Director Susi Ganesan’s “Kanthaswamy” is a typical commercial pot-boiler that has style and substance. Though the Robin Hood-like story is not new, Susi has presented it with trademark superhero-movie elements — flashy action scenes and stunning special effects.

Yet, it’s not the typical superhero film and therein lies the twist in the tale.

The movie begins with people flocking to a Murugan temple. All those who submit their woes as petitions to Lord Kanthaswamy (another name for Murugan) on a piece of paper and tie it to a tree in the temple find that their problems are all solved soon.

Meanwhile, superhero Kanthaswamy becomes a phenomenon — a caped crusader dressed as a rooster who takes up the grievances of ordinary people and resolves them. But the local police officer (Prabhu) suspects something fishy and pokes his nose in the matter.

On the other hand, brave CBI officer Kanthaswamy (Vikram) is on a mission to unearth black money and illegal wealth amassed by the rich and corrupt that lie stashed in foreign banks. He is in for a challenge when he raids the house of tycoon PPP (Ashish Vidyarthi).

When Kanthaswamy finds unaccounted cash and documents of various foreign deals worth over Rs.1,000 crore, PPP, the seasoned criminal, is not amused. At the same time, his only daughter Subbalakshmi (Shriya Saran) pretends to have fallen in love with Kanthaswamy in an effort to take revenge on him.

Watch the film to know the connection between the masked crusader and the CBI officer.

Susi Ganesan has presented the movie with a fast-paced and stylish narrative. He has conceived and executed many scenes well. He has tried to give the old story of robbing the rich to help the poor some logical elements. The twists in the tale are interesting.

The fight sequences, especially the blind-folded action scenes in Mexico, are breathtaking. The innovative camera angles and lighting by cinematographer N.K. Ekambaram make the film visually stunning. Thotta Dharani’s art work is also awesome.

On the flip side, Susi’s story is disappointing. While he has worked hard to make the film stylish and sleek, one wishes he had worked harder to come up with something new.

We have seen powerful ‘Good Samaritans’ like Kanthaswamy in films like “Gentleman” and “Indian”. We have also seen an ‘alien’ with extraordinary powers to eliminate the baddies in “Anniyan” and an intelligent hero diverting the black money to good causes in “Sivaji”.

The major problem with the script is the length. The director could have avoided a couple of songs and halved the comedy track by Vadivelu.

Devi Sri Prasad’s music goes with the movie’s mood. Two of the six songs — “Excuse me Mr. Kandasamy” and “Yen Peru Meenakumari” — are picturised well.

Vikram comes out with flying colours. His dedicated efforts have given an extra-dimension to the character. Very few people in Indian cinema could portray the larger-than-life fantasy character as easily as Vikram. His body language when he appears with a mask and wings is amazing.

Shriya sizzles in her glamorous appearance and charming acting. Prabhu renders a neat performance but he is fast becoming predictable in the role of an investigative cop. The characterization of villains leaves much to be desired. Vadivelu’s comedy track passes muster.

“Kanthaswamy” is for those looking for sheer entertainment.

Mari works in a crackers factory while Thenkarasa, pursues engineering in Chennai. Thenkarasa’s father, a bullock cart owner and a hard working soul nurtures aspirations for his son.

Mari often dreams of a life with Thenkarasa, but is tongue tied when she meets him. Egged by her friend, Cheeni (Inbanila), she tries to speak of her love to him, but fails. As for Thenkarasa, she is just his childhood friend until his classmate Uttara opens his eyes to Mari’s feelings for him. But his father’s aspirations force him to marry a rich man’s daughter.

Although Mari is disappointed, she continues to love him. Unlike other love stories, Poo scores with its unselfish love. A subtle message is also sent across about the price one has to pay in a consanguineous marriage.

On her debut, Parvathy Menon has done a remarkable job as the village girl in love. In this role, she exudes a grace and coyness unseen today in the women of other love stories. Srikanth’s role is small yet significant.

Inbanila as Mari’s friend shows plenty of potential. Ramu in the role of Srikanth’s father puts up a good performance and so does the actress as Mari’s mother. Yet, the love story fails to touch you. And the story could have been edited.

