Velayudham and 7am Arivu of Kollywood are 2 of the much awaited films in India recently as they have released for this Diwali (26-Oct-2011) after a long wait. Here we have reviews Velayudham.

Sify review

Vijay is back in action with Velayudham an out and out mass entertainer with all Navarasas of commercial cinema mixed in the right proposition.

Read 7am Arivu Review here

Director M Raja has packaged it as a Thali meal catering to the taste of all sections of the audiences.

It is Vijay’s Diwali treat to his fans. The film makes no bones, no pretences. It is an old-fashioned masala entertainer that plays to the galleries- a rocking introductory song, two glam girls, adrenal pumping action scenes, comedian Santhanam the current flavour of the season in some hilarious situations, sister sentiments and a message. But that's all part of the design.

One major plus for the movie is Vijay Antony's songs which are melodious and mass. The Vijay introductory song Sonna Puriyadhu.., Chillaxxx.. and Molachu Moonu... are the pick of the lot. Raja has taken the basic thread of the film from Nagarjuna’s Telugu film Azad directed by his friend the late Tirupathi Samy. The original itself was etched out of Amitabh Bachchan’s Main Azaad Hoon which was inspired by Hollywood 1941 classic Meet John Doe.

Rediff review

Ilaya Thalapathi Vijay has his comfort zone in the form of formula mass films that have a superhero at its epi-centre, destroying evil; saving his world; offering safety and security to those around him: all preferably done with panache and the prowess of a superman.

Read Ra.One Review here

Velayudham, remade from the Telugu hit Azad, with suitable modifications, has a story that's as old as the hills but there are a few elements that do add some flavour to the old wine in a new bottle.

Saranya Mohan, as his sister has precious little to do except look adorable and hug him a lot, which she does dutifully. She gets almost as much screen-time as Genelia D'Souza, who, for once, has given up the giggling school-girl act and actually has something to do. Hansika, however, doesn't, and her tittering gets on your nerves after a while.

Santhanam delivers his usual, as is his wont. The rest of the cast: Suri, Shayaji Shinde, Manivannan, et al merely form part of the backdrop.

Velayudham doesn't take itself seriously and doesn't expect you to either. In other words, it's paisa vasool.

Ra.One of Bollywood and 7am Arivu of Kollywood are 2 of the much awaited films as they have released for this Diwali (26-Oct-2011) after a long wait. Here we have reviews for both films.

7am Arivu review

Considering the hype that's surrounded the movie, it's almost a given that you're going to end up with mixed feelings about it. It would be impossible to give a linear review for a film that traverses several plot-lines.

Read more film reviews

The first half-hour of the film. It might be slightly in the style of a documentary but the camera-work, the SFX and the maker's obvious love of history transport you back 1600 years into the past, to the reigning Pallava dynasty, and to the surroundings of Kanchi, to a land that is at the height of both martial and medical prowess. It's here that you're introduced to Bhodhi Dharmar (Suriya), a Pallava Prince who leaves his family behind and journeys to China. His travel across the lands, and the way he slowly assimilates the life of an ascetic, casting away his princely robes is a revelation. It takes him three years to reach China -- where a completely different life awaits him.

7am Arivu has several things working for it -- its historical background, and a rock-solid villain who uses mind-control, and an intelligent heroine, among other things.

Ra.One review

Ra.One is a subpar superhero film with a mediocre soundtrack and occasionally terrific effects. For those of you looking to compare, it's well below Krrish on the superpecking order, and far, far below Robot.

More about Indian films..

It has a good villain in Arjun Rampal, a striking heroine in Kareena Kapoor and a visual effects team that, while derivative, gets the job done rather well. The problem lies in the hodgepodge script -- a congealed instant-noodles mess of mixed flavours and overzealous Bollywoodisation -- and, even more crucially, in the man.

There is far too much Shah Rukh Khan in Ra.One, and while the man can normally be counted on to entertain no matter how completely he overwhelms us with his presence, this is him trying too hard in a film that straddles the disparate worlds of Shankar and Farah Khan, and, having been made by Anubhav Sinha, falls painfully flat.

Engeyum Eppodhum (Tamil: எங்கேயும் எப்போதும், English: Anywhere Anytime), produced by A. R. Murugadoss in association with Fox Studios is a romantic Tamil film written and directed by newcomer M. Saravanan. Starring Jai, Anjali, Ananya and Sharvanand in the lead roles the film released worldwide on 16th of September 2011.

Rediff Review

It is refreshing to see a debutant director bring a tale of urban love and its pain in not just a convincing fashion, but with large dollops of comedy and a twist that jolts you out of your seat.

Fox Star Studios, venturing into Tamil cinema under the aegis of A R Murugadoss, looks like it's landed itself a winner with Engeyum Eppodhum (Anywhere, Anytime), directed by M Saravanan.

Velraj's camera-work and Antony's editing are excellent; but it's the SFX team that deserves kudos.

