and makes one miss the glamour that has come to be associated with her of late.

What takes the cake, a bitter one at that though, is the climax. Shahid saves Sonam in the riots. Then he saves a white horse. Then he saves a child. All when one of his arms is not functioning. So far, so okay. Chalta hai, Hindi picture hai. But then in the morning after, Shahid and Sonam reflect on their past. 'Kucch tumne khoya, kucch maine' - are the golden words mouthed. And lo, the two unite, not leaving the child behind who is now homeless. This isn't all because there is another fourth character that joins the family. It's the white horse!

Engeyum Eppodhum Movie Review

Bouquet to debutant filmmaker Saravanan for etching out a film that speaks about feelings of people and the value of every single life. With handful of characters, the director has come out with a flick that is filled with fun, joy, tears and other human emotions.

What begins as a journey in a bus takes twists and turns, and when we think all is well that ends well, a shocking incident happens. But hold on! There is no preachy stuff as Saravanan manages to lace the message with lighter moments in the film.

For many of us road mishaps mean just numbers - the number of people perished in such accidents. Rarely we get to see the colourful life the victims enjoyed without knowing that death is coming close to them.

'Engeyum Eppodhum' attempts to take a closer look at such people. In a nutshell, it is the story of two couples who end up romancing in contrasting manner. They happen to meet at one point where a tragedy strikes in their lives.

Coming to the story, two buses coming on opposite direction crash at each other on the National Highway in Villupuram. Tragic scenes follow. Meanwhile, a flashback unfolds and the life of a lover couple is narrated.

Amudha (Ananya), an engineering passout comes to Chennai from a village in Tiruchy for an interview. Situation leads her to take the help of a stranger Goutham (Sarva) to locate the company. Initially she is reluctant, but slowly gets acquanited and starts admiring him.

Meanwhile, there is another romance in the form of Kadhiresan (Jai) and Manimegalai (Anjali). A soft-spoken good-hearted Kadhiresan falls for a young nurse Manimegalai, who is out-spoken and lives life her own way.

After completing the interview, Amudha returns to Tiruchy but her thoughts revolve around Goutham. Goutham too wants to see her and express his love. Amudha comes to Chennai in search of her lover. At the same time, Goutham decides to go to Tiruchy to hold the hands of Amudha.

Meanwhile, Kadhiresan and Manimekalai get along well and after a series of interesting events in their romance, they decide to go to a village near Tiruchy to meet Kadhiresan's parents. Gautam, Kadhiresan and Manimekalai boards a bus to Tiruchy, while Amudha takes a bus from Tiruchy to Chennai. Near Villupuram, the buses collide. What happens then forms the climax.

Sarva as a suave city youth fits the bill well. His cool and casual expressions are adequate for the role. Ananya as an innocent bubbly rustic girl who comes to city is impressive. Anjali as a out-spoken and straightforward girl in love with Jai is tailor-made for the character.

Watch out for Jai. He as an innocent youth is the scene-stealer. He does his best in the role. The actor manages to leave an impression with his performance.

All the characters are well-written and neatly conceived by the director. They resemble close to real-life. The narration keeps one engaged all through. The contrasting love, loss, gain and sorrow are beautifully portrayed.

R Velraj's cinematography and catchy background score of debutant Sathya add solidity to the proceedings. All said, 'Engeyum Eppodhum' is a whiff of fresh air in Tamil cinema. Saravanan has certainly made his mentor A R Murugadoss, who has produced this film along with Fox Star Studios, proud.

Vandhaan Vendraan Movie Review

Expectations are on a feverish pitch as Jiiva's 'Vandhaan Vendraan' hit the screens this week-end. For, it comes after a huge hit in 'Ko' and a serious outing in 'Rowthiram' for Jiiva.

As expected he has opted for a different genre - a romantic entertainer laced with action. Director Kannan, who proved his mettle in 'Jayamkondan' and 'Kanden Kadhalai', has managed to utilize the new-found image of Jiiva to the optimum.

The movie has romance, action and humour, but it proceeds at a leisurely pace. Looks like the mixing of these ingredients in a commercial format has marred the show.

Arjun (Jiiva) is a boxer, who has a mission to accomplish. He comes to Mumbai to fulfill that. He meets a dreaded but suave don Ramana (Nandha). He slowly gets acquainted with him. As events unfold, he opens about his romance with Anjali (Taapsee) to him.

Anjali's father, a rich businessman, is killed in a shoot-out and Ramana is the reason for it. Anjali informs Arjun that she is ready to marry him provided he ensures Ramana surrenders to the police for his crime. What follows is a twist in the tale which paves way for a drama.

It's Jiiva all the way. As a lover boy, as a bratty youth and a serious youngster - he combines everything with elegance in the role. His screen presence is the movie's backbone.

