Audio review of Jyothika’s 36 Vayadhinile

The audio of 36 Vayadhinile was released today (April 6th) and it is receiving good response from the music lovers. Here is the songs review of Jyothika’s 36 Vayadhinile.

1.Happy – Naalukazhudha

Singers: Santosh Narayan

Lyrics: Vivek

The lyrics of this song are meaningful and one can feel the awesome lyrics. Usage of beats and drums make the song to listen more number of times.

2. Pogiren

Singer: Kalpana RaghavenderLyrics: Vivek

This song will be portraying the journey of Jyothika’s character in this movie. The lyrics of this song are meaningful and are inspiring. The voice of the singer Kalpana is the major highlight of the track. Correct usage of orchestration makes the song, the best tune in the album.

3. Rasathi

Singer: Lalitha Vijayakumar

Lyrics: Vivek

This song might not attract the audiences and this breezy song is sung by Lalitha. Her voice suited for the song.

5. Kannadi

Singer: NA

Lyrics: NA

This is a background score track. Santosh Narayan succeeded to bring in correct background score and he proved that he is a master in composing BGM.

Vidiyal Thedi

Singer: NA

Lyrics: NA

The tunes of Vidiyal Thedi will surely stay in our mind. Orchestration is good. The chorus part in the second break gives a peaceful effect.

The album also consists of background tracks like, ‘President’, ‘Kanavugal Sumandhu’ and ‘Kanneer Mozhi’. These BGM tracks are also worth listening, and clearly showcases the potential of Santhosh Narayanan.

Verdict:

The album of 36 Vayadhinile is one of the best albums in the recent times!!

Avunu 2 Movie Review

Ravi Babu is back with one more horror thriller film, Avunu 2 Movie Review exclusively at way2movies.com . Lets see if the phenomenal actor-director recreates Avunu magic with this film in Review of Avunu Part 2.

Story:

Avunu Part 2 is the sequel of its predecessor which starts with Harsha [Harshavardhan Rane] shifting to a high tech flat along with wife Mohini [Poorna], where they can control almost everything with remote. They travel to Kasi for lord Shiva blessings and meet a Sage, who gifts a sacred thread to Mohini. Harsha and Mohini start living happily till they sense the returning of Captain Raju's spirit. What happens next forms the crux of Avunu Part 2. Watch Avunu 2 in big screens to know if the sacred thread saved Mohini...

Performances:

Poorna takes the center stage in Avunu Part 2 too. She has convincingly played the role of Mohini. Her expressions brings in lot of depth to this thriller.

Harshavardhan is equally good in his role. His acting skills improved and looks stunning with the toned body.

Ravi Babu at his regular best. Sanjana and Nikitha have their contribution in Avunu 2.

Technical Analysis:

Ravi Babu has to be appreciated for filming a decent thriller and kudos to his knowledge for using the present day technology so convincingly. Predictable screenplay being the only backdrop, Avunu 2 is a neatly presented precise suspense story.

Editing is good with only 100 minutes running time. For a movie that needed good support in the form of background score, Sekhar Chandra's bgm falls flat. Cinematography has nothing much to do but its okay.

A lavish production by Flying Frog and Suresh Productions, visually a good watch.

Analysis:

Avunu 2 offers nothing new to the audiences in the form of story line, but the frames and the characterization are well placed. It will give you a thrilling experience for the technology used.

First half is just about okay, whereas the counterpart is racy that you never feel bored, though is capable of being foretold.

Final Verdict: Engaging thriller - Watchable...

Detective Byomkesh Bakshy Movie Review

As layer after layer of intrigue and mystery are peeled off this Chinese puzzle of a movie, you are finally left staring wide-eyed and open-mouthed at a work of wondrous art. Exquisite in form, compelling and at times, deeply impenetrable in content, "Detective Byomkesh Bakshy (DBB)" is what a whodunit was meant to be all along.

Somehow Hindi cinema never got down to doing a real murder mystery before this. Maybe the genre waited to be cracked by the deftly disingenuous Dibakar Bannerjee. To get to the bottom of that mystery of why the murder mystery never came to fruition before this, we must wait for the film on the desceration of the whodunit in Bollywood.

