Chikku bukku is out and out a colourful entertainer from debutant director Manikandan (student of late Jeeva). Though the story is not new to the viewers, the presentation make us to watch the film with patience.

Arjun (Arya) is a popular DJ who likes chasing skirts and updating his Facebook profile. He lives with his grandmother, who asks him to go back to his home town in Karaikudi and reclaim his ancestral house, which has pledged to a local moneylender before the moneylender demolish the house.

Anu (Shriya) is a modern, mischievous girl completed MBA in London and going back to her family in Madurai.

At a point, Arjun and Anu meet at Bangalore airport. Their onward flight to Madurai gets cancelled. They pretend to be newly married couple so that they can travel on a cancelled reserved railway ticket to Madurai.

How they join hands in their life is leads to an interesting climax.

Meanwhile there is an interesting flashback also placed side by side during the travel of Arjun – Anu.

For the first time Arya done dual role as father and son in Chikku Bukku. His performance in both the roles simply awesome. His matured acting proves his ability to do any kind of roles. Shriya looks cute in some scenes but irritates in many scenes. For Shriya, it is time to reshape her looks.

Debutant Preetika is the real surprise and her performance is a delight to viewers. Arya – Preethika’s screen chemistry workout largely and make them as a perfect couple.

Asusual Santhanam gives rib tickling comedy in most of his scenes.

Colonial Cousins music is not appealing. But Gurudev’s camera work is excellent and helps to maintain the pleasant mood through out the film.

The big minus is the slow pace of the script and narration.

Verdict: Watchable

Credits

Cast: Arya, Shriya, Preethika, Santhaanam

Music: Colonial Cousins

Camera: Gurudev

Direction: Manikandan

Producer: Sunanda Murali Manohar

Two things…

One, it’s difficult to conceptualize and execute a film like ENTHIRAN / ROBOT.

Two, when Rajinikant’s name comes in the credits, one cannot hear anything for the next two minutes. His name is greeted with a thunderous applause, whistles yells and cheers. Such is the charisma of this superstar. Rajnikant is the Boss. The real Badshaah!

ENTHIRAN / ROBOT, directed by Shankar, is a Rajnikant Express that transports you to a world you can’t envision. Rajnikant’s feats are legendary by now. In ROBOT, he goes a step further. The Robot in ROBOT not only follows orders of his creator, but also cooks, fights, romances and wonder of wonders, has a lengthy conversation with a mosquito and scan loads of books/magazines and an entire telephone directory in a second. Yes, you read it right!

Write your own movie review of Robot That’s not all, this Robot is Superman + Spiderman + Terminator + Godzilla, all rolled into one. There’s more to this Robot. It can replicate itself, wage a vicious battle, turn into an Anaconda or a monster ball and wipe off an entire army. Whew! Known for larger than life canvas, ROBOT is Shankar’s most expensive and if I may say so, his most imaginative film thus far. And who better than Rajnikant for the pivotal role!

Final word? A Rajnikant film is an event and this combo’s [Shankar - Rajnikant] new outing ROBOT is sure to strike like Tsunami. Let me make it short-n-sweet. If you miss ROBOT, it’s YOUR loss!

Location: Chennai 2010. Mission: Creating a robot Chitti. Purpose: To help the society. Development time: 10 years. Special Features: A human who is not born, but is created. He can dance, sing, fight, is water and fire resistant. He can do all that a human can and more. He feeds on electricity. He takes instructions literally. Where a human can lie to save himself, this robot cannot lie.

Where he has a razor sharp memory and can memorize an entire telephone directory by just running through the pages, he cannot understand human emotions. Dr. Vasi upgrades Chitti’s processor and simulates human emotions without realizing the repercussions. Chitti gets transformed. He can now feel and the first feeling that he discovers is Love. Will this love come in the way of Dr. Vasi’s purpose of creating Chitti? Will Dr. Vasi’s own creation destroy him?

