Wednesday, October 29, 2008


That's the first official poster for Twenty 20, a Malayalam film that brings together all the big stars of the Malayalam film industry - Mammootty, Mohanlal, Suresh Gopi, Dilip, Jayaram and Prithviraj, to name a few. The film is being made for AMMA, the Association of Malayalam Movie Artists, and all the actors have acted without taking any salaries. Directed by Joshi, who has delivered some memorable hits, including another Mammootty-Mohanlal starrer No. 20 Madras Mail, this one is also supposed to be a murder mystery.

Multi-starrers allow more than one character to gain importance in the movie. They greatly expand the director's choice of stories and pave the way for more character-driven movies. Not to mention the excitement for us viewers in seeing two or more popular heroes compete on screen. But true multi-starrers have been few and far between in Tamil cinema as all our heroes, after just a few movies, refuse the share the screen with other actors, blaming everything from the directors not allotting equal roles for the actors to their fans' insistence to see only their idol on screen. And when there happens to be a story that features more than one interesting character, our actors will simply end up playing all those roles!

Suyamvaram, the guinness record-setting film was touted to be a multi-starrer but it didn't have any of the really popular actors(Rajni and Kamal only appeared in the opening credits that was filmed during the film's launch and actors like Vijayakanth, Vijay and Ajith did not appear in the film). Though they had only two popular actors, films like Pithaamagan and Pattiyal are probably better examples of multi-starrers in the true sense of the word. And even if the actors involved had varying levels of popularity, films like Kurudhippunal, Thalapathy, Vaanathai Pola and Kandukonden Kandukonden could be called multi-starrers too.

The Tamil cinema fan that I am, the Twenty 20 poster had me dreaming about a similar poster with Rajni and Kamal in the middle, flanked by Vijay and Ajith on one side and Vikram and Surya on the other. When any movie starring just one of these actors triggers so much excitement, can we even start to imagine the excitement and hype a film starring all of them would generate? But then I read about Mammootty and Mohanlal fans clashing about the placement of their heroes on the poster as Mohanlal fans were unhappy about their hero not appearing in the center of the poster, on par with Mammootty. If this is the case in Kerala, which is supposed to have a high percentage of literate moviegoers and whose movie stars have fans and not fanatics, then what chance do we stand?! I'm guessing not a single poster will be left untouched and not a single movie screen will be left unharmed. And every single slight, imagined or true, on any of the heroes as they appear in the film will result in clashes between their fans. I'm not sure any director would dare direct such a film for fear that the fans' ire will be directed at him if he is viewed as not being fair to their hero.

So, while actors in Hindi and Malayalam film industries put aside their egos to appear together, I guess we have to be satisfied with hero-centric films where everyone surrounding the omnipotent hero is turned into a cardboard figure present solely to sing praises about him. Sigh...

Tuesday, October 28, 2008


The don in Billa, the young man seeing his dreams come crashing down in Kireedam, the man on a mission in Aazhwaar... all these movies saw Ajith play some variation of a serious, brooding protagonist with enough reasons to stay that way. It never looked like the actor was having fun appearing in those movies. Aegan, which borrows liberally from Shah Rukh Khan's Main Hoon Naa, rights this and gives him a role he is perfectly suited for. But while his role is crafted well, one can't say the same about the movie. Debutant director Raju Sundaram is able to keep intact - even if not completely - the entertainment value in the portions he borrows from Main Hoon Naa but his inexperience shows in the rest of the film.

Ramprasad(Devan) is a man on the run, wanted by both the police and the bad guys. While Chinnappa(Suman), a bad guy with his hands in everything, is after Ramprasad because he was in his gang but has now turned approver, the police hope to catch Ramprasad and through him, get Chellappa. The police, believing that Ramprasad will contact his daughter Pooja(Pia) who is a student at a school in Ooty, send Shiva(Ajith), a no-nonsense cop, to the school as a student, hoping that he can befriend Pia and nab Ramprasad when he shows up. But the school environment catches up with Shiva too as he romances the Chemistry teacher Mallika(Nayanthara) and befriends the students led by Naren(Navdeep), Pooja's best friend.

Aegan takes the central concept - an older undercover agent attending a school - of Main Hoon Naa but wraps a much simpler story around it. While one can appreciate the fact that Raju Sundaram has not ripped off the entire film, the sad fact is that it is only the parts lifted from Main Hoon Naa - Ajith caught in the fish-out-of-water scenario and the romance - that actually work while the original parts - like the villain in pursuit of an ex-gang member and the track with the principal as a wannabe-private detective - are silly and amateurish.