But for now. Here it is. Ladies and gentleman, unveiling the smartest smoothest and slickest and the most slippery whodunit in Hindi cinema's living memory.

"DBB" is a stubbornly placid tale of an iconic detective who seems to know more about Kolkata and its underworld than any authority of or on the metropolis in the 1940s. The film's writers, and I do mean Urmi Juvekar and Dibakar Bannerjee, and not Sharadindu Badhopadhyay who penned the original detective novels, lend a gripping flow to the narrative by bending the plot into shapes which are not recognizable or definable by the rules of the genre. At least, not the way we've so far perceived the murder mystery in Bollywood so far.

Smells, sights and specially sounds emerge from the storytelling with a casual flair for making the obvious look subtle and the innocuous, dangerous.

Wickedly misleading and yet resolutely clear-headed even as the detective-hero (Sushant) and his reluctant assistant Ajit Banerjee (Anand) gambol from one suspect to another to piece together a mystery that has no reference point and certainly no history, this is a film that requires us to abandon all attempts to be one-up on the narrative.

We have no choice but to go with the writer's whimsical flow.

From the seeming ebbing and swelling of the narrative tide, Dibakar seems to derive a huge amount of unprecedented narrative power. The film moves across a luscious labyrinth of sensuous experiences. Kolkata's grime and sweat is captured in crumbling guest houses and rickety warehouses where crime is a desirable reality only because the other option is ennui.

The narrative creates a feverish aura of frisson and power-play in the way the characters appear to respond to the socio-political and economic reality of Kolkata in the 1940s. It would be an insult to the film to say the period is created with unhampered pitch-perfection. Because not for even one shot do we feel the hand of the art director in shaping the Kolkata of the era gone-by.

Dibakar's old Calcutta of trams and self-important bustle emerges not from cinematic pulls and pressures but from its own volition to create a world where the characters do not seem to pose in the clothes and mannerisms of the time. They just seem to be there from long before the Dibakar Banerjee school of filmmaking came into being.

Providentially Sushant seems to intuitively comprehend what the director and his brilliantly articulate cinematographer Nikos Andritsakis have set out to do. Sushant doesn't simply get into the detective's skin. He inhabits every nook and corner of the character.

With due respects to the vivid portrayal of Byomkesh by Rajit Kapoor in the Doordarshan serial of the 1980s, Sushant is now officially the face of Byomkesh. He owns the part as much as Kinglsey owns Gandhi.

Particularly riveting are Sushant's scenes with the extraordinarily brilliant Neeraj Kabi. When they are together on screen we are looking at neither actor as they both take us to a distance far away from their spoken words.

Swastika's movie-star impersonation is filled with coquettish grace.The performance comes dangerously close to a caricature but is miraculously taken into the zone of nostalgic seduction. And yes, Anand as Byomkesh's sidekick looks flustered and tired enough to convince us that the only thing the young in the country can do to avoid catastrophe is watch films while the country burns.

A scintillating synthesis of the cerebral and the sensual, DBB is an enigmatic whodunit cooked on the slow burner at a tantalizing temperature. Dibakar Banerjee's Kolkata pulsates with a heart, soul, body and nerves of steel. This is a world whose existence the makers of "Furious 7" could never imagine.

It's a difficult world to inhabit. But once you are in, you are in it for good.

Nanbenda Movie Review 5 / 2.5

Story:

Nanbenda begins with Sathyan [Udhayanidhi] escaping from prison and is on verge to kill the person, who put him in this condition. Switch to flash back mode, Sathyan offen travels to Trichy to meet his childhood friend Sivakozhunthu [Santhanam] and meet Ramya [Nayantara] on his way. Sathyan recalls his astrologer's words that he will marry a girl of his choice and will meet his soul-mate thrice on their first day of meeting. Sathyan starts believing in destiny and fall head over heels for Ramya after meeting her for three times. As Ramya started loving Sathyan, she reveals her undisclosed past to him. What happens next forms the crux of Nanbenda.