Praise goes, deservedly, to the director for choosing a simple story that focuses on the smaller joys and sorrows of life, of personal tragedy that barely makes a mark in public consciousness. Director M Saravanan weaves a tale of love, but also has other characters you might miss if you blink, but who still have their parts to play. His biggest strength is that the screenplay rarely loses pace and manages to be realistic most of the time.

The Hindu Review

Engeyum Eppodum, a production of Fox Star Studios in association with A. R. Murugadoss Productions, conveys a message, but subtly. Shouldered entirely by a young cast, it works because of the chemistry between the lead actors.

All the lead actors — Jai, Anjali, Sharvanand and Ananya — excel in their comic timing and dialogue delivery. The director has tried to keep their performances real.

Despite some clichés, the movie works well. The dialogues are crisp and the technical aspects top-notch. R. Velraj's cinematography and Kishore's editing are a standout. It is refreshing to see the way Tiruchi has been brought to screen. The elaborate sequences inside the buses have also been photographed effectively. The tight editing has kept the non-linear narrative not too confusing.

Deccan Chronicle Review

Living up to all the hype and expectations is Engeyum Eppodhum.

Though it is helmed by newcomer Saravanan, the fact that it is produced by filmmaker A.R. Murugadoss and Fox Star Studio makes it a grand affair.

It is a mix of romance and feel-good moments that end up with a riveting climax. A bus journey filled with twists and turns, ‘EE’ is a smooth ride that ends with a strong message.

Pace suffers in the first half. The movie, which has a larger message and comes in a neatly packaged manner, is a must watch for everyone!

Mankatha (Tamil: மங்காத்தா) is a 2011 Tamil action thriller film written and directed by Venkat Prabhu. The Kollywood movie features Ajith Kumar in the lead role, starring in his 50th film,[6] along with an ensemble cast including Arjun, Trisha Krishnan, Vaibhav Reddy, Lakshmi Rai, Andrea Jeremiah, Premji Amaren and Anjali.

Rediff Review

The first thing that needs to be said about the enormously anticipated movie of the year, Cloud Nine and Sun Pictures' Mankatha, directed by Venkat Prabhu, is that this is probably the film Ajith has enjoyed making the most. This being his 50th film, as the title scorches the screen, you expect fire-works. Fireworks there are aplenty: guns blaze, men are liberally killed and gangsters run all over the place.

Ajith, the star that he is, has carried practically the whole film on his capable shoulders -- and he's simply had a blast as the guy whose character sports negative shades.

And you wonder why no one ever gave him a role like this after Vaali. The man's screen-presence works wonders -- and here, he's also had a blast dancing.

Director Venkat Prabhu has made a name for himself on his ability to wring humour from his tried and tested cast.

Sakthi Saravanan's camera-work isn't scintillating, but it manages to keep you interested. Praveen K L and N B Srikanth's editing could not have been more effective. Yuvan Shankar Raja's Vilaiyadu Mankatha is mesmerising; he also plays around with some of his father's tunes for the background score, appropriately placed.

Galatta Review

Mankatha is everything one would expect (or want?) it to be: A complete masala entertainer with doses of slickness, comedy and riveting dishoom-dishoom.

...And one unique element added to this? The unabashed portrayal of negative shades of characters and lack of forced moral correctness! Yes. In this movie, it's not always that the good guys defeating the bad guys; just as the bad guys are fun enough that you'd want them to win!

An entertaining end to an entertaining movie: The end credits are un-missable so don't get up and walk away thinking the movie's over! Hilarious and uber cool!

Bollywood film I Am Kalam, released this Friday (05-Aug-2011) in India, has been showcased in various film festivals and has bagged various awards and honors.

I am Kalam revolves around the story of a child who is inspired by Dr. Abdul Kalam (former Indian President); and his trials and tribulations when he dares to dream to become like him. The film has so far won 1 National Award and 11 international awards.

The film celebrates the survival of human spirit against overwhelming odds and highlights the need for underprivileged children’s education. The film, aims at inspiring the poor to educate their children.

Rediff Review

Devoid of absolutely any known name in its cast, save for Gulshan Grover [ Images ], I Am Kalam is a welcome addition to the children's film genre which has often received short shrift from mainstream Bollywood.

On the basis of its story alone, this is a winner. However, director Nila Madhab Panda builds maudlin subplots around Chhotu which takes a great deal away than adds to the film. Chhotu itself is a wonderfully alive character, at par with Swami of Malgudi Days or Chaipau of Salaam Bombay!

There's a possibility that some day boys like Chhotu will grow up to lead this country. Whether he wears a tie, a Nehru jacket or styles his hair like Kalam, is entirely his discretion.

NDTV Review

His toothy, high-wattage grin is an outright winner. It lights up the desultory desert landscape. But there is infinitely more to I Am Kalam than child actor Harsh Mayar’s heart-warming screen presence.