With Ajith not averse to poking a little fun at his age and physique(or lack thereof), his time at school is quite entertaining. His encounters with Nayanthara elicit chuckles and his bonding with the other students is built up gradually. He also shares some nice sequences with his assistant(Haneefa) and the school principal(Jayaram). While the comedy in those scenes is natural, situational and works well, the same cannot be said of the more overt attempts at it. Jayaram generates some laughs initially as he, in the tradition of school and college principals in Tamil cinema, makes a fool of himself by trying to 'help' Ajith. But things get repetitive and tiresome soon. Giving Suman a funny sidekick in the form of Sriman doesn't work either and his jokes fall flat, apart from diluting Suman's villainy.

One of the things that is brought over from the original but doesn't work because of the way it is handled is the part about Ajith's past. The whole segment - which, by the way, was always lurking in the background of Main Hoon Naa and gave the movie its emotional anchor - looks like it was added as an afterthought. It damages the film's final parts and gives it a rushed, incomplete feel. Since the movie would've worked perfectly well without it, one is not sure why Raju Sundaram felt compelled to include it in such a sloppy manner. An even bigger question is why Suhasini agreed to appear in the role she is given.

Ajith's weight seems to go through the same wild swings his career goes through. After losing a lot of weight for movies like Paramasivan and Tirupathi, he once again looks a bit heavyset here. But he finally gets the chance to turn on the charm that made him so endearing in movies like Vaali and enjoys it. Nayanthara looks great as always though the way she wears her sarees, learning would be the last thing on her students' minds. Navdeep and Pia ham it up a little bit. Suman doesn't add much to the stereotyped villain's role. Yuvan's background score works well during Ajith's introduction and a few other scenes but the songs themselves are disappointing. Hey Saala... and Odum Varaiyil... are choreographed well and Ajith executes some surprisingly fast steps. The jazzy Hey Baby... has a few interesting touches in the way it is picturized.

Sunday, October 26, 2008

Happy Diwali!

Got together with relatives, met friends, had delicious food, enjoyed fireworks with the kids, watched a Diwali release on the big screen... it almost felt like home :)

Wish you all a very happy Diwali...

Wednesday, October 22, 2008

Coming Soon - Aegan

It's gonna be a Thala Deepavali this time! Ajith's Aegan is confirmed as a Diwali release and with Vaaranam Aayiram backing out, is getting pretty much a solo release, something rare for a Diwali release. With Ajith fresh from Billa's success, Nayanthara, the reigning queen of Tamil cinema and based on a Hindi blockbuster, the film has quite a few things going for it.

Aegan is Raju Sundaram's first film as director. He's found success as a dance director and not so much as an actor but neither of those can help us predict his performance as a director. He is following in the footsteps of his brother Prabhu Deva, who also went into direction with Pokkiri and he must be hoping that he tastes the same kind of success with this Ajith-starrer as his brother did with the Vijay-starrer. Raju Sundaram says that the film is "inspired by" Main Hoon Naa and another Chinese film. But we all know what that means. The films title(Aegan means protector and that's exactly what the hero of Main Hoon Naa was - he protected his country, his brother, his general's daughter, etc), the roles(the brother, the teacher, etc.), the trailer(Ajith is told that he is joining as a student) and the stills(Ajith and a bunch of students dancing in the school playground) all point to the movie being Main Hoon Naa's remake. Not that there's anything wrong with that!

On paper, the story of Main Hoon Naa seems regressive(boy ignores tomboyish girl; boy falls in love as soon as she becomes 'Indian'), sentimental(Shah Rukh bonding with mom and brother), over-the-top(the cycle rickshaw chase sequence), crude(one character spits when talking) and jingoistic(the India-Pakistan bhai bhai project). But Farah Khan managed to put these elements together and craft a film that was slick, fun and marvelously entertaining. It was one of those movies where everything worked - the performances were pitch-perfect, the romance was sweet, the sentiments were enjoyable, the action was energetic and the songs sequences were mounted well. The film was never too serious but at the same time, it never became so silly or comical that it descended into camp because Farah Khan walked the tightrope beautifully. It is this nebulous aspect that Raju Sundaram has to capture perfectly if he wants to make Aegan work. For a first-time director, thats a pretty tall order but then again, Main Hoon Naa was Farah Khan's first film too.

