Son of Sardaar review

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1.5 / 5

Son of Sardaar is yet another movie set around Punjab and it features a whole lot of Punjabis and Sikhs. Like the earlier Punjab based movies, does this one also deliver unabashed entertainment?

Jassi (Ajay Devgn) is a Sardar who returns to his Punjab village from London to sell a property that belonged to his late father and make some money. Little does he know that Billu (Sanjay Dutt) and his gang are out to avenge him at any cost, due to a 25 year old animosity that took a toll on their previous generation.

Billu is a guy who doesn’t even marry his sweetheart Pammi (Juhi Chawla) just for the sake of this revenge. Jassi keeps evading the impending bloodbath by masquerading as a guest in Billu’s home as Billu believes in living up to his family’s culture of treating guests as God and not harming them in anyway. Romance is also part of the mix as Jassi falls for Sukh (Sonakshi Sinha), a girl in Billu’s household whom he meets during his journey to Punjab.

This cat and mouse game continues for an extended time before the inevitable faceoff in the climax between Jassi and Billu. The ending is on expected lines. 

Among the performers, Ajay Devgn is perfect as the Sardaar and turns in a believable and endearing performance. Sanjay Dutt has an imposing and majestic makeover and he passes muster as well. Salman Khan’s special appearance sends the crowd into a tizzy while heroine Sonakshi Sinha isn’t much more than just a pretty chubby face. Juhi Chawla has to be among the most likable performers. She is such a charmer.  

The movie is over-the-top and the action sequences will put even hardcore South masala flicks in the shade. There are lots of punch lines, dry PJs and typical Punjabi cultural references. The Hindi spoken in the movie also has a heavy Punjabi hangover.

The songs by Himesh Reshammiya are foot tapping particularly the title track, Po Po and Rani Mein Tu Raja. Bichdann is a lovely melody track. There is nothing much to speak about the re-recording, though.

The art department has to be commended for the colorful look of the movie. Being a movie about a happy go lucky Sardaar, this riotous presentation is apt and goes well with the theme of the movie.

To sum up, Son of Sardaar has its moments of sheer fun, has decent songs and a lot of bankable names in the cast but the presentation is too over-the-top and loud. The movie also suffers many inactive streaks thereby sending the interest meter down. The simple plot has just been further weathered down. 

FINAL WORD: An over-the-top ‘no brainer’ with a sluggish entertainment quotient.

Ammavin Kaipesi review

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1.5 / 5

I entered the theater expecting an emotional tearjerker dedicated to motherhood. But, at the end of this dreary and teary movie, I felt totally worn out ...

The characters in the film are all loud, dramatic and irritating. Thankar Bachan as Prasad loafs around as the aimless bum until the climax when he realizes his folly and repents. As he cries loudly, even the audience feels the same for having spent close to three hours in the hall.

The film has decent performances from Shanthanoo and Iniya. Azhagam Perumal continues to irritate with his artificial acting style. The movie's music is pretty neat while the locations are, as expected, rustic. The actress who has played the mother either cries aloud or overacts in the dramatic scenes. You don't feel like empathizing with this poor old mother.

Just as we expect a movie dedicated to the mother and her attempts at reaching her estranged son Annamalai using the cell phone, the majority of the movie shows how Annamalai deals with his work at the stone quarry. Two co-workers, Madhesh and Chitti Babu, are hell bent on bringing him down due to his sincere outlook to his job that naturally exposes their corrupt ways. Prasad is the typical timid 'jalra' with no voice of his own and he would do anything for money. He has a voluptuous and pretty hot wife who tries to mend him and his thieving ways.

The only notable aspect about the movie is the non-linear screenplay which excites some interest among the audience as they try to fathom what's going on with the time shifted narratives. But, the film just doesn't have any entertainment value and is just one extended mega serial.

Who wants to see people shout, cry and be melodramatic all through a movie! 

Jab Tak Hai Jaan review

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3 / 5

Jab Tak Hai Jaan (JTHJ) puts across the point that true love takes its own sweet time to bear fruition and that the lovers have to hang in there with patience. This point is apt for the movie and the audience too, as it is a long movie spread across three hours which requires a lot of patience from the viewers.