This sparkling little tale of ordinary people with their desperate dreams and tremulous hopes, their stray highs and persistent heartbreaks, follows a genteel, unhurried narrative trajectory.

I Am Kalam draws its lifeblood primarily from the innate authenticity of its tangible characters and the sustained evenness of its pragmatic tone.

Veppam, directed by debutante director Anjana and produced by Gowtham Vasudev Menon, has finally hit the theaters this Friday (29-July-2011) after a long delay.

Rediff review

As expected from someone who worked first in ad films and later as associate director with Gautam Vasudev Menon in Vettaiyadu Vilaiyadu, Anjana's debut film Veppam (Heat) is certainly very chic. Together with cinematographer Om Prakash, she has crafted a film that is easy on the eye and possesses a style that reminds one of Gautam Menon himself. Photon Kathaa's Veppam (Heat), is a slickly made film.

Nani and Bindhu Madhavi, newcomers to Tamil films, do very well and manage to engage our interest. Nithya Menen has a very small role to play while Karthik plays to his strengths and doesn't really move out of his comfort zone. The rest of the cast is, truth be told, no great shakes.

Antony's editing is adequate though it could have been better in the second half. Mayan's art-work is realistic, bringing the scenes to life.

A tauter screenplay, more logic in the sequences and realistic dialogues would have made Veppam an eminently enjoyable film.

Super Good Movies review

A movie set in Chennai slum, directed by debutant Anjana, Veppam promises aplenty. With a strong technical team behind, Veppam is a movie different from the rest.

It is a movie set in the backdrop of Chennai slum. It reminds one of movies like Pattiyal and Drohi a lot. Anjana has given her hard wolrk and the result is there to be seen in parts. The script is racy and the first half with some breezy moments passes off quickly. The twists and surprising turns in the story are enjoyable.

It has a very sleek cinematography by Om Prakash. He has penned a poetry through his camera. The songs by Joshua Sridhar stands out. All the seven songs including Veppam, the theme song, is worth a listen.Anthony's crispy editing adds pace to the script.

Nani plays his part well while Karthi is breezy and entertaining. Bindhu Madhavai has a limited scope while Nithya Menon hogs limelight with her character.
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Kanchana is a 2011 Tamil horror film directed and written by Raghava Lawrence as a sequel to his previous venture, Muni (2007). The film features himself in the lead role with Sarathkumar and Lakshmi Rai in other roles.

Rediff review

Choreographer Raghava Lawrencce's Kanchana is a continuation of his earlier film Muni as far as the characters are concerned, but is not technically a sequel.

It's supposed to be a horror film, but also has a 'cause' towards the climax which however gets drowned in the narrative.

The film may scare kids but no one else. The acting in many scenes is over the top and it's obvious that every effort is being made to appeal to the masses.

Lawrencce's acting is okay, but a bit overdramatic in most scenes and the dancing scenes are expressly for him. As a director he should have developed the theme better.

The Hindu review

Like the eerie tales telecast on Tamil satellite channels at nights for thrill-hungry viewers, Kanchana (U/A) is bound to find takers.

The latest from Raghava Lawrence's stable, is another foray into the occult and comes as a sequel to the 2007 film, Muni, also directed by him.

Lakshmi Rai returns after quite a while. Paired with Lawrence, it's a glam show all the way. And that's about it.

Thanks to effective CG, the supernatural sequences (there are several) in Kanchana impact.

As an actor Raghava Lawrence overdoes, as a dancer he is inimitable, as a director he impresses and as a storyteller he scores.

Bollywood action flick SINGHAM, released this Friday (22-July-2011), is one of the quickest remakes to have been made in recent times. While the Tamil version had released last year with Suriya and Anushka Shetty as the lead couple, within a year the Hindi version is also ready. Here this blog lets you know about reviews for the film.

Rediff Review

In Rohit Shetty's mass-masala movie Singham, Ajay Devgn plays an upright, honest and do-gooder cop who goes way beyond the training and duties of a regular Indian Police Service officer.

He will stop to push a cart if its wheel is stuck in the mud; play with little kids; become a part time no-interest loan financier to settle a dispute between two people in his village, especially if someone is about to get married and it is their 'izzat ka sawal'.

Singham is packed with a lot of bone crunching sounds, and loud action moments. Gone are the days when Bollywood films just featured dhishum-dhishum in the fight scenes.

The fights are long, painful and yet fun to watch.

NDTV Review

For one, Rohit Shetty’s nifty reworking of the 2010 Tamil hit of the same title nurses no pretences. It is an out-and-out potboiler.

Shetty plays up the epic quality of the good vs evil clash without letting go of the strong streak of humour that is the Golmaal director's obvious forte. Thoroughly entertaining and consistently watchable, Singham delivers more than your money’s worth. If a feral analogy could be applied to a film, Singham is like the roar of a lion, unsubtle, unambiguous and power-packed.