However the visuals are stunning and is a neat and clean movie that can be watched with the family. If you are looking for a fresh breath of air, watch Poo.

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Surya (Surya) the son, goes down memory lane when he hears about his father’s demise, while on a rescue mission in his role as a major. The story unfolds from the time, his father Krishnan (Surya) and mother Malini (Simran) met in college and fell love. And from his childhood days it moves on to his days in college and adulthood.

The audience watches as the bond between the father-son duo grows. When Surya falls in love with Meghana (Sameera), he follows her to the US, (where she is pursuing her masters) with the blessings of his parents. Tragedy strikes and he loses her in an accident. Devastated, Surya returns home and soon finds solace in drugs. Weaning him out of this vice, are his parents, especially his father.

He joins the army, following an incident where he rescues a little boy from his kidnappers. It is a saga of a middle class home, laced with emotion and simple incidents taken from life. The father not a hero, yet the inspiration for the son. However, a tad too long, interrupted by too many songs, unwarranted at some places How many of us would in real life, sing a dapaam koothu in the midst of tragedy?

But the film is watchable, the main draw being Surya on whom the film rests. The star excels in both roles, as the father and the son. The make up and the restrained acting in the senior role is a sharp contrast to his spontaneous self as the son.

Some scenes tug at your heart strings, especially the one where Surya is angry with his father when he takes away his drugs. Surya portrays the helplessness in the situation well and leaves you wiping your tears. But life is all about moving on, just as his father believed.

Sameera is a pretty picture. Simran as the mother is a natural. Divya Spandana, as Priya, his sister’s friend and the girl next door performs well. Harris Jayraj’s numbers are peppy. Visuals are good. More editing could have been done though. Do watch it if you love Surya.

Now, Mudhal Mudhal Mudhal Varai (M3V) is poles apart from Jeyam Kondaan or from any film that has released in the recent past.

You might be wondering about the number of ‘Mudhal’s in the title, three to be precise. Well, all three are justified because the movie is like a collection of all the ‘firsts’ in life. A baby’s first
attempt to walk, first day to school, first love, first kiss and many other firsts going even to the ‘first death’ which is also the last in everyone’s case. M3V tells the story of an assistant director
who aspires to make his own movie. The inspiration to make a movie is not just the fame and money, it is also love. The lady in his life wants him to be his own man before marrying him. The desperation is
understandable as the talented but underappreciated assistant runs from pillar to post seeking opportunities. Then there is fate that has decided to poke its rather intrusive self into proceedings which makes things further difficult for the protagonist. Then there is the final twist where one might agree that fate is not as cruel as one thinks, but is definitely far more unpredictable than one ever
thought and definitely impossible to understand.

M3V is not a regular feature film. Yes, there are songs, cinematic scenes and things like that. But the way they have been put together don’t make them the regular movie. To think that it was

the inability of the director which resulted in this would be a folly. The (call it docu-fiction) nature of the movie is definitely intentional. It is more a chronicle of slices of life more than anything else, told through the mind of a person, in narration. As the title implies, ‘firsts’ play an important role and the movie is full of them; literally because M3V is full of debutants, behind and on the screen. C.P. Sathyajith, Anuja Iyer, Keevna and Charan form the lead cast and have done creditably.

One can’t really effectively review this kind of movie, except say that it is different and something as different as this has to be experienced. One cannot vouch for any audience enjoying this, responses
can be extremely polarized based on personal tastes. Technically, the movie has nothing great to offer except the style of narration. In spite of telling the story of an assistant director, the movie never delves into the world of movies. Fouzia behind the camera and Aslam Musthafa have done a good job.

To sum up M3V, it is something that never attempts to be a regular movie. Telling the story of an assistant director from an upwardly mobile class, it presents the thought processes and lifestyles of people who don’t have to worry about their livelihoods. It lives in moments, especially poetic moments, like when a blind man says that his favorite movie is ‘The sound of music’.

