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 are trying their level best with convincing roles like Sivaji and sci - fiction Endhiran with maximum entertainment  guaranty.

Buzz up!
But there are few actors, like Vijay, 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 made some B grade films, wasted a golden opportunity to establish himself as a front line entertainment filmmaker.

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 does good things to the villagers. He fights for the rights of the villagers. Every one loves his mischievous, humour sensed activities. Simply, he is the 'Chella Pillai' of the village!

He wishes to marry a girl only after solving all the problems of fishermen in the village. One day Tamanna try to kill herself near the village's sea side, due to loss of her pet dog! As usual Vijay comes to her rescue and instead of jumping into the sea, in the very next scene, Tammu jumps to his heart and goes for a duet in some beautiful locations.

In the mean time, Dev Gil, a local minister try 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 kills 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 Golden (jubilee) in number, but fails to earn the same for its quality!

Paiya Review

Paiyya – Worthless journey to avoid

Banner: Tirupathi Brothers
Production: Subash Chandra Bose
Direction: Lingusamy
Star-casts: Karthi, Thamannah, Milan Soman, Jagan, Omar and others
Music: Yuvan Shankar Raja
Cinematography: Mathi
Editing: Anthony

Lingusamy\'s \'Paiyya\' is a deplorable flick that lacks solidity on many parts. With first half filled with fun, love and some enjoyable songs, the post-intermission sequences turns to be a very big disappointment for the audiences.

Lingusamy had precisely proved himself to be a simpleton with his previous films \'Ji\' and \'Bheema\'. Now, it\'s time to repeat the ludicrous act of copycatting his very own yesteryear successful film– \'Sandakozhi\'.

In simple terms, \'Paiyya\' remains as an unconvincing mixture of Vijay\'s \'Ghilli\' and \'Sandakozhi\' and incisively you should\'ve guessed what the film is all about.

The film opens in Maxim city of Bangalore, where a freewheeling chap Shiva (Karthi) comes across a beautiful gal Charu (Thamannah). When he\'s woolgathering about her day and night, it\'s an instant to relish when the same girl asks him to drive her for Mumbai.

The girl is wedged in a deplorable situation she is being forced to get married to her stepmother\'s brother. With Shiva enjoying every minute of this journey as in paradise, Charu is preoccupied with her problems. As the travel goes forward on a highway, the rowdies are already tracking her. Somehow, being saved by Shiva with his smart driving, he takes a different route to Mumbai only to find other group of baddies chasing them.

For a special surprise, this group isn’t looking for Charu, but Shiva himself that ends in a smash-down combat.

The second half opens up with a flashback sequence where Shiva had bashed down the deadliest don of Mumbai (Millind Soman). Rest of the film involves about the journey ending up in Mumbai, the two gangs setting out for a hand-in-hand combat with Shiva and how the scores are ensconced.

Karthis performance isnt up to the expected levels when compared to his previous films \'Paruthiveeran\' and \'Aayirathil Oruvan\'. This isn\'t the kind of films he is supposed to choose as it turns to be a potboiler. Karthi must opt for seriously unique roles and choose the exceptional scripts.

Of course, he keeps us engrossed with his funny mannerisms, but most of them remind us off his previous roles. Thamannah\'s decorous looks are fantabulous and she must really thank her costume designer, makeup artist and cinematographer Mathi. But her characterization is again not as catchy just as in her previous films.

Millind Soman has been pitiably pictured as one could never expect such a brilliant actor to be delineated in a weaker role. Jagan\'s comedy quotients on few parts are enjoyable.

Yuvan Shankar Raja\'s musical score is appreciable as almost all the songs are impressive. The background score enhances the grip over certain sequences. Mathi\'s cinematography has extraordinary quality as exotic locales of Konkan Roadways have been shot well. Anthony’s editing is sleek and stylish that helps a lot for the film\'s screenplay in few parts.

On the whole, \'Paiyya\' is disappointing as it runs short off a creative storyline dominated by cliched screenplay.

Verdict: Not worth watching
Richard Mahesh

Films celebrating empowerment of women are rare in Tamil cinema. ‘Aval Peyar Thamizharasi’ is one such flick that is more heroine-centric with a strong storyline. Debutant filmmaker Meera Kadhiravan deserves a pat for trying something away from regular commercial films.

A love story in rural milieu might be a common thing in Kollywood. But Meera Kadhiravan narrating it with Thol Pavai (an ancient form of entertainment in Tamil culture) as the backdrop sustains interest. The director manages to narrate the story in visuals. A major portion of the first half mesmerises the audience with his straightforward and simple handling of the screenplay.

It is a commanding show by Meera Kadhiravan who does have a grip not just over his story but also his artistes. He seems to have obtained what he wanted form them. Interestingly the lead pair, their urge to be together and spend all time with each other in the first half has been brought out well by Kadhiravan.

However things are not all that fine in the latter half especially towards the climax, as the lead pair could have come out with stronger emotions on screen.

Unlike typical Tamil cinema, the scenes unfold in a manner as feel like reading a novel. Siva Rao (Veera Santhanam), is a Thol Pavai puppeteer who along with his family goes around villages performing the art for his survival. He is struggling to make both ends meet.

When they land up in Tirunelveli, a rich man Chelladurai (Theodre Baskaran) decides to support the family for his young grandson Jothi (Jai) loves the art and their family. Thamizharasi (newcomer Nandhagi), the grand daughter of Siva Rao is enrolled in a local school, who grows up and works hard to pass out in flying colours in her higher secondary.