Singham is an old-fashioned but rousing Hindi commercial film that pretty much restores one’s faith in this often-maligned brand of cinema. It has super-duper hit written all over it.

Yahoo Review

The film is about a humble village cop, Bajirao Singham (Ajay Devgn) who enforces law like a preschool moral science teacher. All accused and convicts are let off with a warning, as they're usually his friends and/or belong to the good ol' gaaon ki mitti, which is later distinguished from shehar ki dhul through a clichéd reference.

Singham also flexes his perfectly sculpted body to slap-whack-smash goons who try to get fresh with Kavya (Kajal Agarwal), a family friend, who plays quite 'easy to get' and swiftly falls in love and establishes herself as the female lead.

Devgn does a fair job and conveys sufficient conviction and humility through his character. Kajal Agarwal makes an unobjectionable debut and her eyes would surely inspire a few compliments.

Directed by AL Vijay of 'Kireedam' and 'Madraspattinam' fame, 'Deiva Thirumagal' has Vikram, Anushka, Amala Paul and Santhanam essaying lead roles. Sarah plays Vikram's daughter in the movie.

Rediff review

Deiva Thirumagal has its plus points, chief among them the work of Dr Chiyaan Vikram (the film opens, in fact, with his name and face displayed prominently). And in many ways, this is completely his movie. As the mentally under-developed Krishna who works in a chocolate factory in Avalanchi, Ooty, he establishes right in the beginning the helplessness, goodness of heart and deficiencies of someone whose mental age is only five.

As for the actors, Vikram obviously scores. Yet, you feel that after Sean Penn, Vikram has been given an acting template of sorts. Yes, he has done very well – but it's not really original. Anushka delivers what her role requires her to do, but the screenplay lets her down. The same can be said of Amala Paul, Sachin Khedekar, M S Bhaskar et al.

If you're a fan of sentimental tear-jerkers, and have not seen I am Sam, Deiva Thirumagal might impress. For the rest, it might provide a sense of déjà vu, and towards the end, the meandering, weak screenplay is largely dissatisfying.

Indian Express review

Actor Vikram has this penchant for playing quirky characters. Whether it was the mentally impaired ‘Sethu’, the psychologically challenged ‘Pithamagan’, the multiple personality-driven ‘Anniyan’, or the visually impaired ‘Kasi’, he can play any role easily.

Now he takes on yet another character of a mentally-handicapped man in ‘Deiva Thirumagal’. Vikram, as Krishna, is a man with the IQ of a five-year old. The relationship between Krishna and his six year-old daughter Nila, whose custody he fights for, forms the crux of the film.

Despite its glitches, ‘Deiva Thirumagal’ is a warm tale that touches an emotional chord at places, and is a different take for the audience

Zindagi Na Milegi Dobara (Hindi: ज़िन्दगी ना मिलेगी दोबारा, English: You Won't Get Life Again) is a 2011 Hindi film, directed by Zoya Akhtar and produced by Farhan Akhtar and Ritesh Sidhwani of Excel Entertainment. The movie stars Hrithik Roshan, Katrina Kaif, Kalki Koechlin, Abhay Deol and Farhan Akhtar.

Rediff review

Second-time director Zoya Akhtar puts together a familiar plot, with recurring themes of friendship, love, coming-of-age and travel as its mainstay, but her invigorating characters pump in fresh energy into a film that could have been strictly mediocre.

Zoya keeps it straight, as far as the dilemmas of her characters are concerned. But as I point out, the conversations come along easily; they act as fill-in-the-blanks, even as an instrument of smokescreens at junctures where the story appears weak.

The dialogue are gentle, they won't make you ROFL; they are more like tender dig in the ribs. The real triumph is that the characters are real and life-like.

If you shut your eyes for a moment, you might see your own self in Kabir, Imran or Laila.

TOI review

'Zindagi Na Milegi Dobara' remains true to its narrative and is as much unadulterated as the fun the three boys have, indulging in untried adventure sports.

The film has 3 stars in their own right yet it employs them as actors over heroes. There are no heroic entries, stylized background score or larger than life action. The entire film is shot in virgin locations of Spain, yet the beauty of the picturesque country is used only as a catalyst and not as a gimmick in this road flick.

And though the film has characters like a possessive girlfriend, a flirtatious friend, an illegitimate father and immense scope for melodrama, it remains subtle and lighthearted throughout.

Zindagi Na Milegi Dobara remains true to its narrative and is as much unadulterated as the fun the three boys have, indulging in untried adventure sports.

The Hindu review

Zoya Akhtar's second outing as a director is way more filmi than her first about the film industry. This one only pretends to be real. It's not.

You get Katrina Kaif drenched in tomato pulp at the La Tomatina festival when she's not holding you by the hand and teaching you scuba diving. If this is not fantasy, what is?