I think Aegan's the perfect vehicle for Ajith. The actor played the sweet, charming lover boy in several movies initially in his career but after Dheena happened, he turned into a masala hero with action getting the main focus. He seems to have given up on those movies but while the movies he has selected since then have been better, they haven't brought back the Ajith of old. The don in Billa, the young man seeing his dreams come crashing down in Kireedam, the man on a mission in Aazhwaar... all these movies saw him play some variation of a serious, brooding protagonist with enough reasons to stay that way. I can't remember the last time he looked like he was having fun appearing in a movie. The hero's role in Main Hoon Naa offers a good chance for him to enjoy himself again and at the same time, satisfy his fans. Hope it works out. Nayanthara teams up with him again after Billa and will get to romance him this time. Playing a teacher, she looks gorgeous in the stills and the trailer and make us wish we were back in school! Navdeep, who was in Arindhum Ariyaamalum and a couple of other movies, plays Ajith's brother. From the stills and trailer, it looks like Nasser plays a policeman and Haneefa plays one of the school teachers. Suhasini is listed in the credits and I guess she'll be playing Ajith's mom.

Ajith's career has had some wild swings so far. With Billa turning out to be the biggest hit in his career, I guess its on the upswing again. Let's hope Aegan becomes a hit and helps him continue his upward ride.

Tuesday, October 21, 2008


Karz, a remake of the Rishi Kapoor reincarnation drama of the same name (the film that also inspired Kamal's Enakkul Oruvan), is the latest remake of an old Hindi film. Here, Dino Morea plays the rich man who is killed by his wife Urmila and is then reborn as a singer(played by Himesh Reshammiya). Haunted by visions of his past life, Himesh tries to find answers to his questions. I don't remember much about the original Karz but I do remember Enakkul Oruvan and the story is here not exactly the same since even the bad guy is different. But inspite of that, the director makes the curious decision to reveal the reasons and the culprit behind Dino Morea's death right at the beginning. So there's no suspense about who exactly Himesh is a reincarnation of. Urmila's culpability and Himesh's lack of knowledge about it takes the movie in an interesting direction but it ends in a rather lame way. The villain would rank among the silliest villains in a film that isn't trying to be a comedy. The film is packed with songs but barring Ek Hasina Thi... and the background score it provides, both of which are borrowed from the original film, the songs sound similar to one another.

Monday, October 20, 2008

RIP - Director Sridhar

Director Sridhar passed away today in Chennai. A fantastic storyteller and true trendsetter, he has earned a permanent place in Tamil cinema history.

Among the films of Sridhar that I've seen are Kalyana Parisu, the story of two sisters in love with the same man, and Nenjil Or Aalayam, a superb, character-based story of a man in the unique situation of having to save his ex-lover's husband. The latter also featured one of my all-time favorite songs, Engirundhaalum Vaazhga.... Nenjirukkum Varai, a love triangle where all performers appeared sans make-up, and Nenjam Marappadhillai, a re-incarnation tale, were two more of his famous films. It is hard to believe that the man who made all those tearjerkers was also behing a laugh-riot like Kaadhalikka Neramillai, a superb ensemble comedy. Movies like the romance Thaen Nilavu(the first Tamil film to be shot in locales in Kashmir), the light-hearted Ooty Varai Uravu and the hero-centric, MGR vehicle Urimai Kural(supposedly a film done by MGR to help out Sridhar, who had fallen into dire straits financially) are further proof of his versatility behind the camera. In those movies, he introduced several actors to Tamil cinema including Muthuraman, Devika and Jayalalitha. Sridhar made a smooth transition to the next generation of Tamil cinema with films like the bold Ilamai Oonjalaadugiradhu, perfectly casting the two fastest rising stars of the day. And he proved that even if had grown old, his heart was still young with the superhit Thendrale Ennai Thodu as late as 1985.

Strong characters, subtle but strong emotions, restrained humor, great songs - all these were trademarks of Sridhar's films. He may have left us but his legacy will be around for a long time to come. May his soul rest in peace...

Saturday, October 18, 2008

Happy Birthday Jo!

Birthday wishes to Tamil cinema's most loveable heroine!

Last known 'sight'ing - At Sibi's wedding in September...