A title like ROBOT automatically puts tremendous responsibility and pressure on the director’s shoulders. And ROBOT is not merely a display of VFX, but it also has soul, a story to tell. At first, ROBOT comes across as a clash between the virtuous [Rajnikant] and wicked [Danny Denzongpa]. But ROBOT changes gears in its post-interval portions as the focus shifts to the creator [Rajnikant] and his creation [Rajnikant].

It’s a Rajnikant film and it would be incomplete if his loyal fans don’t get to watch his stylish actions and feats. Thankfully, ROBOT showcases it all. He can glide on the railway tracks, run horizontally on a moving train, transform into an Anaconda, can swallow helicopters and even fire at people with his fingers, without using a pistol. These are truly clap-trap moments!

Even otherwise, the screenplay is really well penned and absorbing. While the film is a super ride from start to end, it’s the penultimate 25 minutes that leaves you awe-struck and speechless. You can’t imagine a Hindi film having such an out of the world climax. There will be pandemonium inside theatres when the climax unfolds, I am sure. Let me confess, it’s the mother of all climaxes!

Only thing, Shankar could’ve controlled the length of the film. It could’ve been shorter by at least 10 to 15 minutes, which includes doing away with a song or two. Of course, like all Shankar movies, the songs are filmed most imaginatively on exotic locales, but what’s the point of having songs if they act as speed breakers?

That Shankar ranks amongst India’s best directors is well known by now and ROBOT only cements the fact. His vision and execution of the difficult subject deserves the highest praise, in fact distinction marks. He not only dreams big, but the outcome is incredible too. A.R. Rahman’s music doesn’t compliment the content of the film, but like I pointed out earlier, every song has been filmed exquisitely. The action and chase sequences are outstanding [Yuen Woo Ping, action choreographer in the MATRIX and KILL BILL sequels, was the stunt coordinator]. Visual effects are spectacular [Stan Winston Studio, the studio behind JURASSIC PARK, PREDATOR, TERMINATOR, IRON MAN, AVATAR, provided the animatronics technology]. Cinematography captures the grand production values with precision. The locations of Austria, Machu Picchu in Peru, U.S.A. and Brazil only enhance the visual appeal of the film. The sets are mind-blowing. Dubbing is near-perfect.

ROBOT is a Rajnikant show from start to end. And no other actor, not from Bollywood at least, would be able to do what he does with such amazing ease. Aishwarya Rai Bachchan looks stunning and acts most convincingly. Danny Denzongpa is efficient, as always. The remaining actors enact their parts well.

On the whole, ROBOT is a crowd-pleasing and hugely mass appealing tale of android revolution with a thrilling plot, rich and imaginative screenplay, super action, astounding effects and most importantly, Rajnikant, who is the soul of the film. It’s the Big Daddy of all entertainers. Miss it at your own risk!

-Taran Adarsh

Bollywood Hungama

Nowadays actors who always prefer super action hero roles seems to be transformed slowly to normal and natural roles. At the same time superstars like Rajinikanth trying their level best with convincing roles like Sivaji and sci – fiction Enthiran with maximum entertainment guaranty.

But there are few actors, like Vijay, are still living in the world of myths and not ashamed for giving half baked films like Kuruvi, Villu, Vettaikkaran, Sura and cheating the so called die hard fans continuously.

Sura, the 50th film of Vijay is surely a disaster in his 19 years old career. The story is as old as hills and the sequences are stale and repeated. Vadivelu is the only plus point in this two and half hour horrible experience.

Another important point is, S P Rajkumar, who always making some b grade films, wasted a golden opportunity to establish himself as a front line entertainment film maker.

The story goes like this…

Sura is a good hearted young man in a Fishery Village called Yaazh Nagar (Yaazh is the name of Srilankan city Jaffna!?). He is doing good things to the villagers. He fights for the rights of the villages. Every one loves his mischievous, humour sensed activities. Simply, he is the ‘Chella Pillai’ of the village!

He owes to marry a girl only after solving all the problems of fishermen in the village. One day Tamanna trying to destroy herself in the Village’s sea side, due to loss of her pet dog! As usual Vijay come to her rescue and instead of jumping in to the sea, in the very next scene, Tammu jumps to his heart and go for duet in some beautiful locations.