Evan as she gets admission in an engineering college in Pune, Jothi and Thamizharasi develop affinity for each other. Unable to leave her, Jothi does a 'wild thing' which changes her life. As a result, Jothi is forced to leave the village by his grandfather, who returns after a couple of years to see Thamizharasi nowhere. The rest is all about how Jothi travels from pillar to post to reach out for Thamizharasi and repents for his acts that altered her life all together.

Jai and Nandhagi play their part well in the first half. They are equally supported by a team of newcomers and fresh faces. ‘Ganja’ Karuppu in a comedy cameo is adequate. Theodore Baskaran does his role with aplomb. Kavya, the young Thamizharasi, was bubbly.

Surprisingly Vijay Antony, known for his racy and peppy beats astounds everyone with a splendid show in ‘APT’. A mix of melody and rural folk, his songs travels well with the story. P G Muthiah's cinematography is the film’s backbone. His capturing the barren lands of the rustic village, the colourful background of Thol Pavai is visual treat. Equally appealing is art director S S Murthy's work.

Moser Baer’s Dhananjayan and Blue Ocean have proved in the past that they are committed to provide quality entertainment to the audience and they are here to support new talents with novel and innovative themes. ‘APT’ has proved it again.

All said ‘Aval Peyar Thamizharasi’ is a movie that is engaging and enjoyable.

Romance never failed to appeal youngsters. It is buzzz word in today's techno-savvy world. Keeping in tune with the trend, Seventh Channel Communications, who produced a thriller in Vettaiyaadu Vilaiyaadu and a humour in Indiralokathil Na Azhagappan has opted for youthful love story.

At a time when Gautham Menon sizzled the screen with Vinnai Thandi Varuvaaya, a love theme, his protege Magizh Thirumeni opted to go his master's way in ‘Mundhinam Paartheney’.

The movie in a nutshell is about a software professional, about his friends and his love stories. The story unfolds in London, where Sanjay (Sanjay), narrates about his 'kind' of girl, and talks about love. Cut to flashback, the hero meets Pooja (Ekta).

He tries to impress her in all possible ways. But his hopes are shattered when he comes to know that she is getting ready for a marriage with a NRI youth. Then comes Aarthi, a dance tutor. She is a girl with traditional ideas but modern outlook. Unfortunately, the hero's attempts to settle down with her gets jinxed. Then enters Anu, Sanjay's colleague. Does he finds her apt for him forms the rest.

Sanjay does his part well. Equally good is Ekta. The comic scenes involving Sanjay and his friends, especially with 'Dinesh' played by actor Sai Prashanth, are humorous and well written. Sai has done his role casually, as he has vast experience in front of the camera, when compared to the other actors. The humour laced at regular intervals is a delight to watch.

The songs by Thaman are a pleasure to listen and even watch, exotic foreign locations through the camera of Vincent have been captured beautifully.

The eyesore is the pace at which the movie travels, but the shrewd director has covered it up with good narration. Being a youthful story, 'Mundhinam Paartheney' is young and ambitious. A few scenes, that show the hero's love for his lady, have been portrayed skillfully, and many dialogues and scenes make you giggle.

Influence of his mentor Gautham Menon is quite evident on Magizh Thirumeni. English dialogues here and there, a 2 second lip lock, etc is found in the making.

The makers of the movie have tried their best to capture the changes love has undergone today. A fresh story-telling, fresh star cast, over all a fresh movie that might not entice all sections of the audience.

On the whole, it is a movie that is breezy and entertaining aimed at capturing the hearts of youth audience.

'Kacheri Aarambam' is Jeeva's ticket to stardom. The actor, who is credited a lot for doing off-beat roles in the recent past, has consciously taken to do a racy commercial pot-boiler. Debutant filmmaker Thiraivannan has seemingly rehashed several scenes from many of the entertainers that made buzz earlier.

Jeeva reminds one of 'Thenavattu', where he almost played a similar role with same Poonam Bajwa around. The presence of seasoned campaigners like J D Chakravarthy and Vadivelu around, 'Kacheri ....' is nothing but a full-length commercial venture aimed at the so-called B and C audience.

The energy at which the story moves is the hallmark of the movie. Forget logic and sit through the film for a roller-coaster ride, which you would have had many times before watching such films.

The film begins at a journey in train where Paari (Jeeva) looks back at everything. Cut! the story goes to one remote village in Ramanathapuram. Paari is a do-gooder who helps everyone in need. A magnanimous man, he gives anything and everything to others if they ask for, apt to his name.

Promising his dad (Azhagan Perumal) to earn more, Paari sets out to Chennai to earn money. But he is thrown to more challenges in city. He meets a young girl Madhi (Poonam Bajwa) and falls in love with her. But also comes some trouble for Paari in the form of some goons, who flexes muscles with him. Sivamani (J D Chakravarthy), the dreaded but sophisticated don of the city gets ready to marry Madhu. It is now up to Paari and Sivamani to sort it out.

Jeeva has enough scope to try his hand at comedy, flex muscles and sing duets. Seemingly targetting youth, He has opted for more scenes that would appeal to the young generation. Poonam Bajwa looks cute. She has to get her emotions on screen right.

Vadivelu as Deepavali evokes laughter. His one-liners are witty. J D Chakri impresses a lot. His subtle performance is the highlight. A couple of songs by Imman are foot-tapping.

Produced by Super Good Films, 'Kacheri...' is a formula film, but Thiraivannan can be credited for making the movie work with his racy screenplay. Otherwise it is one among the many.