M3V is not something that one would expect to be accepted at all levels. In fact, one would give it chances only in multiplexes and even here only select audience with patience and observation might be able to fully appreciate it. Niche, is what we would like to call it. Congrats, director Krishna Shehsadri Komadam for being daringly different.

Durai attempts to be the same regular Arjun movie, but does it provide the entertainment that it promises?

Durai revolves around the life of a man who suffers from amnesia. As in every cinematic depiction of amnesia, the patient has lost all recollection of his identity and his past. He has started a new
life as a helper in a canteen run by Vivek, with no memory of what he was before amnesia struck him. Even though he has left his past behind him, his past doesn’t seem to be happy to let him go. Ghosts
from the past reappear to haunt his new life. But he has little idea of what is going on and the reason behind it. And then, a miracle happens and all his memory is returned and he is the same person.
Now that he is back, he is able to understand what has been happening to him, recollections of disturbing events and a dark secret that was responsible of landing him in deep trouble. Settling scores is a natural progression which culminates in an action filled climax. Political rivalry and jealousy are the reasons behind all the bad blood and enmity.

The storyline as one can see has nothing special to it, calling it thin might be an understatement. Amnesia has been used umpteen number of times in Tamil cinema and Durai somehow reminds us of Vettrivizha, where Kamal had suffered from amnesia. The thin storyline has been coupled with a script that moves at a sluggish pace, something not expected from an Arjun starrer. Proceedings
fail to interest the viewer right from the word go. Vivek’s comedy tries to liven up matters and succeeds to an extent in some scenes and falls flat in others. The heroines, Keerath and Ghazala have
nothing much to do (a statement that is being repeated way too often for comfort). Ghazala, however does manage to impress at places; Keerath is totally wasted.

Music by D. Imman has not managed to make a mark. The composer had been making promising strides but falls short this time. There seems to be a host of remixes, starting with the super hit ‘Rajadhi Raja’ number from Agninatchathiram which fails to impress. Then there is Boney M’s cult hit that has been rehashed and also used as the background score in many places, which too looks pretty ordinary.

Overall, Durai is a regular Arjun movie that fails to provide the regular entertainment. The weak story and loose script are the major drawbacks and with all his experience in tinsel town, Arjun ought to
have done better. Even the trademark action sequences are missing with only the climax fight justifying the title of Action King.

At the box office Durai will find the going tough. Even core Arjun fans might not take a liking to the movie. Director Venkatesh of Aaei fame and Arjun ought to have done better.

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There is no singular theme or accent in Pandhayam and the film abounds in illogical narrations. Nithin Sathya’s dad, unable to tolerate his son’s unruly and uncontrollable behavior in his childhood,
enrolls him in boarding school to inculcate discipline in him. Nithin, at the boarding school, is being accompanied by his friend and the duo grows up together.

Once in college, Nithin’s friend falls in love with the sister of Prakash Raj who happens to be a local raucous minister. Prakash Raj, not withstanding his sister’s love, kills her and her lover. To
settle scores and to avenge his friend’s killing, Nithin gets into Prakash’s household and schemes a plot and falls in love with another sister of Prakash Raj. When Nithin’s ulterior motive is known to
Prakash Raj, he wants to kill him. What happens to Nithin and Prakash Raj forms the rest of the story.

From the beginning to the end of the film, director S A Chandrashekar has completely and conveniently forgotten something called logic and fails to explain the reasons for Radhika accepting Prakash Raj as her husband when he has

completely wiped out her family members. Perhaps he may have considered the age old ‘Thali’ sentiment of Tamil films and must have thought that as an alluring point to woo the women population.
Unfortunately, this misfires very badly. To add further misery to the audience, antediluvian sentimental scenes torture them left, right and centre.

As regards performance, Prakash Raj does his role as usual. Nothing much can be said about the performance of others as the script has not helped them anyway. Patience of audience is tested in the name of comedy. Heroine Sindu Thulani makes a fleeting appearance.

The only saving grace in the film is its music especially the Kaadal Theeviravaadi number, thanks to Vijay Milton. But unfortunately, editor Harsha does not let the audience have even this small pleasure
of enjoying these scenes as he has cut shots much below the minimum frame range which leaves the viewer totally baffled to fathom what is happening on screen.