Taapsee has come a long way from 'Aadukalam'. She is chirpy and bubbly. Santhanam provides big relief. His one-liners are catchy. Nandha steals the scene with his subtle performance. However, the love scenes between Jiiva and Taapsee are ordinary and lack conviction.

Thaman's music is nice to listen to. A couple of songs are foot-tapping. PG Muthiah captures Mumbai fresh through his lens.

Mankatha Movie Review

The headline says it all. In 'Mankatha', Ajith pulls it off with his impeccable style and excellent performance, which is aptly supported by a racy script and brilliant execution by director Venkat Prabhu and his team.

If cricket was the USP of 'Chennai 28', the director's first film, 'Mankatha' is also based on the sport but with a difference. It is all about betting, money and the men behind it.

Ajith has appropriately chosen to do 'Mankatha' as his 50th film. It is a movie that has everything his fans would want. He shakes his legs vigorously, evokes laughter, does pulsating stunt sequences and utters catchy one-liners (with some of them going mute).

The first-half belongs to Venkat Prabhu where he shows sparks of 'Saroja' and 'Goa', while the latter part is totally dominated by Ajith. As a merciless baddie behind money, Ajith oozes venom in his eyes. His body language and dialogue delivery compliments it very much. Though the movie has over a dozen characters, it's Ajith all the way. With his remarkable screen presence, he is at his coolest best.

Coming to the story, 'Mankatha' revolves around a suspended cop Vinayak Mahadevan (Ajith) in Maharashtra police. He leads a happy life with his lover Sanjana (Trisha), daughter of an influential local goon Arumuga Chettiyar (Jayaprakash).

Vinayak is a man who dares to do anything for money. But a fun-loving person, he lives his life in his own way.

A suicide by a police officer investigating the betting mafia involved in Indian Premier League (IPL) hogs headlines. Assistant Commissioner of Police Prithvi (Arjun) takes charge to end betting scandal in the sport.

Meanwhile, Arumuga Chettiyar comes to know that a sum of Rs 500 crore betting money for the finals of the IPL is coming to Mumbai. He uses his nexus with underworld in Mumbai and tries to route it through his recreation centre.

Sumanth (Vaibhav) is Arumuga Chettiyar's protege. He hatches a conspiracy to take away the money in the company of a police officer Ganesh (Ashwin). They are joined by Mahanth (Mahanth), who runs a bar in Mumbai and Prem (Premgi Amaran), a fun-loving IIT pass out.

Coming to know of their plans, Vinayak steps in. He promises to help the team members and divide the booty between them. They even succeed in taking away the money and decide to wait for an appropriate time to share the fortune.

In the meantime, a shocked Arumuga Chettiyar begins his hunt for the treasure and every move of him is closely followed by Prithvi. All hell breaks loose from here.

Cheers to Ajith. The man after a long gap gets a role where he can perform with variety (Watch out for the scene where he demands Arjun to finish off Vaibhav). He is at his best and his salt and pepper look is catchy and attractive.

As a suave cop, a dreaded don or a adorable lover, he leaves his charm on screen. His uttering of one-liners to Arjun evokes applause. His imitating Premgi in few scenes brings the roof down in laughter.

Arjun lives up to his Action King tag. He adds variety on screen and is cool and consummate as a police officer.

Trisha appears in a few scenes besides a song and disappears. Andrea as Arjun's wife, Lakahmi Rai as call girl and Anjali in the role of Vaibhav's wife play blink-and-miss roles. Jayaprakash gets to play a decent part in the film. At places he reminds one of Kamal Haasan's role in 'Nayakan'. Vaibhav gets a meaty character and he utilises the opportunity.

Both Ganesh and Mahanth are tailor-made for the roles, while Premgi is at his best in the film. He takes off from where he left in 'Goa'. At ease in coming out with comical one-liners, his admiration for Ajith is visible on screen.

Watch out for good cinematography in such an action-packed film. Sakthi Saravanan has given a fresh colour to it. It's Yuvan Shankar Raja's mass tunes that elevates the mood. Accompanied by Karthik Raja, Bhavadharini and Premgi Amaran, he has shown difference in background score too (especially in the godown-fight scene in the second half)..

While editing by Praveen K L and N B Srikanth makes the film racy (doubly so in the second half), Vasuki Baskar's costumes fit well the 'Thala' and others. Stunts (courtesy Selva) are another highlight of 'Mankatha'

Give due credit to Venkat Prabhu, the director who seems to have given a film that sits well on Ajith. He understood Ajith's strength and played it well. Who said he can only direct laughathons? With 'Mankatha', he has graduated to go higher places.

On the whole, it's job well done by Venkat Prabhu, producer Dhayanidhi Alagiri and other members of the team.