In the mean time, Dev Gil, a local minister trying to vacate the village and occupy the entire land. Knowing this Vijay starts his fight with him. At a stage, Minister plans to destroy Vijay.

How Vijay escapes from the plot and save the people and join with Tamanna is the predictable, boring climax!

Nothing special to mention in Vijay’s action, stunts and even his comical scenes irritate a lot. The only change from his earlier flicks is…his bubbly face! As usual he delivers half a dozen meaningless punch dialogues, in the climax some peppy dance numbers with Tamanna.

For Tamanna, it is one more film in her acting career… Thats all!

Vadivelu tries to save the film till the interval. But the post interval sequences (Except the one with Vennira Aadai Moorthy track) totally killing the interest of the viewers.

Manisharma gives the Tamil coating for all his 5 songs which took place earlier in some Telugu films like Billa!

S P Rajkumar totally failed to cover even some of the die hard Vijay fans with his unimpressive narration, expected twists and amateur direction.

Sura – May be a Gold (jubilee) in number, but fails to earn the same for its quality!

Cast and Crew:

Actors: Vijay, Tamanna, Vadivelu, Devgil

Music: Manisharma

Camera: Ekambaram and M S Prabhu

PRO: P T Selvakumar

Producer: Sangili Murugan

Direstor: SP Rajkumar

-Settu Shankar

Mathi Yosi is yet another proof to prove how Kollywood young directors spoiling Tamil cinema without any proper script and planning. Most of them are simply trying to copy or remake the seasonal hits like Subramanyapuram, Renigunta with overdose of masala and spoil the entire film.

No doubt, Mathi Yosi is one such worst films in recent days we have seen!

Here is the (usual) story of Mathi Yosi…

The film opens in a village near Madurai where four young rough youngsters Pandi (Harish), Manga(Alex), Onaan (Gopal) and Mari (Lokesh) from the lower caste bond together. Soon they rub the upper caste village panchyat president and his family the wrong way which results in a caste feud. The local police chief who tries to trap them is humiliated and fearing his wrath the boys escape to Chennai in a lorry.

In Chennai they are forced to take the mean street for their own survival and in mix-up discover the power that flows through the barrel of a gun. Meanwhile they also meet a highly educated girl called ‘Baby’ (Shammu) by her uncle a pimp (Ravi Maria) who is trying to sell her off to a wealthy guy. But she is trying to complete her studies in Australia through her new friends. Soon she becomes a part of the gang. But things are not happening for their favour and leading them to a bloody climax.

The film is not convinced the viewer at any scene and it is completely out of logic. Most of the scenes are crude, bloody and half baked. The language and the way they delivered it is irritating. The four heroes hardly find with dress and in most of the scenes they appear with just a half pant only… And in one of the scenes the police men kick them out from a van, even without the half pant! What a realistic portrayal?!

In another scene the gang kidnapped a local rowdy’s daughter for money but she is attaining puberty during the operations! Suddenly they turned as her relatives (murai payyan!) and doing Tamil customs to the girl!

The character of Shammu has not been well etched and not justified or explained why she prefers to move around with the gang. Ponvannan’s ‘good police officer’ character also not impressive due to the lack of completeness.

The climax is horrible and meaningless. Guru Kalyan’s music is terrible and his background score is surely harmful to the ears!

Mathi Yosi…. One of the worst experience of movie watching!

Credits:

Cast: Harish, Alex, Gopal, Lokesh, Shammu, Ponvannan

Music: Guru Kalyan

Camera: Vijay Armstrong

Editor: Kola Baskar

Director: Nanda Periyasamy

Producer: PS Sekar Reddy

-Settu Shankar

Asal is out and out a commercial Masala with an half century old, cliched story line. But director Saran once again impressed the film buffs with his stylish making.