Ilaya Thalapathy comes as Vijay who is being directed by Perarasu with his trademark punch dialogues and fights. Nithin Sathya comes as Vijay’s fan and sings hosannas of him.

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Though the young actor seems bubbly, his efforts have been wasted with contrived dialogues and clichéd sequences.

A. R. Rahman’s brilliance is in abundance both with the songs and the background score, but debutant director Kalaprabhu has miserably failed to match the refreshing standards set by the talented musician.

Visualization of the songs has been worked out well but then does not go with the mood of the film. Art direction in the song sequences has to be lauded. Recreation of the Van Helsing set and certain other similar endeavors have come out well. Computer Generated Imagery that features in the song sequences has come good. Soundarya Rajinikanth’s Ocher Studios’ involvement in the film is commendable. There are no villains in the film and the director has struggled to keep the conflict element going.

There is however one song ‘Taxi….Taxi’ that stands out. Youthful vigor, catchy tunes and a mood that personifies joy has come out brilliantly. Shantanoo is at ease in the song with some good dancing
complimenting the rest of the dancers that include hip-swaying damsels.

Dimple-cheeked Shantanoo seems to be inspired tremendously by Shahrukh Khan as many of his expressions especially in the beginning of the film reveal. Unfortunately for the debutant whose father is considered one the greatest screenwriters in South Indian cinema, his introductory film hovers around aimlessly without any semblance of a screenplay.

Ishita proves to be a debutante who has nothing much to do except to burst out emotionally and of course smile sweetly at the protagonist. Audiences would probably remember her for mouthing the words ‘cho chweet’ which she does a number of times. Vedhika on the other hand, has handled herself in a more professional manner as the sometimes jealous no-way-out one-side lover.

Yuvaraj (Shantanoo) is a lad who grows up in the company of four friends with a penchant for mischief and an adventurous attitude. Just before he is to join college, he sees a girl named Deepali (Ishita) stranded on the road thanks to a malfunctioning car and a helpless driver. Yuvaraj finds himself in awe of her beauty and one of the most clichéd incidents happens. She walks into the same classroom as our hero is in and there is love in the air.

In comes another girl Reema (Vedhika) who happens to be Yuvaraj’s cousin (aunt’s daughter). She too joins the same college. Reema falls for her cousin and continues to be helplessly in love even after she
gets to know about Yuvaraj’s and Deeplai’s love affair.

Yet another clichéd incident happens. Reema gives a red rose to our hero which is seen by Deepali. The girl runs away with a broken heart. The hero explains things and the affair brightens up once again.

After a while Reema slips, thanks to a door mat. Yuvaraj holds her in a bid to break her fall. This again is seen by Deepali and another emotional outburst happens. The love affair is plagued by an
assuming Deepali and a group of friends who want to bring the young lovers together.

Yuvaraj caught between the assuming Deepali and his true feeling of love decides to end the relationship which he voices to his heart’s desire. Confusion reigns until his friends conjure up an idea which would necessitate all the three people involved to come together in a ‘birthday party’. One more twist happens which produces some emotional dialogues. Do the lovers come together again or does Reema’s pure-love succeed?

On the whole, the film rubs on as an inexperienced attempt. Shantanoo however if directed well could go places.

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The end product, through gory and violent, leaves an impact with the audience.

With a lesser known star cast, director Prasad has managed to weave a sequence of some interesting and catchy sequences. Though a predictable storyline, the neat performance from the star cast, racy
background of Vijay Anthony and brisk cinematography by Vijay Milton keeps us glued to the seats.

Due credit should be given to the lead pair Nakul and Sunaina. It is no easy task to take such a meaty role so early in their career. Both have got under the skin of their character to give their best.
After Boys, the young actor has almost waited five years for his next. A worthy weight indeed for he has got to do a movie which one actor rarely comes across in Tamil cinema these days. He fits the role like T. His transformation from an innocent lovelorn youth to an angry young man desperate to save his romance deserves applause.