Thursday, October 16, 2008

Udhiri Pookkal

Its not easy watching a movie universally regarded as a classic and fondly remembered by everyone who has seen it. The superlatives contained in any description of the movie create sky-high expectations that are difficult to meet and any negative opinions we feel while watching it are accompanied by doubts as to whether we are missing something that the others saw. There are no such problems with Mahendran's Udhiri Pookkal though. It deserves all the accolades it gets. For the most part.

Udhiri Pookkal is completely realistic and for that reason, stands out among the melodrama-laden films of the time. From the atmosphere of the village to the characters inhabiting it to their behavior and interactions with one another, it feels real. So the characters' emotions feel real too. There is no drama even in sequences(like the one where Vijayan visits Charuhasan to ask for his daughter's hand in marriage) that seem to demand it and that makes what the characters say or do, more powerful.

The biggest reason for this realism is ofcourse the characterization. These are real, vivid characters and the emotions they evoke, whether its sympathy or hatred, are real. Even the supporting characters(like the barber, whose repeated requests to shave the boy's head are met in an unexpected way) feel fleshed out and are given their 15 minutes to shine. As a result, we are always absorbed in the proceedings and the movie never feels slow. And Mahendran ensures that affairs of the heart always take centerstage. He even cuts away during scenes of overt, physical violence.

The realism does take a brief hit during the third act of the film. As Ashwini's sister sings a sarcastic but cinematic song after Vijayan's marriage, the movie resorts to a cliche - something it had studiously avoided until then. Vijayan's subsequent act is also so blatant and brazen that it doesn't seem to suit his character. His acts so far, while still heartless, were things he could - and did try to - rationalize to the other villagers. But this act is nothing like that and so seems like a plot point brought in solely to set up the climax.

But the powerful and memorable climax does make us forgive those missteps. It makes us - even if only briefly - question our own feelings towards the characters as Vijayan seems more human than he has been so far while the villagers seem to be the heartless ones. Just as in Mullum Malarum, the build-up is long but effective and Ilaiyaraja's score heightens the impact. The final shot - that gives the title its meaning - shows us who the real victims are through all this.

This is one movie where the characters and the actors who play them are so intertwined so that its difficult to think of one separate from the other. Ashwini, with those sad eyes, tugs at our heartstrings and manages to convey so much (like the thought of how things would have been if she had married Sarathbabu or the split-second of courage as she imagines telling Vijayan what's really on her mind) with those eyes. Even when she smiles, she somehow manages to convey that its just a facade to hide all the sadness inside. Vijayan earns our revulsion as someone completely ruthless and ready to do whatever is needed to attain what he wants. Charuhasan and the actor who plays the barber are just perfect in their roles.

Wednesday, October 15, 2008

Aegan Trailer

Main Hoon Naa was a good mix of action, romance and comedy and Aegan's trailer conveys the same(though the emphasis seems to be on action). The action sequences look good and slick and the background score serves the trailer well, especially at the beginning. Ajith has a couple of punch dialogs but they seem rather tame. Villain(is it Suman?) seems to be wearing the same wig Rajni wore in the Style... song in Sivaji. The final silhoutte shot looks awesome.

Tuesday, October 14, 2008

The Happening

After a hat-trick of hits with The Sixth Sense, Unbreakable and Signs, Night Shyamalan's films have seen a precipitous decline in quality. While The Village can be condoned as just the law of averages catching up with the filmmaker and The Lady in the Water can be forgiven as a misguided excursion into a genre he was unsuited for, there's no way to look at The Happening as anything but a desperate attempt by him to find box-office success. It hasn't worked. Unintentionally funny and campy, it is B-grade horror schlock parading as a serious horror movie.

From the premise to the execution to the resolution, everything in The Happening is silly. There is some intrigue initially as the characters - and we, the viewers - don't understand what is happening but once we learn what is behind the occurrences, the suspense is replaced by incredulity at what unfolds on screen. And even if we do buy into the silly premise, Shyamalan doesn't follow his own rules thereafter and seems to be making them up as he goes.

The film has a couple of creepy scenes(like a man's encounter with a lawnmower) and a couple of surprises(neither the timing nor the mode of elimination of a couple of characters is expected) but barring those, is completely devoid of chills or thrills. Its not easy to evoke a sense of dread from shots of trees shaking in the wind and the poor acting and the bad lines of dialog don't help. The film was advertised as Shyamalan's first R-rated film but the scenes pushing the film into 'R' territory feel forced and artificial. He was able to evoke atmosphere with a lot less in movies like The Sixth Sense and The Village.