The story goes like this…

Ajith (Senior) is a big shot in illegal weapon trading. He has 3 sons (Sampath, Rajiv Krishna and Ajith) and among them Ajith (Junior) is born for his illegal wife. In an in-fight for capturing Senior Ajith’s assets and business empire, Sampath and Rajiv Krishna kills their own father. But in sudden developments, they caught in villain’s den in Mumbai. As usually Ajith Jr flies there for their rescue unwarrantably. After safely escaped from villan’s hand with the help of Ajith, Sampath and Rajiv Krishna tries to kill him in the same spot to get the properties fully.

How Ajith escapes from their target and closed their chapter is the remaining portion of the story. Meanwhile, Bhavana and Sameera Reddy have trying to attract Ajith but finally Ajith accepts Bhavana.

Bhavana, Sameera, Prabhu and Yuhi Sethu’s part are adding pep to the main story.

Ajith done his role with perfectly and his looks are more stylish than in Billa. Senior Ajith is really done well and his mannerisms are real treat to Thala fans.

Among the heroines, Bavana is having more scope and done her job well. Sameera is not impressive both in appearance as well as performance.

Sampath, Rajive Krishna and Suresh (another typical Tamil baddie who turned as a good man in the last reel!!) are the three main villains and done their part well and professional manner.

Prabhu is just appearing in a guest role which hasn’t any impact in the story.

The camera work is good, but Baradwaj’s music is not impressive, except the ‘Tottodaing…’ song.

Saran’s picturisation is excellent but the main drawback is lack of a solid story. It seems that in most of the scenes the director just leaves Ajith to walk here and there in the name of style. But we have experienced this kind of scenes in Billa itself!

Verdict: Mass Masala!

Cast: Ajith, Bavana, Sameera Reddy, Sampath, Prabhu

Music: Baradwaj

Direction: Saran

Producer: Sivaji Films

PRO: Diamond Babu

-BOS

As they rightly told Tamil Padam is the first full fledged spoof movie of Tamil cinema. Though Venkat Prabhu did the same treatment to all his scripts, CS Amuthan, the debutant, overtakes him and make comedy as a serious business and tastes his maiden hit.

Making a spoof on Tamil films, particularly the icons of Kollywood is not an easy thing. But Amuthan’s careful treatment and the background of the producer (Dayanidhi Azhagiri is the producer who is son of Union Minister M K Azhagiri and grand son of Tamil Nadu CM M Karunanidhi!!) make it possible.

The film works to a large extent because Tamil cinema has more clichés than any other cinema in the world. The director hits out at our larger than life heroes who specialize in mass masala and their cardboard heroism.

‘Mirchi’ Shiva is suits to the role very aptly and carries the film to the victory with help of witty dialogues written by the director in excellent manner.

Hero Shiva (Mirchi Shiva) is born on a rainy day in a village and the new born speaks to his grandmother (Parvai Muniamma) that his dream is to go to Chennai to become a man for all seasons like a typical Tamil film hero. In Chennai, the boy pedals on a cycle and as years pass become a larger than life hero who takes on the evil things in the earth and became the savor of the world.

Like all Tamil heroes he goes to college and hangs around with his friends Nakul (MS Bhaskar), Siddharth (Manobala) and Bharath (Venniradai Moorthy) a dig at Tamil cinemas ageing comedians who pretend to be students.

Shiva falls in love with a classmate (Disha Pandey) and singing duet like an usual Tamil hero does to win the heroine in films like Kadhalukku Mariyathai, Mouna Ragam etc. When the heroine’s father says he will not allow his daughter to marry a poor man with no job, Shiva did some odd jobs like newspaper hawker, fruit seller and becomes a tycoon overnight just like what Rajinikanth did in Annamalai, Padyappa etc, etc.

Meanwhile it is revealed that he is an undercover cop who wants to exterminate the criminals in the city.

Shiva’s method of eliminating the criminals are far better than what Vijay did in Tirupachi and Pokkiri, Suriya in Ghajini and Khakka Khakka, Vikram in Anniyan and Kamal Hassan in Apoorva Sahodrakal. Even more hilarious is how Shiva goes back to his village in search of his father who abandoned him many years back. And the climax is when he discovers who runs the ‘D’ company is hilarious.

