Despite a promising premise, the film struggles with pacing issues, unconvincing emotional arcs, and a lack of depth in its romance

Even in a war film like Shershaah, Vishnu Varadhan handled the romance in a way that left an indelible impression on our hearts. So, expectations were naturally high when he forayed into full-fledged romance with Nesippaya. However, the director struggles to meet the mark he had set with Shershaah. With a love story which turns into a crime drama set in a foreign land, Vishnu Varadhan has tried to pull out all the stops to ensure that Nesippaya is a unique addition to the romance genre. However, with a familiar romance plotline, and underwhelming screenplay, the film leaves a lot to be desired.

Director: Vishnu Varadhan

Cast: Akash Murali, Aditi Shankar, Kalki Koechlin, Sarath Kumar, Khushbhu Sundar

Nesippaya tells the story of Arjun (Akash Murali) and Diya (Aditi Shankar), college-sweethearts-turned-ex-lovers who reunite because the latter is framed for a murder. How Arjun, along with Indrani (Kalki Koechlin), attempts to prove her innocence forms the rest of the story. Arjun and Diya’s love story is generic enough for even a supporting character (played by Vikkals Vikram) to casually remark, “They fell in love, but then they broke up, and that’s what happened..” Arjun falls head over heels in love when he sees Diya’s dance performance in college. What starts out as a typical love story, eventually develops into a fairly distinct narrative as Vishnu brings freshness with his unique directorial style. Akash as Arjun portrays a hopeless romantic who can’t help but let an ‘I love you’ spill out of his mouth every now and then. His clinginess, complemented by earnest love, is contrasted with Diya’s untrusting nature due to her past baggage and her inclination for practicality. The couple is the exact opposite of a match made in heaven, and yet, as love is blind, sparks fly, and they fall in love.

When it comes to the reason for their breakup, the director brings more than just their contrasting personalities to the table. While Arjun is all in for the love of his love, delivering delightfully cheesy lines like, “Nee keta na, I’ll even stop the world,” Diya’s suffocation in the relationship is equally valid. Reminding one of Brinda’s Hey Sinamika, Diya’s need for personal space and boundaries in a relationship is a problem that not many couples on screen acknowledge. With this writing nuance taking the film up to a crescendo, Nesippaya falls back to underwhelming territory as it misses out on one key area. After their breakup, Arjun and Diya go about their lives in Chennai and Portugal, respectively, and seem to have moved on without any regrets. Yet, the minute Arjun sees Diya in trouble, he makes an impulsive decision to go to her, leaving his future and career at stake. While Arjun is described as a spontaneous person throughout the film, the fact that they didn’t contact each other for two years makes it difficult for us to accept how much they still care for each other. Such writing issues cause an emotional disconnect, which makes it difficult for us to root for the couple.

Casting Kalki in the role of Indrani is undoubtedly one of Vishnu’s best decisions for Nesippaya. Kalki as Indrani steals the show. In the latter half of the film, Akash often gets into trouble. In such scenarios, generally, the female lead of the film takes it as her responsibility to mend his ways. Here, Indrani is entrusted with the task, as she is like the older sister who constantly monitors his foolhardy decisions and rebukes them with dialogues like, “Nee chumma irukave maatiya. Diya unna vittu ponadhu la thappey ella.” Her character acts as an audience surrogate, reflecting our frustration with Arjun’s impulsive decisions.

Vishnu’s decision to portray Arjun as an ordinary man, steering clear of larger-than-life heroics, is a breath of fresh air. While it has become customary for filmmakers to bestow every male lead with an over-the-top heroic transformation, Arjun feels refreshingly real—much like Kathiravan from Kadhalum Kadandhu Pogum, a character who faces more defeat than victories in fights. This is why the two scenes where Arjun is elevated beyond his usual self end up as the film’s most frustratingly drawn-out portions. The second half of Nesippaya meanders toward its conclusion, weighed down by an over-reliance on Arjun to find solutions, even when they verge on implausibility—despite Indrani being the designated lawyer. To make matters worse, the film occasionally succumbs to commercial cliches, like cutting to a song post a fight scene, at moments when the audience is eager for plot progression. On the editing front, trimming at least two fight sequences would have delivered a much tighter and more engaging cinematic experience.