However, ZNMD works as a mood piece if you are in the mood to live vicariously through them. Hang out with the boys and Katrina, put up with bad jokes, surrender to the quiet of the ocean, the thrill of the free-fall and the atmospherics of bulls charging at you Spainstakingly captured by cinematographer Carlos Catalan.

Bottomline: A laidback trip with stock characters dealing with standard Hollywood hero issues that makes up for its predictability with its camaraderie and spontaneous banter.

India Today review

Jokes about teachers. Fights over girlfriends. Silly word games. Bare chests. Rippling muscles. Streaked hair. Sigh. Glossy looking and beautifully written.

The film is gentle, taking time out to look at horses running in the meadows, feel the wind the air, swim with the fish underwater. All that male beauty may be a little manipulative and the plot is a little contrived--three adventure sports to test your courage--but the story keeps you engaged.

Lovely. A bromance that has more style and heat than most rubish romcoms. Zindagi Na Milegi Dobara? It's a film you will want to watch dobara.

Directed by AL Vijay of 'Kireedam' and 'Madraspattinam' fame, 'Deiva Thirumagal' has Vikram, Anushka, Amala Paul and Santhanam essaying lead roles. Sarah plays Vikram's daughter in the movie.

The Hindu review

From a director who prefers to steer clear of stereotypes and an actor who plumps for roles that keep winning brownie points for him at every turn comes a different attempt.

Director Vijay and hero Vikram join hands for the first time to present a drama replete with human emotions that stay with you for long. Vijay provides enough fodder for this veritable storehouse of talent, and the actor gobbles it up with glee! Deiva Thirumagal (U) showcases paternal instinct in all its poignancy.

‘Dr. Chiyaan Vikram' screams the title card! Good job, Vikram!

Baby Sara is a darling! Wonder how Vijay made her emote so naturally! Santhanam is lucky to get roles that transcend the level of sheer comedy — fun with the right mix of substance.

Bottomline: A sensitive poem on celluloid!

Behindwoods Review

“Simpler a thing is, nobler it is”, said the legendary Sathyajith Ray. He would have reiterated his stance now had he watched Krishna (Vikram) in Deiva Thirumagal.

Director Vijay’s caliber as an effective raconteur keeps escalating in every film of his and DT is the latest example. His matured handling of the script and his characters are just testimony to this. It is endearing to watch this tale unravel itself in a very charming and touching fashion.

After a long while, DT gives the satisfaction of watching a film without cringing in your seats or worrying how it would appeal to the young population. In short Deiva Thirumagal is a well nuanced film that will appeal to everyone who has their heart and feelings in the right place.

Verdict: An emotional tale between a father and a daughter well told

Bbuddah... Hoga Terra Baap, earlier titled Buddah, is a Hindi film directed by popular Tollywood filmmaker Puri Jagannadh. The film stars Amitabh Bachchan, Prakash Raj, Hema Malini, Raveena Tandon, Charmy Kaur, Minissha Lamba, Sonal Chauhan and Subbaraju in the lead roles.

Rediff Review

Puri Jagannath's film is not a particularly well-crafted one. The story is threadbare, the scenes disjointed and abrupt, and poor Raveena Tandon [ Images ] is made to contort her face for almost a full minute. None of that matters.

This isn't a masala film, it's a full-blown exploitation flick, and all that makes it work is the man under the spotlight. The extras can't stop smiling, almost as if Bachchan told them a knock-knock joke before the cameras started rolling, and they're all just basking in the grand silliness of this film. As are we.

Aviator sunglasses aren't the wisest thing to wear when shooting with a sniper rifle in the glaring sun. But who cares when they're that damned cool?

Bollywood Hungama Review

BUDDAH HOGA TERRA BAAP is a Hindi film packaged like a well-made South Indian fare: the style of narrating the story, the slick edit, the fast pacing, the stylized action scenes, the larger-than-life characters…

The story actually takes off at the interval point, when an unexpected twist startles the viewer completely. From this point onwards, BBUDDAH HOGA TERRA BAAP only scales higher and higher, reaching the peak towards the action-packed finale and the subsequent emotional reunion. I'd like to single out the confrontation between Bachchan and Prakash Raj in the final moments of the film and also the soaked-in-emotions sequence between Bachchan and Hema. It's the perfect icing on the cake!

Galatta Review

Bbuddah Hoga Terra Baap has the 69-year-old Bachchan enacting the role of a defiant, flamboyant hitman in his inimitable style.

With Bbuddah Hoga Terra Baap, the angry young man of the 1970s and 1980s re-surfaces to re-live various roles that he enacted in those memorable films. This one's a masala film all the way. Right from a medley of Bachchan hits to the expertly crafted action sequences to the by-now-famous Bachchan baritone, this one has it all.

Frankly, masala films and path-breaking story don't go hand in hand. It's the moments that make a film. And Bbuddah Hoga Terra Baap is no different.

Final word? Bachchan fans -- especially those who have grown up on his movies -- are sure to relish it. Even if you're not a Bachchan fan, watch this one for one simple reason: They don't make them like Amitabh Bachchan anymore!

