Harish Film views

When Shakthi is shown meeting his ex with a flashback of their relationship following it, we get a glimpse of the “suitability to the native” tool that Kannan is going to use for this remake. While Jab we met was – jab things happens it reveals itself – Kanden Kadhalai is all about seeing is believing – everything said then and there, leaving us dry at the end as we know from the time Gautam (Munna) hides inside the car, Anjali will end up marrying Shakthi. It is as if the director has made up his mind that tamil audience’s intelligence is not adept enough to handle the multiple layers of the script Imtiaz had in hand. Where Imtiaz employs sarcasm and subtle emotions or witty dialogues for that matter to handle a situation which made the usual story that JWM was into an intelligent film, Kannan (who did something of that sort with Jayam Kondan) assuming we won’t understand them, adds commercial gimmicks to some of them which even though good only makes the movie an one time watch; or e

When Suseela dies, Dhruvan instead of shedding tears, runs across in all directions to check if any threat still exists while others break down, and then joins them only to remove her shoes; for people alive are more important in war. Welcome to the world of Dhruvan who is leading a silent war to bring the tribal up the ladder of status; a model person who keeps quiet when insulted beyond disgrace and takes up the punishment for the fallacious acquisitions bestowed on him by his caste centric officer, but in a flash kills intruders cold blooded, that too with stealth, methodically. With an extremely high IQ thanks to his exposure to books, he speaks on world politics through the eyes of Karl Marx and many ideologists, the power of working people, internal and international politics, caste preference, farming, life in forest and the behaviour of fauna, physiology and even on advanced weaponry as a matter of factly which can only be answered by his books, as he takes us through the dense

Director: Antony D' Souza As the piano strikes the majestic sound of jazz backed by Shreya and Sonu which swiftly changes to western classic ala Arabian nights which was about the mysteries of the land of no water, A.R.Rahman introduces us to the depth of the blue ocean, the similarity being that, both explores treasure, by which one might mistake this to be a riveting experience and sure it promised to be at the initial few scenes when Akshay sleep-swimmingly fights a shark and then makes fun of Sanjay for his over-weight and lazy approach to this role (which even in anyone’s dream he never fits) while boxing, Zayed ACTING like a pro aided by wonderful camera work backed by stupendous bgm races his bike to victory, and Lara clad in a two-piece bikini in her most glamourous self scorches the screen. But things get boring after Lara gets intimate with her grand-pa boy friend suggesting the other meaning for the title to be indeed true, Akshay still sleep-swimming and rambling just l

Director: K.S.Ravikumar When asked what he knows, the over enthusiastic Murugan alias Aadhavan alias Madhavan like an adept who knows it all yet humble, starts rambling on for 10 reels about varies intricacies in cooking and then as one would expect, at various scenes throughout the film he demonstrates that he knows everything from enacting a monkey (the stunts; not Anand Babu), to yoga, to acting like Shivaji, to various forms of dancing and if you aren’t satisfied he does a Rajini ala muthu style and even shells out a sentimental scene for the sake of it akin to Varanam Aayiram; ultimately ending up proving yet again that none has the speed and grace of MGR to enact the “Naan aanaiyital” and when the cool dude sure-shot assassin walks out of his yacht with anger that he missed his target and being insulted for that, the wanna be cool act acclimates to great heights. If that is not enough we have the yesteryear overacting queen reprising her caricature, while the Thara without any sp