In the end, Nesippaya tries to craft an everlasting tale of romance, but its inconsistencies make it feel more like a forgettable affair. For all its noble intentions, Nesippaya struggles to transcend its safe tropes and predictable beats. It reminds us that love stories, much like love itself, require more than effort—they demand conviction, depth, and a touch of magic.

News Credits: Cinema Express

Ravi and Nitya Menen are excellent in this sweet romantic drama that is a harmless watch. Down goes our Kadhalikka Neramillai Movie Review.

Kiruthiga Udhaynidhi has been a filmmaker who has tried out a variety of genres after making her debut in a romantic comedy. But in her most settled, matured film till date, she manages to give in a pretty engaging film in the form of Kadhalikka Neramillai.

The film is based on two stands – Shreya (Nithya Menen) who finds herself with the wrong man immediately after her engagement, and Siddharth (Ravi Mohan) who is a man who wants to be free until he dies, without any complicated relationship commitments. The film gets deeper and deeper into the lives of these two, their friends, family and more as it moves along in the first half, and has some good dialogues, good moments and the way in which it is organized is also interesting. However, when the film moves into its second half, it gets a bit too easy, with convenient writing and simpler situations coming into the fray. Here, Kadhalikka Neramillai starts to feel as it is a film that feels similar to many other films.

It is the performances that hold the film throughout along with its technical finesse. Ravi Mohan is excellent in his part and feels fresher than his other films, while Nitya Menen is a terrific fit and excels in the emotional scenes.

While Vinay and Yogi Babu are decent, TJ Bhanu is an actress who could have been replaced by someone else, as she turns out to be a turn off in her scenes.

The cinematography by Gavemic Ary is superb and gives the film an excellent look, while Rahman’s music is good in parts and average in parts.

News Credits: Only Kollywood

Tharunam: A Romantic Thriller with Promise but Uneven Execution

“Tharunam,” directed by Arvindh Srinivasan, is a Tamil romantic thriller that delves into themes of love, morality, and the consequences of one’s actions. The film stars Kishen Das as Arjun, a suspended CRPF officer, and Smruthi Venkat as Meera, a young woman entangled in a perilous situation. Their chance meeting at a wedding blossoms into romance, but their lives take a dark turn when Meera accidentally kills her obsessive neighbor, Rohit (Raj Ayyappa), leading the couple into a tense cover-up to secure their future.

Kishen Das delivers a stoic performance as Arjun, embodying a man trained in covert operations yet caught in a moral quandary. Smruthi Venkat portrays Meera with a blend of vulnerability and strength, though her character’s development stalls post-crisis, leaving her in a state of perpetual shock. Their on-screen chemistry is present but lacks depth, which affects the audience’s investment in their plight.

Arvindh Srinivasan’s direction maintains a focused narrative, avoiding unnecessary subplots and contrived investigations. However, the film’s measured approach sometimes renders the thriller aspects toothless, with a curious lack of tension in situations that should be nail-biting. The first half’s pacing feels almost glacial, which may test viewers’ patience.

Darbuka Siva’s musical score complements the film’s tone, providing an emotional backdrop to the unfolding drama. The cinematography captures the essence of the settings, enhancing the visual storytelling. Despite these strengths, the film’s technical prowess is overshadowed by its storytelling shortcomings.

“Tharunam” strives to be a compelling romantic thriller but is hindered by its predictable storyline and uneven execution. While the performances and musical score offer redeeming qualities, the film ultimately falls short of delivering a memorable cinematic experience.