Some of the most enjoyable moments are Shiva’s classical dance piece to impress his girl friend and the happenings in Cinemakkaranpatti (the birth place of Shiva!) and the family song that helps to our hero to reunite with his parents.

When a newborn baby utters actor Vijay’s ‘punch-dialogues’, the audience appreciates the idea behind it.

When a 10-year old asks his grandmother when would he be old enough to fight injustice, she tells him to get on the top of a cycle. As the wheels roll on, the the 10-year-old turns into grown up guy within seconds.

Apart from Shiva, Venniradai Moorthy, Manobala, MS Baskar, Shanmugasundaram and Paravai Muniamma done their part excellently. As usually there is no scope for heroine in this ‘Tamil Padam’ too!

Nirav Shah’s camera and Kannan’s music add more strength to the film. Particularly the song O Maha Zeeya.. (Particularly when Shiva’s lip movement and body language when he pronounce Lalakku Dol Dappima!) makes our time most hilarious.

But the film is very enjoyable for those experienced with Tamil films in the past 3 decades!

Verdict: An enjoyable spoof!

Cast: Shiva, Disha Pandey, Venniradi Moorthy, Manobala, MS Baskar, Paravai Muniamma, Shanmugasundaram

Music: Kannan

Cinematography: Nirav Shah

Director: CS Amuthan

Producer: Dayanidhi Azhagiri

PRO: Nikil Murugan

First we must thank Venkat Prabhu for clearing a thing… This is not a movie, only his personal holiday experiences. He simply shot his personal diary notes (that too copying from others like American Pie and Dostana), instead of a solid story (whether it is strong or wafer thin!).

For those who booked the ticket earlier for this film have no other option and must be enjoyed your punishment, but for those who haven’t, there’s a big chance to escape from this annoying Venkat Prabhu ‘holiday’!

And we have a doubt also… whether Soundarya Rajini, the pride owner of Ocher Studio has heard the story properly? If not, definitely she is not suitable for film production, that too in Kodambakkam!

Swamikannu (Premji Amaran), Ramarajan (Jai) and Vinayagam (Vaibhav) are always mischeivious cum troublemakers in their village Pannaipuram. When they’re unable to bear the controlled traditions curbing down their freedom, they loot the local temple of its jewellery and set off initially to Madurai where they encounter a long lost friend who got married to a foreigner he met in Goa and is leaving for London!

And these guys are extremely surprised to see his below-average looking guy marrying a stunningly beautiful London girl. Now, they came to a decision, fly down to Goa, marry a foreign girl and get settled in a different country to enjoy lavish lifestyle.

But as they land in Goa, it’s a different situation for these boys as they encounter unexpected things after falling in love with girls.

the first 30 minutes scenes are really fantastic and shot in very relaxed style. But after that the film enters in to a ugly den and threw the mud in the faces of all the viewrs!

It is sure that Goa is nowhere near Venkat’s earlier films like the smartly packaged Chennai 28 and intersting thriller Saroja which relied on a sharp script to deliver.

The film rightly deserves an A certificate as it unwantedly enters to the gay’s world.

Among the three lead characters, the director has given the maximum screen space to his brother Premji, who has fully utilized it though some of his actions and punchlines are being repeated again. Jai pretends to be the savviest guy and speaks in a strange cocktail of Tamil and English and delivers a few genuinely gut busters.

Vaibhav is just ok. Among the three heroines, only Sneha is looking good. Yuvan’s music cannot save the film, though a couple of his tunes sounds catchy.

The director again using a popular number ‘Kangal Irandal…’ repeatedly to show the love at first sight. But it never workingout well!

We dont know how a guy who comes as a Goa police officer at interval point suddenly appears as a customs officer in the climax!

Goa – A Venkat Prabhu’s bitter holiday!

Cast: Premji Amaran, Jai, Vaibav, Sampath, Arvind Akash, Sneha, piyaa

Camera: Shakthi Saravanan

Music: Yuvan Shankar Raja

Director: Venkat Prabhu

Producer: Soundarya Rajinikanth

K S Ravikumar directed Jaggubai has been placed the headlines in the media for the past couple of weeks for its leakage online before the actual release. Due to this it created some expectation among the viewers… but the way the director create the film is poor and not fulfill the expectations.