Sunaina with her girl-next-door look is adequate. It is indeed happy to see a heroine getting so much footage in a contemporary Tamil cinema. She manages to combine glamour with a strong performance.
Sampath Raj, who impressed everyone withy films including ‘Chennai 28’ and ‘Saroja’, continues his good run. He plays a police officer on the run for the lover couple. Livingston’s cameo needs to mention. The movie has a host of stars, who have played their part well.

Sabha (Nakul), a youth born and brought up in a Chennai slum, meets with an accident due to the negligence of Meera (Sunaina), a girl from a rich family. She ensures that Sabha is nursed back to his
normal health. Her caring and amiable way, leaves an impact with Sabha. From hospital, he sets out on a mission to meet Meera and open his heart out.

What starts as a friendship blossoms as love between them. However fate takes a cruel turn when Sabha returns from Ooty after playing a football match to meet his beloved. He is informed that Meera
has breathed her last. A shattered Sabha rushes to hospital only to see her body taken to post-mortem. Not believing that she is dead, he urged doctors to help save her. However when everyone insists that she is dead, Sabha slips to his own world imagining that Meera is still alive. He flees from Chennai with Meera’s body imagining that she is still alive and both would lead a happy life far from the madding crowd. Anbu Selvan ( Sampath Raj), a police inspector goes on Sabha’s search. He runs behind Sabha only to end up in vain in every attempt of his. Meanwhile, Sabha starts to live his own world with the body of Meera. After blood, gore and score of murders, Sabha gives up his life eventually.

Prasad seems to have been inspired by movies like ‘Guna’, ‘By2’, ‘7G Rainbow Colony’ and ‘Kadhal Kondein’. He has managed to draw a link between action and romance in the film, which works out well.

The real scene stealer is however Vijay Anthony. The high octave and peppy number “Nakka Mukka” is the USP of the film. It comes twice ion the film and it is thoroughly entertaining.

Produced by Umapathy in association with Sun Pictures. ‘Kadhalil Vizhunthen’ is a movie that dwells on romance. It is a feel-good movie with strong portrayals

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Cinematography, Art Direction and the Background Score truly comply to international standards and blend perfectly well with the mood of the film.

The story of ‘Dhaam Dhoom’ heavily inspired from the 1997 Richard Gere film ‘Red Corner’ keeps the audience engrossed right from the outset. Stunning visuals of ravishing Russia, the earthly beauty of India and the choice of characters have been meticulously showcased thereby creating the right foil for the thriller elements of the film. Jeeva has been a big name when it came to highlighting emotions of young people in a trendy way. This is the first and sadly the last where he has ventured to make a thriller. ‘Jayam’ Ravi is probably the perfect choice to play the character of a man ‘hunted’ by Russian law and has to ‘hunt’ in order to prove his innocence. The onscreen chemistry between ‘Jayam’ Ravi and Kangana Ranaut is telling and works wonders for the film. Kojernikova Maria, a Russian actress, Lakshmi Rai and Jayaram fit into their characters with ease and style.

Gautham Subramanium (’Jayam’ Ravi), a brilliant medical practitioner is engaged to his sweetheart Shenba (Kangana Ranaut) in a village and is all set to marry her in a matter of days when a prestigious call to represent the nation beckons him. A medical convention is to happen in Russia for a week and a few Indian doctors travel to take part in it. Once in Russia, Gautham bumps into a seductive Russian girl, Anna (Kojernikova Maria) who has a mysterious nature about her. After a brief rendez-vous in a night club the two end up in Gautham’s place and the next morning dawns as a shocker to the young Indian.

Anna is found dead and the police arrest Gautham on charges of murder. Completely bewildered by the sudden happenings and not understanding what the representatives of the law speak, a Russian based Indian attorney named Aarthi (Lakshmi Rai) is appointed to represent his cause. But then our protagonist gets an opportunity to escape from the clutches of the police and decides to unravel the truth with the help of Aarthi. An employee of the Indian Embassy
in Russia, played by Jayaram is also sympathetic to the cause. To add a bit of romance-oriented confusion Aarthi begins to drift towards Gautham in spite of danger lurking all around.