Samar Anand (Shahrukh) is the main protagonist and we are shown two stages of his life. His 20s are spent in London as a struggler doing all kinds of jobs to earn some money. He meets the uptight and pious Meera (Katrina) and she turns out to be the girl of his dreams. Love blossoms between the two but she is a woman who stands by her vows and prayers even if it means putting her love on the back burner.

Later in his 30s, Samar comes across as a daredevil bomb diffusing expert in the Army and he earns the nickname “The man who cannot die” due to his impeccable record at diffusing more than 100 dangerous bombs (These scenes have been borrowed from the Oscar winning “The Hurt Locker”). He encounters Akira Rai (Anushka Sharma), an aspiring documentary film maker who dreams of getting into the Discovery channel in London, through her documentary on Samar’s exploits. She also slowly falls for Samar’s intense charm.

With two beautiful women in his life, does Samar finally find his true love and does he stop flirting with danger in the Army and start living his life with his dream partner? Watch JTHJ to find out.

The movie owes whatever it is, to some stunning work by cinematographer Anil Mehta and A.R. Rahman’s melodious soundtrack. London and Ladakh have been captured in all their pristine beauty and the movie is a colorful treat with brilliant production values.  Each frame is picture perfect.

Rahman’s songs are chartbusters already with Challa, Saans, Heer leading the way. His BGM score isn’t extra-ordinary though. Editor Namrata Rao could have made the movie more taut and crisp. Sitting for close to three hours is a task indeed.

Katrina Kaif dances like a dream in the Ishq Shava number and also in the preceding percussions track. She has improved as an actor and is adequate in the emotional scenes as well. Her beauty needs no further elucidation.

Anushka Sharma plays another of her typical chirpy and bubbly characters. Her intro swimsuit scene seemed to be a forced inclusion in the movie. The youngster is a natural and she nails it, be it the serious scenes or the lighter moments. She is in fact the trump card among all the star performers.

Shahrukh Khan is back in home territory playing the intense and charming romantic. He is at ease as expected and endears. His stubble works wonders and makes him look even more charming. The layers of makeup show, though.

Among the support cast, Sarika, Rishi Kapoor, Neetu Singh and Shahrukh’s London friend make a mark in the scenes that they appear in. It is refreshing to see Sarika in particular, after a long hiatus.

The movie also has a lovely end credits tribute to the late Yash Chopra and this sequence makes one emotional thanks to the melodious ‘Jab Tak Hai Jaan’ title track that plays along.

Even though the snail’s pace, the length of the movie and the melodrama count among the movie’s blips, the A-grade performances from the lead cast, the mellifluous music and the stunning locales make the movie watching experience a worthwhile one on the whole.

FINAL WORD: An intense ‘old school’ romance that rides on its timeless music and dreamy visuals. 

Podaa Podi review

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2.5 / 5

Set in London, Podaa Podi is the intimate romance between two Indians, Arjun and Nisha. While Arjun craves for commitment and a good family life, Nisha yearns to excel in dance and rock the dance show 'Letz Dance'. Their meeting blossoms to love, proceeds to marriage, has many rocks in its path and finally bears fruition again.

The music by Dharan is the biggest USP of the movie. Appan Mavane Vada, shot in Disney Land Hong Kong, takes the cake followed by STR's intro number - the very stylish and innovative Love Pannalama Venama. The other songs also find a place in the screenplay which has been designed in the form of nicely named chapters.

STR's dialog delivery is pretty muddled and too informal. He needs to tighten this aspect. He shines in the emotional scene when Varu gives birth to their kid and also in the heart wrenching scene in the second half when he feels so badly about losing his baby kid. Varalaxmi  makes a confident debut despite those extra layers of flab. Dancing in tight and short costumes takes a lot of doing for a tall and well-built woman like her.

VTV Ganesh's makeover makes his role in the movie funny while Shobana has a weird 'single' character in sharp contrast to her real life image. The movie is colorful thanks to the London and Hong Kong visuals. The lead actors look stylish and trendy thanks to good grooming and costumes.

The movie has traces of English rom-coms and the Hindi movie Rab Ne Bana Di Jodi. It is definitely something new for the Tamil audiences though.