News Credits: Indiaglitz

Synopsis

Madha Gaja Raja might not rank among Sundar C’s best works, Ullathai Allitha and Kalakalappu, but its Dhool-like conflict — a battle between a common man and a kingmaker — is played out mostly for laughs, and the director keeps things engaging.

Madha Gaja Raja Movie Review : A self-aware, largely entertaining throwback

Critic’s Rating: 3.0/5

Madha Gaja Raja Synopsis: A young man decides to help out two of his childhood friends whose lives are in trouble due to a powerful media baron. Can a common man bring down a kingmaker?

Madha Gaja Raja Review: It is not often that a film that has been lying in the cans for over a decade ends up on the big screen. And even if it does, there hangs the question of how relevant it might for that generation of movie-goers. Fortunately, for Madha Gaja Raja, the film would have been considered old school even if it had released on its original released date, in 2013. The film has a distinct late ’90s and early 2000s vibe, and this is its biggest plus (along with Richard M Nathan’s highly saturated cinematography that makes the visuals feel contemporary). And Sundar C seems to be very much aware of it. Like Aambala, his later film with Vishal, Madha Gaja Raja is a throwback, and interestingly enough, this one is self-aware and largely entertaining.

The plot is only too familiar, and revolves around Madha Gaja Raja aka MGR aka Raja (a chirpy Vishal, who does everything that’s asked of him), who runs a cable network, and reunites with his three childhood friends (Santhanam, Sadagopan Ramesh and Nitinsathyaa), thanks to a wedding. When he learns that two of them are in deep trouble because of the actions of Karkuvel Viswanath (Sonu Sood), a media baron who wields incredible power, he decides to take him on and put an end to his friends’ woes.

The entire first half is just a placeholder for the film’s Dhool-like conflict – a battle between a common man and a kingmaker. But unlike in that film, the tussle is played out mostly for laughs. In fact, the Dhool influence is felt in the other scenes, too. We get a residential area that houses multiple families. We have the half-sari-wearing heroine. A glam girl who is used for a generous dose of adult comedy. Foot-tapping songs (by Vijay Antony). And a comedian in prime form. But Sundar C smartly never makes it serious. Even the friends’ situation is just used as a crutch to move the story forward.

Until then, all that the film does is meander from one scene to the next, setting up the characters and trying hard to make us laugh. It’s mainly Santhanam’s one-liners that keep us in good stead, and the comedian uses digs that he makes at his mother-in-law as a running gag to provide us with a few laughs. We also get a surprise cameo by a star!

Even in the second half, not everything works entirely. Since the approach is to steer clear of anything serious, the confrontation between MGR and Karkuvel isn’t really something that sends sparks flying. Despite Sonu Sood playing this character, Karkuvel never comes across as a real threat. And the film fails miserably when viewed through the present day’s political correctness lens.

That said, Sundar C is an old hand at keeping things engaging, so, at frequent intervals, we get stretches of comedy that have us breaking into a laugh. A scene in which Raja ends up in a well with Malathi (Anjali), his lover, who is mad at him due to a minor misunderstanding, and Maya (Varalaxmi Sarathkumar), the ‘modern’ girl who fancies him, plays around with the boundaries of adult humour (the film is certified U, though scenes like this one make us feel that it should have been at least U/A). Then, there is this portion involving the late Manobala — inarguably the film’s highlight — which has everyone in splits.

Having cut his teeth with entertainers targeted at every section of the audience, the director also mixes up comedy with romance and action, so this keeps things moving. Madha Gaja Raja might not rank among his best works, Ullathai Allitha and Kalakalappu, but this is still an OG film that deserves what’s now become a promotional mantra: ‘Fight venuma fight irukku, dance venuma dance irukku, romance venuma romance irukku, glamour venuma glamour irukku, comedy venuma comedy irukku…’

News Credits: Times of India

In a free-wheeling chat with TNIE, veteran actor opens up about her career on stage and screen, struggles in life and more

Long before she became a familiar face in Malayalam cinema, Pauly Valsan had been stealing the spotlight on stage for decades. Theatre wasn’t just her livelihood; it was her lifeblood, providing an outlet for her creativity while managing the everyday chaos of home and family. Pauly thrived in characters brimming with sass, wisdom and life experience.