Delhi Belly (Hindi: दिल्ली बेली) is a Hindi film, directed by Abhinay Deo, starring Imran Khan, Kunaal Roy Kapur, Poorna Jagannathan, Vir Das and Shenaz Treasurywala. The film, written by Akshat Verma, is being produced by Aamir Khan Productions and UTV Motion Pictures. The theatrical trailer premiered with Kiran Rao's Dhobi Ghat on January 21, 2011 and the film released on July 1, 2011.

Glamsham Review

DELHI BELLY has several such gross scenes, but they do manage to evoke laughter.

Director Abhinay Deo executes the script written by Akshat Verma (also the Associate Director) well. However, he does take some time to get along with the story. The interval-less film has just the right amount of twists, to hold your attention. But you do hope the narrative was a bit tauter as it seems a bit lacklustre in portions. Perhaps, some more humorous moments would have done the trick. Nevertheless, the gags that are there are uproarious. The constant bantering between the three friends is very palpable. The slow-motion climax scene is smartly done.

Rediff Review

Delhi Belly is a slick, madly crazy production that is mostly funny -- although the humour will more likely appeal to the 20-something and perhaps 30-something public school educated, English speaking, big city audience that the film targets through its previews, videos and playful songs (from a spoof on K L Saigal's voice, to one that may or may not allude to a curse word).

What the film fails to do is to capture the ethos and the spirit of Delhi. Delhi Belly could have been set just about anywhere in India. Despite many outdoor shots of India's crowded capital city, there is practically no Delhi in the film's characters.

DNA Review

Make way for over-the-top profanity and delightfully absurdist humour. Delhi Belly is a raunchy, witty and irreverent film that is bound to please all but the most straitlaced audiences.

Delhi Belly is lethally funny and cynical. It is so gaudy and profane that you can't say it isn't fun in its own exuberant way.Do watch.

Ad filmmaker Jayendra's directorial debut '180' that stars Siddharth, Priya Anand and Nithya Menon in the lead roles is one of the much-awaited movies this season due to many reasons.

This bilingual movie marks Siddharth's comeback to Kollywood after almost seven years.

Balasubramaniem is the cinematographer and Sharreth Vasudevan has composed the music. Umarji Anuradha has written the dialogues and Vanamaali has written the lyrics.

Rediff Review

The production values are brilliant, Balasubramaniem's camera-work is spotless, Sharreth's music is easy on the ears while V Selvakumar's artwork is all cool -- shapes, high-rise apartments and quaint Chennai homes.

Siddharth is much the same he's been in many movies before this; playing the cheerful guy who has secrets up his sleeve is a cakewalk for him. He's one of those actors who can carry off the role of the urban male convincingly, and he follows the pattern.

Priya Anand is sweet, sympathetic, but doesn't quite manage to pull it off during the angst sections. Part of it is her attire: she actually wears towering heels and perfectly coordinated dresses during the most sorrowful moments!

Nithya Menen gives her excellent competition with her own sweet, unsullied looks. She actually manages to carry her viewers with her, despite the faltering Tamil accent.

DNA Review

180 is two and a half hours of emotional torture that is so brutally assaultive in its determination to extort sympathy from viewers that it practically leaps off the screen and into their laps in order to get to it.

This film is completely contrived and uneven; by the end we are screaming to yank our eyes and ears away from all that overtly dramatic music, glycerin tears, the super sensitive subject choice and the crushing lack of sensibility. Siddharth’s heartfelt performance and the exquisite cinematography can't redeem the dramatic fallacies surrounding this mess.

180 feels like there was an explosion at the sob story factory and little pieces from dozens of different films were jammed together into one dreadful mutant. The whole terminal illness melodrama attacks your chest so relentlessly, that by the time it's over you’re forced to beg for a defibrillator.

As the name suggests, the film is set in Mumbai's Bhindi Bazaar. The story revolves around two gangs of pickpockets, who are at constant loggerheads to prove their supremacy.

TOI Review

The underworld account has been kinda overdone in Bollywood to an extent that the once uncharted underbelly has, today, become familiar fiction onscreen.

While Bhindi Baazaar Inc. too doesn't break new grounds in terms of its story; it scores on its gripping storytelling style, some smart twists in its narrative and in creating an authentic aura of its Bhindi Baazaar backdrop.

Though the overall story is predictable per se, some smart twists keep popping up at regular intervals thereby adding variety to the narrative. Some original sequences like the shocking shemale episode or the premeditated spread of flu virus through syringes add resourceful realism to the film. The actual locations where the film is shot add to the authenticity.

Rediff Review

Bollywood has had its share of gangster films. Some have been well conceptualised, neatly scripted and well put together. Think Satya [ Images ] and Vaastav.

Ankush Bhatt's debut, Bhindi Bazaar Inc definitely doesn't fit into that category.