I can't imagine a worse pair of lead performances in a major motion picture than the one given by Mark Wahlberg and Zooey Deschanel here. Wahlberg was good playing the casual, laidback guy in movies like The Italian Job but seems completely miscast here. There are times when we don't know if he is joking or being serious and its laughable when he cries or expresses his feelings to Zooey. She, for her part, looks dazed most of the time and her face rarely registers any other expressions.

Monday, October 13, 2008

3 New Reviews

Reviews for Pandhayam, Kaadhalil Vizhundhen and Raman Thediya Seethai are now online @ bbreviews.

Sunday, October 12, 2008

Kids Will Be Kids

Yesterday, when I was giving directions to a friend...

Me: Go straight on Dial, you'll hit Rainbow, take a left, ...
Karthik: Why is aunty going to hit the rainbow, appa?
Me: :)

Wednesday, October 08, 2008

Bye Bye Comedy Tracks?

Its quite a coincidence but from around the time that I wrote the post comparing Tamil and Hindi cinema, there's been a marked improvement in the quality of Tamil films (increasing the coincidence is the fact that I haven't seen many good Hindi films during the same time period). It's not that there's been a string of masterpieces or classics but most of the movies since then have been 'watchable' - not a term you could use to describe a large percentage of the films released in the first 9 months of the year.

The films certainly have had variety. They have spanned many genres, have been helmed by both new and experienced directors and have featured fresh as well as familiar faces. So I've been trying to see if there's any one factor common to these recent movies that made them better than their predecessors and I came up with one - the lack of a separate comedy track. Among the last 10 movies or so that I've seen, only one (Kee. Mu.) featured a comedy track with Vadivelu. That's a remarkable track record considering our history of separate comedy tracks. We've had thrillers(Saroja, Alibaba), action movies(Dhaam Dhoom), youthful romances(Kaadhalil Vizhundhen), mature romances(Raman Thediya Seethai) and masala movies(Sathyam) but none of them saw the need to resort to a comedian trying to earn laughs in a track with no connection to the main track. Even the presence of a comedian(Vivek in Jayam Kondaan) did not automatically indicate a comedy track. And movies like Dhanam and Pandhayam, the worst among the recent bunch of movies, were bad for a number of reasons but a disconnected, episodic comedy track wasn't one of them.

Comedy tracks have been part of Tamil cinema for ages now. N.S.Krishnan, Nagesh, Koundamani-Senthil, Vivek and Vadivelu are some of the comedians whose independent comedy tracks have rescued many a movie. The comedy tracks in movies like Udhaya Geetham, Karagaattakkaaran, Winner, Run and Parthiban Kanavu are not likely to be forgotten any time soon and the movies were certainly the better for them.

The comedy tracks in the aforementioned movies gave an illusion of being part of the movie. By making Koundamani and Senthil part of the dance troupe in Karagaattakkaaran and by making Vivek look for Madhavan in Run and by making Vivek a counterpoint for Srikanth's mental image of a perfect marriage in Parthiban Kanavu, the directors made them a part of the story. We knew that they were there for comedy but they blended into the movie. But somewhere along the line comedy tracks began to be inserted forcefully simply for the sake of having a comedy track. Factors like the track's connection to the main storyline, it's effect on the overall tone of the movie and it's impact on the pace of the movie were disregarded, leading to silly comedy tracks in otherwise solid movies like Kannum Kannum. And slapstick and even violence began to be passed off as comedy as comedians got hit and kicked and punched. Naturally, the quality of the tracks suffered and they simply stopped being funny. I can't remember the last time that I really enjoyed a comedy track in a Tamil film.

In the Hindi Cinema vs Tamil Cinema post, I mentioned three things that have helped Hindi cinema race ahead of Tamil cinema in terms of quality - lack of image among heroes, elimination of the separate comedy track and elimination of unbelievable stunts. If the recent movies are any indication, we might be ready to adopt atleast one of those three things. If this is a permanent feature rather than just a temporary trend, its definitely a step in the right direction.

Tuesday, October 07, 2008

Odd & Ends

- Here's Aish talking about Rajni after the first schedule of Endhiran shooting. Nothing new since what she says about Rajni is pretty much what everybody says about him - humble, simple, etc. But still, solradhu ulaga azhagiyaache...! Looks like she's definitely improved at giving interviews. I still remember her giggling unprofessionally through her interview with David Letterman but she looks classy and in control here and I liked many of the phrases she used.