Gautham’s and the blushing bride-to-be Shenba’s family wait for the return of the groom but then they get to know the dastardly events that had happened in Russia through television news broadcast.

The story has been narrated in such a way that montage sequences narrate blossoming love and dreamy scenes with immaculate hopes and then the stark reality of the protagonist being a fugitive sets in.

Harris Jayaraj’s songs are pleasant to hear with ‘Anbe En Anbe’ taking center stage. The background score simply stuns audiences and has traces of the Hitchcockian style of tension building. Certain scenes accompany the ‘Pshcho’ kind of tension music and the use of traditional Indian instruments accompanying their western counterparts comes out in a breathtaking fashion.

When it comes to cinematography, the word is AWESOME. Manikandan, Rajasekhar and Jeeva himself (for some song sequences) have come out with tantalizingly creative stuff. The awesome threesome will have to thank Thotta Tharani for his brilliant art and design work. A picture they say is worth a thousand words. With each frame of the film having come out in such a pleasing way the output has semblances of poetic expressions.

Stunts have been innovatively done expect for a few rope-oriented jumps and ‘Jayam’ Ravi’s body language and poise has been excellent. He has all the making of becoming a very successful action hero.

The film however runs out of momentum especially around the time the protagonist finds out the real culprit behind his being framed. On the whole, interest levels are sure to be maintained.

The technical brilliance and intensity the script carries has shaped out to be a true tribute to Jeeva. The hard work meted out after the director’s demise is clearly showing. Good work from a good team.

The filmmaker has attempted to portray a young man’s life weaving incidents that overtake his plans at every juncture and yet the sophisticated youth’s focus is never in question. The film does boast of some slick cinematography but then every other department fails to impress much. Vidyasagar has certainly had an off day with his music. None of the songs are hummable and the background score is pretty ordinary.

Vinay is quite successful in donning a sophisticated and cool demeanor and seems to have traces of his ‘naughty’ expressions from ‘Unnale Unnale’ especially in the company of the two leading ladies Bhavana and Lekha Washinton. Kishore as the menacing gangster needs to be appreciated for his performance. The actor seems to have carried on the good work from ‘Polladhavan’.

Kudos to Kannan, an erstwhile associate of Mani Ratnam for coming up with good characters in the film, but then some of the characters are wasted with
quite a few loopholes in the script.

Arjun (Vinay) returns to Chennai after working in London for many years after his father’s demise. With plans to start his own business in India with about 60 lakhs he had sent his father over the years, he reveals his intentions to a group of friends who get ecstatic at his plans. But the bubble bursts once they find that his father’s bank balance does not support his plans. In comes a shocking revelation. His father has had another family and he had also raised a daughter (Lekha Washington) who is about twenty years old and has an insatiable thirst to study in the United States of America.

Sibling rivalry ensues over property inheritance and this is about the time director Kannan succeeds in keeping the audience interested. But then the
intensity is lost with loads of contrived situations that lead the protagonist to Madurai where he intends to sell off one of his father’s property which currently houses Bhavana and family. The inevitable (love) has to happen.

The film then gets rejuvenated with the entry of a local gangster Guna (Kishore). The character of the gangster’s concubine keeps the intensity going as
she has viewpoints that are not frequently addressed in Tamil film. She adores the gangster because he has the capacity to make people tremble with fear.
Incidents build up in such a way that the concubine is killed in an accident in which Arjun is involved. Guna takes it personal and is out to get him at
any cost.

Lekha Washinton’s character is something most actresses who can perform well would love to don. The character has the scope of performing a plethora of
expressions and Lekha has done quite well. Since this is her very first film we probably can expect a much better performances in her coming films. Bhavana though does not have much to do than except talk cute in most sequences.

With Guna expected to strike anytime, Arjun showers a lot of love and affection on his step-sister which she detests. What happens between then so that
all their dreams can come true forms the rest of the story.

A very clear factor with ‘Jeyam Kondaan’ is that the director despite wanting the take the story forward based purely on human emotions has somehow
succumbed to certain commercial elements that do not jell with the story at all. Comedy elements work well in patches with Vivek, Santhanam and V. M. Hanifa providing the laughs.