Ultimately, no part of the script ever matures into a full-fledged hook. There are moments when things seem to be looking up and it appears as if Bhindi Baazaar has finally found its footing. But it never does. All that is left eventually is a residue of aimless, incomplete bits.

DNA Review

What happens when amateur, inexperienced, and inefficient hands deal with an important project that holds the key to a whole new world?

Most likely you get a half-baked product, lethargically put together that may hold your attention for a short span but not enough to keep you hooked.

Bhindi Bazaar Inc is one such product whose packaging is attractive, but the real stuff turns out to be damp squib.

It’s beyond imagination how, with a cast so talented, a promising project like Bhindi Bazaar could go awry.

Avan Ivan is a 2011 Indian Tamil film, written and directed by national-award-winning director Bala. Produced by AGS entertainments, the film features musical score by Yuvan Shankar Raja, cinematography by Arthur A Wilson and editing handled by Suresh Urs.

As 'Avan Ivan' hit the screens today (17-June-2011), simultaneously in Tamil Nadu and in Andhra Pradesh as 'Vaadu Veedu,' one cannot fail to notice the grand opening the movie has received all over.

The film has come out as the solo big release this weekend and the director and stars are naturally positive about its prospects at the box office.

Rediff review

After four ventures exploring very different genres, National Award winner director Bala comes with his fifth film: AGS Entertainment's Avan Ivan, where he's tried his hand at more or less full-length comedy.

Naturally, the film has generated enormous hype: what with Vishal and Arya coming together for the first time, in an industry notorious for its king-size egos.

Avan Ivan does have, at its heart, a nice storyline with plenty of comic elements. But director Bala doesn't really capitalize on its strengths, and never pulls you into the story except in parts which is disappointing, as he is among today's trend-setters in Tamil cinema.

Avan Ivan may look good on paper but fails in execution.

Galatta review

Director Bala weaves characters and movies out of common people, many of whom may be considered undesirable and avoidable by the general public, e.g. gravedigger, drug peddler, sex worker, cannibal; Bala could keep pulling out these characters from our everyday lives to make movies. In Avan Ivan, it's a light-hearted zamindar, two thieving half-brothers, their foul mouthed moms and an 'everyone knows everyone' countryside.

Vishal, Arya, G.M. Kumar and veteran actress Ambika, as Vishal's foul-mouthed, theft encouraging mother, are the prominent characters. Janani Iyer as Constable Baby has a role to some extent, but Arya's pair Madhu Shalini's portrayal is vague.

Bala's signature climax fighting scene that seem like the world is coming to an end have been religiously added. Arthur Wilson shoulders Bala's love for the luscious landscapes of Theni, while Yuvan's music combined with Vishal and Arya's dance numbers are straight out of the streets.

Avan Ivan is a good watch, hence Bala has successfully reused his tested formula.

Allu Arjun's latest film Badrinath opened to bad reviews from most of the critics. The film released on June 10, 2011 simultaneously in Telugu, Malayalam, Tamil with scenes of comedian Santhanam being shot for Tamil version.

Directed by V.V. Vinayak and produced by Allu Aravind, the film stars Tamannah Bhatia and Prakash Raj in prominent roles while the producer himself plays hero in the film.

Rediff review

There were high expectations from Badrinath considering it was a Geeta Arts production, directed by V V Vinayak and starring Allu Arjun and Tamannaah.

Arjun was even sent abroad to learn martial arts and fights for this film whose picturesque Himalayan location was an added attraction.


Yet despite the lavish sets by Anand Sai, that include a recreation of the famous Badrinath temple, the fine camera work of Ravi Varman, and high technical standards, the film falls short of expectation.

Allu Arjun has a supple body, ideal for dancing and action. He breathed some life into the film through the action sequences. But what can he do if the script is lacklustre?

Tamannaah is lively and energetic but is made to show far more skin than is required -- particularly given the film's pious theme. Prakash Raj, for a change, is not a baddie, and turns in a good performance as Guru Bhishma Narayan.

Allu Aravind can take pride in the lavish production and high technical standards. But the plot and storyline are weak and the film does not engage one. The A certificate may also be a deterrent.

Indiaglitz review

Allu Arjun shows off his six pack body and it is in tandem with his charecter of a warrior. His training of martial arts in Vietnaam reflects in his stunts and fights. His costumes are well designed.

Tamannah flaunts her midriff in all the scenes. Her beauty is a galaxy times enhanced in the song 'Nachchavura'. The money spent on making this film is clearly visible in every frame. The background score for this movie is awesome and was used at right places.

The climax of the movie is pale and the screenplay is weak. The VFX used to show clouds, heroine plunging into the river and helicopter shots look fake.

Aaranya Kaandam (Jungle chapter) is a 2011 Indian Tamil action film, written and directed by newcomer Thiagarajan Kumararaja. Produced by S.P.B. Charan's Capital Film Works, the film features musical score by Yuvan Shankar Raja, cinematography by P.S.Vinod and editing handled by the duo Praveen K.L. and N.B.Srikanth.