As told by Rajinikanth, the film’s story is straightly lifted from the French movie Wasabi.

Jagannathan, (Sarath Kumar) alias ‘Jaggubhai’ is a Police Officer who always handles the bad elements with terrific and unconventional ways to clear the criminals in the City.

Jaggubhai is sent to Australia on an important mission to deal with anti social elements there. In Australia, Jaggubai meets Meena (Srisha) and they both fall in love with each other. Jaggubai fails in his mission for which he came to Australia and the brief romance with Meena also ends abruptly. Jaggubai returns to India as a dejected officer failing in his official duty as well as in personal life.

Twenty years later he gets a call from Australia stating that Meena is dead and has left him a will. He reaches Australia and is shocked to know that his romance with Meena caused for a daughter namely Monisha (Shriya), now a teenager.

Jaggubai realises that he has to take care of Monisha from the bad guy an international criminal Hamid Ansari, an old foe.

Jaggu now meets his former colleague Mani (Goundamani) in Australia. With his help he overcomes the crisis and eventually finds out why Meena left him and the reason for bringing him back into his daughter’s life.

Sarath Kumar really done his role perfectly. He gives authenticity through his way of handling the bad guys like an original police officer.

Goundamani rocks as a MIB cop in Australia!

Shriya tries to delivering things in right way. Srisha, the new comer is not perform up to the expectations.

The major plus point of the film is that it is only 2 hours, and the camera work of RD Rajasekhar is fantastic.

Rafee’s music is nothing much to say about. The action scenes are superbly choreographed especially the quick and fast movements of Sarath in the fight in the mall.

But the overdose of sentiment scenes that are really some two decades old, fails to workout well with the audience.

Verdict: Average

Cast: Sarath Kumar, Goundamani, Shriya

Music: Rafee

Camera: R D Rajasekar

Direction: K S Ravikumar

Producer: Radan-Zee

Here is another B grade flick from Vijay’s factory of Mass Masala!

There is nothing new in this ‘action-revenge-average comedy’ flick and most of the scenes also dragged from his old movies like Pokkiri, Bagavathy, Thiruppachi etc…

Also Vijay is completely surrendered in front of the demigod of Kollywood, Rajinikanth. He almost copied the superstar’s style and mannerisms even in dialogue delivery.

So once again the actor proves that there is no place for originality in his films or his acting.

The story is as old as rock…

Ravi alias Police Ravi (Vijay), a Tuticurin based happy go lucky guy is attempting continuously to get promotion from his plus two exam. Ravi adores Devraj IPS, a dutiful police officer, as his guru and wishes to become a cop like him in his future.

‘Unexpectedly’ he passed his plus two exam and starts his trip to Chennai to get admission in a College!

He meets a lovely girl Suseela (Anushka) during his journey in the train and immediately fall in love with her and completing his quota of duet in dreams. but in real, Ravi earns his livelihood by driving auto after his college hours and continuous his studies and love.

One bad day, he meets Chella, a womanaiser and son of local don Vedanayagam (Salim Ghosh), who has control over entire Chennai.

Chella once raped Uma, classmate of Ravi which caused for a fierce fight between the heroes and baddies and finally Chella killed.

Vedhanayagan makes hard efforts to become a minister in the state cabinet and aims to kill Ravi through his power.

Meanwhile, Vijay come to know about a shocking fact that Devaraj IPS, his guru, has lost his career, eyesight and his family because of Vedanayagam.

Now, Ravi join hands with Devaraj and vows take a revenge of baddies and starts striking with his fists of actions that move in a much cliched way.

It is none other than a Perarasu type mass masala which mostly failed to grab the attention of the viewers in most of the scenes.

Vijay doing his role as usually with lot of aimless punches, stunts and dry comedy. Srinath, appearing as Vijay’s associate is irritating the viewers like an empty vessels noise.