“I would always volunteer for the older roles, as they offered more scope for performance,” she says with a grin. Decades later, her film debut came in the Mammootty-starrer Annan Thampi (2008). Today, as she reflects on her journey of over 100 films, state awards for Ee. Ma.Yau and Ottamuri Velicham in 2018 and Saudi Vellakka in 2022, and a range of remarkable roles, it’s clear that this thespian has left an indelible impression in the world of films.

Pauly opens up about her journey, which is as dramatic and delightful as the woman herself.

Vidaamuyarchi has pushed the release dates of both NEEK and Dragon, which were billed as romantic entertainers and campus stories, and were supposed to hit screens on February 14.

Big-ticket films are important for the thriving ecosystem of cinema. While the various stakeholders are primed to make maximum profits, it also means that the release calendar is scheduled around these films. That is why when Ajith Kumar-Magizh Thirumeni’s Vidaamuyarchi missed the Pongal release date, it lead to five Tamil films making it on Pongal instead. We had films like Madha Gaja Raja, Tharunam, Kadhalikka Neramillai, Nesippaya, and Vanangaan hitting the screens. And now, just when Dhanush’s third directorial, Nilavukku Enmel Ennadi Kobam, and Pradeep Ranganathan’s Dragon were planning a Valentine’s Day release, Vidaamuyarchi is back to disrupt the plans.

ALSO READ | Vidaamuyarchi trailer: Ajith promises a gritty action drama devoid of overly masala sensibilities

With Lyca Productions announcing Vidaamuyarchi’s release date as February 6, the makers of NEEK and Dragon also shared their revised release date. Sreyas, the director of Wunderbar Films, which is backing NEEK, shared a statement that read, “Due to recent developments, NEEK is postponed to February 21. Thank you to everyone for your unconditional love and support. Om Nama Shivaya.” The movie, which is directed by Dhanush, stars Pavish, Anikha Surendran, Priya Prakash Varrier, and Mathew Thomas.

Similarly, AGS Entertainment, who are producing Pradeep’s Dragon, directed by Ashwath Marimuthu, announced that the film would hit theatres on February 21. Sharing the announcement, Pradeep wrote, “Thala vandha thalli poyi dhaana aaganum (If the leader is coming, we have to make way, right?). Dragon from Feb 21.”

Interestingly, both NEEK and Dragon, are billed as romantic entertainers and campus stories, which might have been perfect for the Valentine’s Day weekend. However, with both films rescheduling their release date to two weeks after Vidaamuyarchi, it is almost like Tamil cinema is urging the romantics in the audience to celebrate Valentine’s Day a week later.

So, it is going to be a packed February with Vidaamuyarchi kick-starting things, NEEK and Dragon rounding it off. Interestingly, two months later, on April 10, Dhanush’s next directorial, Idli Kadai, will clash at the box office with Ajith-Adhik Ravichandran’s film, Good Bad Ugly.

News Credits: The Indian Express

Rishab Shetty’s Kannada film “Kantara,” in which he directed and acted, received widespread appreciation in multiple languages, including Tamil, Hindi, Telugu, and Malayalam. Following its success, the prequel to the film, titled “Kantara: Chapter 1,” is now in production with a high budget.

The final phase of filming began on the 2nd of this month in the Herur forest region of Hassan district, Karnataka. However, local villagers raised objections, alleging that the crew used explosives during the shoot and caused environmental damage by starting fires in the forest. They expressed concerns over wildlife being forced into human settlements due to the fires, demanding an immediate halt to the shoot to protect the environment.