Watch Nanbenda to know, Why and whom did Sathyan plan ti kill? What is Nayantara's unrevealed secret?

Performances:

Udhayanidhi has improved from his past movies, both in dance moments and comedy timing. But, Sathyan being the similar role that of his earlier films, doesn't make it interesting watch for audiences.

Nayantara is a feast to watch on screen. Her screen presence, lvely expressions, dance and what not. Everything was par excellent with enough zing. Her costumes added the flavour.

Santhanam is truly typecasted. Though he evolved few laughs with his witty one-liners, a little change in his dressing and performance could make a difference, as audiences watched the same in handful of films now.

Technical Analysis:

Jagadish ha nothing new to offer in Nanbenda. A very simple script and the debutante filmmkaer seems to have blindly followed his master M Rajesh. Instances were seen in costumes, dialogues and characterizations.

Harris Jayaraj has come up with a well driven music. Couple of songs are well pictured with Balasubramaniem's camera effects.

Editing by National award winner Vivek Harshan could be better. He could have easily trimmed 15 mins of the film, as the actual story begins before interval.

Red Giant Movies presents Nanbenda is visually proficient with good color tone.

Analysis:

Udhayanidhi's Nanbenda is acceptable in parts that too for Nayantara. Everything else seems stereotype. Besides inspiration, it seems to be a poor sister of Oru Kal Oru Kannadi [OKOK] with its own moments of interest and defects.

I even wonder how stars give their consent to such wafer-thin scripts with inconsistent characterizations. On the whole, “Wine isn't tasty with added ice box”. Neatly stitched characterizations with interesting twists and turns make a movie.

Final Verdict: Go for it if you have nothing else to do this weekend...

Karthi's Komban Movie Review

Karthi's Komban Movie Review exclusively at cineclouds.com . Breaking all the barriers Komban has finally released on 1st April. Lets see if the movie makes it big at the box Office standing best Reviews and talk.

Story:

Kombaya Pandian aka Komban [Karthi] is an angry young man who lives by virtues. He is a trouble maker for many, but a helping hand for women, as Komban whacks whoever abuses women or cheats in business. Komban falls for Pazhani [Lakshmi Menon] and they get married with her father Muthaiah's [Rajkiran] permission. Komban doesn't share a good rapport with Muthaiah, which leads to trouble in his family life. Meanwhile, Komban comes to know that the villain gang is in lurch to kill Muthaiah. What happens next? How Komban sort the problems in his married life with Pazhani? Forms the crux of Komban.

Performances:

Karthi once again proves he is the hero of masses and a perfectionist when comes to the roles that are close to nativity. He carried the Komban movie on his shoulders with a well toned physique.

Raj Kiran is the apt choice for Muthaiah role and he has done it with utmost ease.

Lakshmi Menon seems to have been typecasted for such roles. She sleep walks the role in a disinterested way.

Kovai Sarala, Thambi Ramaiah played their roles well and evoked few laughs.

Technical Analysis:

Written and directed by M Muthaiah, Komban is refreshing in its own way, but has nothing new to offer. There are many Tamil films in village milieu and Karthi has done a couple of them.

Screenplay is acceptable, but the characterization could have been better. While Karthi, Muthaiah and Kovai Sarala roles and conversations are close to reality, it is par contradictory with villains.

Velraj's cinematography is good. He brought a fresh look to the rural milieu with a colour tone.

GV Prakash's music and background scores gel with the subject. Songs are well placed.

Praveen KL's editing is good. Pace of the movie is maintained with his cuts.

Analysis:

Director has concentrated on shaping the roles of Karthi and Raj Kiran most of the time. Chemistry between the lead pair is hardly shown. And the reason behind villains aiming to kill Raj Kiran is nor properly discussed. A little more concentration on the scenes invloving Lakshmi Menon would have worked wonders.

On the other side, Komban helps the metropolitans experience the well celebrated customs and traditional rituals of South Tamil Nadu.

On the whole, Komban is a regular mass masala film with necessary commercial elements that hits the chords of masses.

Final Verdict: Commercial Village Fest with flaws...