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Telugu Movie Reviews
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Most of them might laugh if someone finds in 'Sukumarudu' flashes of serious entertainment. That is there for sure. Ashok G seems to be thinking that males who are 40 and beyond, and who like to see verbose characters, are the ones who decide the fate of a film. Thus he makes Chandrashekar Gundemeda write dialogues laced with madcap humour, cerebral sentimentality and a whiff of rural lingo to
Those who lapped up the delectably commercial part in 'Vettai' might want to watch 'Thadaka' expecting something more, but it must be borne in mind that the Telugu version is a dumbed down version of the Linguswamy-directed original.
In these days of Meher Rameshs, it is heartening to see a rare Dasarath who has conviction in his little story line. The awful news is that the classy maker of Santosham fame believed too much in his "sensible" idea that he displays the never-say-die belief in his story in more number of scenes than was needed.
We have been treated to more than enough number of mafia-based films where bomb blast conspiracies are frivolously hatched by just one don and his cohorts. In real life there are Al Quedas, LeTs, Illakatha Mafiliyas (an honorable addition by Vennela Kishore's Jaffa) and sundry organizations of crooks but in our movies there is just one Nana Bhai, who is invariably sentimental so much so he doesn'
There are subjects which only a Tamil filmmaker is good at dealing efficiently. NH4 belongs to this class. The genre is romantic thriller but there is a difference to it. Except for the fact that the hero happens to be good at bashing up the baddies (and the fights are not unbelievably impossible), there is nothing in the film that would makes us forgivingly say, "Let us not think of the logic.
The film, to start with, dangerously begins to feel like another 'Lovely' via the 2G network but Vijay Kumar Konda (the debutante director) veers the story on a surprisingly unpredictable path as the film progresses.
Ten-to-15 minutes into the film, anyone would think that the reason why Radha Mohan christened his story as 'Gouravam' is because the hero stirs the conscience of the oppressed, educates them, inspires them to fight for their honour (gouravam).
There was a time when, if the director was not a Teja, or a VN Aditya, Uday Kiran looked as though he was doing rehearsals in front of the camera. Since he looked promising in his first three movies (Chitram, Nuvvu Nenu and Manasantha Nuvve), people kept forgiving him for his subsequent poor work. Unfortunately, he continued to get bad ones directing him in film after film, and it was not long b
Would a hero who has averted serial blasts in multiple Indian cities look God-like when the mastermind's empire had been built till recently by the generous casino money unscrupulously looted by his (the hero's) father? Baadshah is such a story where NTR (as NT Rama Rao, IPS) would seem, in the end, to have only atoned for the sin committed by his greedy and rogue father.
Did you wonder how characters in mortal danger exercise exceptional presence of mind while watching a thriller any time in the past? You will understand how much of a haranguing experience watching a crime thriller movie with dumbass characters can be if you watch Aravind-2.
Unlike his directorial debut, 'Vennela' Kishore has seamlessly captured the attention of the audience for Jaffa, having chosen a slang word with an offending connotation as the title of a Brahmanandam starrer. The openings are understandably more than decent since such is the mini-stardom that the ace star comedian enjoys.
Having seen films that reflect true-to-life thinking of average girls in YVM and RLS did not do so well as was expected, one began to feel that there is no incentive for penning love stories inspired from life. Forget a melancholic film like Andala Rakshasi, even Mem Vayasuku Vaccham, which was full of realistic dialogues and scenes, was not thoroughly lapped up.
If you did not squander away your precious time on unproductive Sundays and instead chose to jot down the scenes of all the chase-for-the-coveted-price movies, you might have successfully brought out at least one unabashedly rehashed story inspired by a hundred screenplays that had a dozen characters wanting to lay their claims on a coveted treasure.
Right from the word go, one thing is very clear in Alex Pandiyan - its commercialism. Director Suraaj's script is typical for an action entertainer in Kollywood, and we have seen numerous such films in the past. Drawing close to the lines of Linguswamy's Paiyya, it tells the story of Karthi who seems to have a vengeful past but leads a normal life.
One did expect a sprightly take on the vagaries/superfluity of new age love (for want of a better word) because the title itself suggested that. 3G Love, it turns out, shakes up all the well-known opinions about teenage love and romance, lacing it with some jocular dialogues here and there. But there is nothing more than this mild dosage of campy and crazy droll. It is old wine, it is oldish pre