During a confrontation between the film crew and the villagers, a local youth named Harish was injured and admitted to the hospital. Subsequently, a complaint was filed against the film crew at the Esalur police station.

News Credits: Indiaglitz

The actor talks about her role in Nesippaya, working with Akash Murali, perfecting her Tamil for the film, and more

When one thinks of Nesippaya, the striking image of a Tamil-Portuguese lawyer with distinctive hairstyles and eclectic costumes, riding a Harley Davidson bike, will surely come to mind. Kalki Koechlin, who speaks nearly flawless Tamil as Indrani in the Vishnu Varadhan directorial, says one reason she was drawn to the character was because she rides a bike. “When he approached me about the lawyer role, the typical image of a lawyer—always in suits, very proper—came to mind. But he said, ‘I don’t want that. I want to disrupt the traditional idea of a lawyer.’ He envisioned a strong, independent woman who has built her own path, and that independence was reflected in everything—from how she dresses to the fact that she rides a bike. For me, that angle was a real winner.”

In this conversation, Kalki also speaks about the Yeh Jawaani Hai Deewani re-release along with Nesippaya, her definition of the word ‘identity,’ how she balances her interests and more.

News Credits: Cinema Express

The makers revealed that they received over 1500 applicants, and they were filtered out to 50 finalists. Startup Singam, which will have 13 episodes, would feature three pitches per episode.

For an outsider, the insides of a boardroom might seem like a too technical, and too jargon-heavy. When words like capital, deficit, venture capitalists, valuation, equity and percentage profits are thrown around, it might not be the most conducive of atmosphere for making a blockbuster reality show. But American show Shark Tank changed it all, and sold the American dream… one pitch at a time. Even its Hindi version, Shark Tank India, has been one of the most popular shows on Indian digital space, and is currently in its fourth season. Now, inspired by this hit show, a Tamil version of the same, titled Startup Singam, is set to air from this Republic Day.

ALSO READ: Shark Tank India pitcher dropped out of IIT, has just Rs 4000 in bank; Aman Gupta gives it to him straight: ‘You’re a bad entrepreneur’

The show, which will run on Vijay TV, will be launched on January 26, and is billed as the Tamil Nadu’s ‘first Startup reality show.’ The show’s official logline reads, “Join Tamil Nadu’s first startup reality show, bridging the gap between groundbreaking ideas and visionary investors. Empowering startups, accelerating MSME growth, and creating success stories on mainstream TV.”

With the focus on fund raising, and providing a platform for various entrepreneurs to follow their dream, and amplify the success stories, Startup Singam might be a rather interesting an important addition to the Tamil digital space, which hasn’t yet cracked the market for reality shows, except for Bigg Boss.

The makers revealed that they received over 1500 applicants, and they were filtered out to 50 finalists. The show, which will have 13 episodes, would feature three pitches per episode.

News Credits: The Indian Express

A petition calling for a ban on the movie ‘Leo,’ citing excessive violent content, was dismissed by the Madurai Bench of the High Court. The film, featuring Vijay and directed by Lokesh Kanagaraj, was released on October 19, 2024, and included actors like Trisha, Arjun, Sanjay Dutt, and Gautham Vasudev Menon.

Petitioner Rajamurugan from Madurai argued that the movie contained several scenes promoting violence, such as the use of guns, knives, and the making of weapons at home. He also claimed the film had offensive religious references and controversial themes, including revenge against enemies, killing women and children, drug use, and torture.

The petitioner expressed concern over children being negatively influenced by the content and sought to ban the film. He also demanded legal action against the director, Lokesh Kanagaraj, and requested a psychological evaluation of him. Additionally, he called for stricter oversight by the censor board.

The case was heard by Justices M.S. Ramesh and A.T. Mariappan. During the hearing, a lawyer representing the ‘Leo’ film team stated that the petition was not appropriate for consideration and had been filed for publicity. The court subsequently dismissed the petition, ruling in favor of the filmmakers.

News Credit: indiaglitz