- Security's been breached again on the sets of Endhiran, this time in Goa. A few stills of thalaivar and Aish relaxing between shots have made it out. The French beard suits thalaivar real well.

- After those first few photos of a bearded Ajith, we finally get some new photos from his upcoming Aegan. Its now quite certain that the film is a remake of Shah Rukh's Main Hoon Na but the photos themselves are rather generic and don't really hint at any of the plot points. No photos, for instance, of Ajith or Nayan at the school or Ajith facing off against an armyman. But Ajith looks smart, Nayan as always looks great and they make a nice pair. Hope Raju Sundaram makes as successful a debut as his brother did with Pokkiri.

- On a very different, somber note... we've been reading about the global financial crisis; about the credit crisis; about the bad mortgages; about banks shutting down; about the stock market slump; about the job market slowdown. But somehow, it all seemed far away. But then you read something like this [via Hawkeye] and WHAM!, it really hits home how easily things can go out of control. Real sad...

Monday, October 06, 2008

Kaadhalil Vizhundhen

Romances in Tamil cinema mostly fell into the candyfloss category earlier but we've recently had more directors take chances within the genre, leading to movies that are more surprising and less predictabe. Kaadhalil Vizhundhen is one more addition to the list. Though it starts off on a familiar note, it soon takes a turn into darker territory and never looks back. With a strong lead character and a good screenplay, it keeps us interested though a few missteps prevent it from having the emotional impact it aims for.

Sabapathy(Nakul), on the run with his lover Meera(Sunaina), boards a train and ends up narrating his story to a sympathetic TTE(Livingston). He tells the TTE about Meera taking care of him while he was recuperating from an accident that was her fault; his love for her, that he kept silent about for fear of losing her friendship; and her eventual reciprocation after learning about his true feelings. But as he tells the TTE about the circumstances that have forced them to go on the run, the TTE realizes that things are more serious than what he initially thought.

Recently we have had several movies follow the narrative structure where things start off with something interesting and the film then rewinds to show us what led to that. While some movies, like Kee. Mu. misuse this technique by revealing their cards and lessening the suspense, others, like Alibaba, use the start to set our expectations and then proceed to break them. Kaadhalil Vizhundhen, thankfully, falls in the latter category. The familiar lovers-on-the-run start reveals itself to be something very different once Nakul finishes his story and we are as surprised as Livingston at the turn of events.

The entire movie rests on the shoulders of the character played by Nakul. How much we like the movie depends on how much we buy into the transformation of his character and his subsequent actions. The director lays the groundwork quite well for this. There is a strong, valid foundation for his feelings for Sunaina and both the depth of his love and his fierce way of expressing it are well-etched out. So we feel for him. There are still a couple of scenes(like the one where he cuts her nails) where things get a bit weird but for the most part, he earns our sympathy with his situation. His character is also the reason why the violence, though bloody and gory, doesn't feel gratuitous or exploitative.

Tamil directors are usually guilty of oversimplifying things. Everything is spelt out and there is little that is left to our imagination or understanding. The director here goes the other way and leaves too many things for us to figure out. Some of these, like why Sunaina takes so long to respond to Nakul and what exactly happens during that time, raise some anticipation about an upcoming explanation or surprise, which never comes. Others, like what exactly led to the key plot point that drives the entire movie, are even more damaging since are trying to figure out what happened instead of being pulled along by the movie. It is possible to piece together what happened from the dialogs and actions of the people involved but some kind of explanation would have generated sympathy for one of the key characters and increased our involvement in the events that transpire.

Nakul, the chubby kid from Boys, has undergone an impressive transformation to play hero here. He seems a bit rough around the edges initially but comes into his own as his character gets some new shades. Sunaina is pretty in a simple way but doesn't have much to do. Naakku Mukka... became a rage when the audio was released and brought with it the kind of publicity that no amount of marketing could have generated. Those who enjoyed its fast beats and fun lyrics won't be disappointed in the way it's been picturized. It is real energetic and features some fast dancing from Nakul. The song's second appearance, probably added owing to its popularity, isn't as impressive though. The rest of the soundtrack isn't too bad either. Thozhiyaa... has a catchy tune and some apt lyrics too while Unakkena Naan... has Vijay Anthony's unique stamp over it.

Wednesday, October 01, 2008

4 New Reviews

Reviews for Dhanam, Kee. Mu., Alibaba and Saroja are now online @ bbreviews.