The post interval part is so overdosed with gory elements.

Anushka reveals her glamour portions well. There is no scope to her to show her acting performance.

Though the narration of police officer Devraj role is remembering Nasser of Dhill, Sri Hari done it with his maximum input.

Gopinath’s cameras work is good. But it is Vijay Antony who failed to attract with good numbers in tunes as well as BGM.

There is notheing new in the film, including the promotional techniques of Sun Pictures.. So the hopes to make this film as a minimum hit is also very difficult to Vijay.

Hard times continues for Vijay.. better luck in Sura!

Cast & Crew

Cast: Vijay, Anushka, Salim Gouse, Sri Hari, Srinath

Music: Vijay Antony

Camera: Gopinath

Direction: Babu Sivan

Producer: AVM

Distributor: Sun Pictures

A challenging face-off between two men involved in events that go unrecorded by law, all in a 100-minutes edge-of-the-seat thriller. Isn’t that interesting?

If so, just book your tickets for Unnaipol Oruvan right now and go ahead, watch it. If A Wednesday made Neeraj Pandey as the finest auteur of Bollywood, debutant Chakri isn’t an exception, as he does justice with a loyal remake of this masterpiece.

With superstars and best actors detailed in their characterizations, and the disconcerting screenplay making the film engrossing, it is a treat for all the classes. Unnaipol Oruvan marks the unrecorded series of events that took place between 2 p.m. -6 p.m. on a usual day. But, for those who were involved in this drama, it remains as an unforgettable day in their lives.

Well, Raghavan Maraar (Mohanlal), City commissioner of police, Mumbai isn’t an elision as he admits it on the final day of his service that a stranger walked into his life and swept him off as a Tsunami.

A stranger (Kamal Hassan) on anonymity makes a phone call to Maraar demanding him to release 4 deadliest criminals, or else he would detonate the bombs planted by him at various parts of the city. Assuming this to be a crank call, Maraar doesn’t take it so seriously until the stranger blows him out of waters stating that he has planted a bomb at Anna Saalai police station, which would blast soon.

Things turn out to be serious for commissioner and his entire department. With no options left to save the entire city from getting deteriorated, Maraar ropes in couple of best cops in department to release the criminals. But then, if you had ever thought this would’ve a clichéd climax, you’re erred. The breathtaking climax would just let you get thrown into extreme with a sudden twist in tale.

First things first All credit goes to Neeraj Pandey for having conceptualized a phenomenal storyline that lets every audience reflect themselves with the protagonist’s role. Perhaps, if you hadn’t watched the original version of A Wednesday, you would feel irksome over the first 20 minutes with the establishment of each character (couple of young cops, a journalist, an actor seeking protection from the commissioner and so on). But later, once we’re drawn in to the core of subject, it’s a different scenario brimmed with nail-biting sequences.

Debutant Chakri doesn’t strain himself in making changes from the original version. But indeed adds some interestingelements with dialogues.

Kamal Hassan shines with his brilliant performance, while Mohanlal steals the spotlights with a tremendous show…. It’s worth mentioning that he has got more prominence than Kamal Hassan. His conversations with journalist and entire department are so catchy, especially where he meets the computer hacker.

Anuja Iyer as the journalist does her part well, while Ganesh Venkataram and debutant Barath Reddy are done excellent work on their part. Lakshmi is okay.

Shruti Hassan comes up with middling effort on her musical score. Nothing seems to be impressive with the background score. Manoj has done an excellent job with his digital cinematography.

Finally, Unnaipol Oruvan is sure to make it big on box office with a long Ramzan weekend. With not so-much money spent for this film, the producers are sure to take a walk with good profit by this weekend.

Verdict: Worth watching…

Rating: 4/5

Banner: Raj Kamal Productions, UTV Motion Pictures

Production: Kamal Hassan, Ronnie Screwvala

Direction: Chakri

Star-casts: Kamal Hassan, Mohanlal , Lakshmi, Tanuja Iyer, Ganesh Venkataram

Music: Shruti Hassan

PRO: Nikil

-BOS