For a guy who is allergic to dance, STR's character in the movie dances like a dream in the songs. Also, his character in the movie has ideals that are opposite to his supposed real life image. The climax of the movie is a dance ride all the way with salsa and kuthu thrown in to the mix.

The film on the whole will appeal to the youth but might piss off the masses who are looking for masala entertainment. The movie could have been a nice Valentine date for the multiplex audiences but as a Diwali mass treat, Podaa Podi isn't the apt watch.

FINAL WORD: Podaa Podi is short, cheeky yet intimate. A somewhat different take on romance, marriage and thereafter, targeted at the youth. 

Thuppakki review: FIRST ON THE NET

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3.5 / 5

Thuppakki released today amidst gargantuan hype and high fan frenzy. The audiences are expecting a lot from this Vijay – Murugadoss association which has a highly acclaimed technical team comprising cameraman Santosh Sivan and editor Sreekar Prasad. Have the team succeeded in giving the perfect festival entertainer?

Thuppakki is basically about Jagdish (Vijay), an army captain, who returns to Mumbai for a 40 days’ vacation. He has a loving family, comprising two sisters and his parents, who wish to get him married to an appropriate girl. After some cat and mouse episodes with Nisha (Kajal), the arranged bride, Jagdish’s personal life is set with her.

On the other hand, he has a greater task at hand as he has to eradicate sleeper cells that are out to bomb and terrorize Mumbai across 12 prominent localities. These sleeper cells are controlled by one main man (Vidyut Jamwal) who is also later drawn into the city thanks to Jagdish’s proactive and intelligent moves in eliminating the cells through a secretive mission which he carries out with the help of his colleagues, who assemble for a marriage.

Later it becomes a straight game of one-upmanship between the main man and Jagdish. How Jagdish vanquishes him and how Jagdish manages to save the lives of people who are lured into this mean battle, is the remaining part of this extravagant and stylish entertainer which rides on the ever-dependable Vijay.    

The film gets off to a slow start after Vijay’s mass intro with the ‘Kutti Puli’ number and the romantic episodes with Kajal Aggarwal are bearable thanks to some high-voltage songs by Harris Jayaraj (Alaikaa Laikka and the wildly popular Google Google stand out) and Jayaram’s (playing Jagdish’s senior in the Army) funny interventions.

Kajal is the typical commercial cinema heroine who makes a glamorous appearance in the songs and is also there for some comic relief. The tomboyish voice that has dubbed for her enhances her character. Her stylish costumes and youthful beauty are a nice distraction from the main action packed plot. Jayaram’s legendary comic timing is intact while Sathyan has a commendable and sizable presence in the movie as Jagdish’s police friend. His proficiency in the English and Hindi speaking portions is a pleasant surprise. Vidyut Jamwal looks a million bucks with his long locks, stubble and macho physique. He is a nice match-up for the invincible hero. 

Coming back to our main man Vijay, he looks ever youthful and the V shape that he so painstakingly maintains looks even more tight and muscular in Thuppakki. His prowess at dance and fights is well-known and Murugadoss has packaged and presented the movie perfectly in sync with Vijay’s skills at commercial cinema. While on the one hand, Jagdish is a brainy guy who uses the Rubik’s cube and his apple laptop to decode maps, on the other hand, his brawny side is also prominent thanks to his blazer, glares and a stylish gait. The pre-interval scenes with the twelve sleeper cells and the fight scenes with a sniffer dog in tow in the second half are a royal treat for Vijay fanatics. The star’s comfort level with Hindi and English makes his character as an urban Mumbai Thamizhan appear more genuine and real.

Harris Jayaraj’s BGM has a portion which is so similar to the ‘Varayo Mona Lisa’ song from Aadhavan while a tune similar to one from the Hindi movie ‘Race’ is also regularly used in the BGM track. The songs are a raging hit already and this is a nice score on the whole from Harris.  The music that repeats while Vidyut makes an appearance on screen is pulsating. 

Santosh Sivan’s camerawork is flawless and has captured the raw energy and crowds of Mumbai very well. The locations in the ‘Vennilave’ song are a treat. The VFX for the blast scene at the start could have been better. Sreekar Prasad’s editing is seamless and makes sure that the movie is not boring one bit. The ‘Vennilave’ track in the end could have been avoided though.