The film has Jackie Shroff, Ravi Krishna, Sampath Raj and newcomers Yasmin Ponnappa, Somasundaram and Master Vasanth in prominent roles.

The film ran into difficulties as the regional censor board in Chennai raised objection against the film, giving it an adult rating besides demanding 52 cuts. After screening at and becoming approved by the Tribunal in Delhi, the film was released worldwide on 10 June 2011.

Says the director, "It is no ordinary film. There are elements that are hard-hitting and real in Aaranya Kaandam. It was a great experience shooting for the movie. My thanks to producer Charan for his support."

The film was selected for screening at the South Asian International Film Festival (SAIFF) and a couple of other prestigious events. Charan says, "Thiyagarajan Kumararaja has given his best. The film is a gangster story narrated by the director in a hard hitting and realistic manner."

Rediff review

Yes, it's a gangster flick. And yes, it's set against the brutal and largely rubbish-filled background of the dirtiest parts of Chennai.

Yes, it's a gangster flick. And yes, it's set against the brutal and largely rubbish-filled background of the dirtiest parts of Chennai. Capital Film Works' Aaranya Kaandam, directed by debutant Thiagarajan Kumara Raja, bypasses all the gangster clichés and delivers a movie that is entertaining even if the pace does dip and rise at places.

The best part of Aaranya Kaandam is that there are villains aplenty but no one shrieks, rants or rages. In fact, in almost Mani Ratnam fashion, they rasp and speak in low, measured tones. Most of them aren't stupid either; just careless or arrogant, as their situation places them.

Thiagarajan Kumara Raja's quirky, zany characters take a life of their own, and appeal to you with their freshness. They're not cardboard cut-outs and appear fairly fleshed out, and the razor sharp dialogues help. Enjoy this day in the life of Chennai's underworld.

The Hindu review

S.P. Charan deserves to be lauded for opting for a story that's dark in the darkest sense, going with a new director and breaking away from formula.

The background score (Yuvan) is a plus, though the stretching silences in certain scenes are quite trying.

From Kill Bill and Kaminey to Bheema and Yogi, several vengeful sprees and sanguineous sagas have come your way. AK is the latest in the league.

Here it's evil against evil all through.

Bottomline: If you can stomach blood and bestiality at a slow pace, fine.

Indiaglitz review

Aaranya Kaandam by debutant director Thiyagarajan Kumararaja is a novel attempt that breaks all barriers of methodical film-making.

Strikingly different from frame one, 'Aaranya Kaandam' is a film not for weak-hearted. Though it may present scenes as they are from the real life, it may put the viewers in jolt at the first instance.

It is more a character-driven story where the events in the lives of various characters make up the script.

All said, 'Aaranya Kaandam' is a movie that doesn't belong to the regular genre of Tamil cinema. It is different and unique. Watch it if you love bloodshed and violence. And credits go to SPB Charan for coming forward to fund such a novel attempt.

Shaitan is a Hindi Thriller film, directed by Bejoy Nambiar starring Rajeev Khandelwal, Kalki Koechlin, Gulshan Devaiya , Shiv Pandit, Neil Bhoopalam, Kirti Kulhari, Rajit Kapoor, Pawan Malhotra and Raj Kumar Yadav. The film released on June 10, 2011.

NDTV Review

Debutant director Bejoy Nambiar has an impressive grip on the material and his relatively unknown cast.

Like a composer conducting an orchestra, he expertly builds up the tension. There are some terrific sequences, including a car accident and an action sequence cut to the beat of a remixed Khoya Khoya Chand.

The performances, especially by Neil Bhoopalam as Zubin, Gulshan Devaiya as Karan and Shiv Pandit as Dash, are strong.

Rediff Review

What helps the film a great deal are the performances.

Khandelwal and Raj Kumar Yadav are reliably terrific. Koechlin is an increasingly striking actress we desperately need to see unburdened by a nightmare character. Shiv Pandit shows an interesting, seething screen presence, Neil Bhoopalam fumbles adequately, but it is Devaiya's Karan Choudhary who lives out on a limb and leads this bunch by the scruffs of their necks. KC And The Moonshine Band.

The humor is dark, the men are darker, the women even more frightening. Do we actually care about any of them? Not an ounce.

DNA Review

Shaitan is the handiwork of some truly talented technicians - the cinematography is cutting edge (R Madhi), editing sharp (Sreekar Prasad), the background score outstanding (Ranjit Barot), the script racy (Nambiar, Megha Ramaswamy and Abhijeet Deshpande), and the casting brilliant.

Shaitan may or may not be the best thing to happen to Hindi cinema, and reactions to the film will probably differ. But whether you hate, love or are left indifferent by it, give it a shot. Mainly because it's made by a filmmaker with a unique voice. Most don't have any.