Vijay’s costumer and stylist deserve a big round of applause for making the star dazzle in a suave manner with stylish and trendy clothes. His Tees are truly rocking thanks to his toned arms and dashboard abs.

On the downside, the last encounter between Vijay and Vidyut could have been better given the nice manner in which the movie was laid out for the finale. But, this is just a minor blip in an otherwise wholesome commercial treat. The manner in which Vijay manages to keep his mission wrapped in secrecy from his higher authorities in the Army is another question mark.

To wrap it up, Thuppakki should turn out to be a hugely profitable venture for the makers and a rewarding experience for the audience. The last dialog, about Army men living in tough conditions for 11 months based on the memories of their short vacation, makes Thuppakki’s intentions of being an ode to the Army, a commendable one.

FINAL WORD: A fully loaded festival package from Vijay, Murugadoss and co.

Kalakalappu review

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2.5 / 5

This is a typical Sundar C madcap entertainer where the jokes are dry at places and work pretty well at other times.

A hotel in Kumbakonam named Masala Cafe, two brothers and their lady loves, the struggles to keep the hotel alive and running, a person who wants to buy this hotel land at any cost, a greedy policeman, a set of 20 diamonds and many mad characters are a part of Kalakalappu@Masala Cafe. It is a fun ride particularly in the second half. 

The 20 diamonds are the main reason why the movie is a real laugh-riot particularly towards the climax. In the first half, the film limps as it is lively only at certain instances. The title credits sequence is enjoyable though. In the second half, after the entry of Santhanam the film is slightly better with the climax being the highlight. His three stupid aides also provide some extra fun with their absolutely nonsensical antics.

All the characters in the movie converge in the climax thanks to the diamonds. It is a healthy episode in the movie and scores high on entertainment.

The songs are catchy and the sound effects given for the funny moments aid in making the scene funnier.

The girls in the movie have really exposed their assets whenever possible, particularly in the songs. They don’t have nothing much to act. Mirchi Shiva’s brand of dry mokka comedy is in full force here too while Vimal continues to kill English words. He has nothing special to do but is present throughout the movie. Vimal and Shiva as brothers is a good casting coup. The brothers’ romantic escapades form a majority of the movie’s running time.

The policeman who has lost his mind in the climax, Ilavarasu with a sprained neck, John Vijay as the trouser-less policeman, Panchu Subbu and his stupid relative and other such characters make the climax one to remember. A chase sequence in the second half featuring three cars is another imaginative episode, done well. 

On the whole, it provides entertainment as expected with some dry moments too. The climax scores high!  

Kazhugu review

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2 / 5

This film shows the lives of people who work in hill stations as corpse-retrievers. Suicide victims are aplenty in hill stations and that’s where corpse-retrievers come into play as they need to go several thousand feet down the mountain range to retrieve the dead bodies and return them back to their families. 

They are heavily dependent on alcohol to do their work due to the stench that comes from the bodies.  They call such bodies as ‘piece’ and we are shown the lives of four such retrievers led by the hero Sera (stylishly Se). Nandu, Shanmugam (Chithu) and another mute man are the others.  

The episodes showing their work and the struggles they go through, are terrific and gripping thanks to the stunning locations and Yuvan's RR.

There is a typical love story between Sera and Kavita, who happens to be the elder sister of one such suicide victim. The villain in the piece is a respected man in the village who is into illegal smuggling of goods. The film hardly has any plot other than this love story and the revenge plot which plays out in the last 20 minutes.

The film really loses steam in the finale as it becomes bloody and the body count just increases. The ending is also very very weak.

Thanks to the Kodaikanal locations, Yuvan’s neat work with the songs and the RR (particularly one scintillating accordion piece which is repeated in the movie), Krishna’s apt shaggy looks, earnest performance and the typically top notch performances by Karunaas and Thambi Ramiah, the film is a watch worthy affair most of the way. Bindu Madhavi has sharp features but is limited in expressions.

If only the ending had been different, the film would have been a winner. Still, the different premise, the visuals and music make Kazhugu a decent one-time watch.