‘ABCD’ is Dulquer Salmaan’s show all the way

When Johns (Dulquer Salmaan) and his cousin Korah (Jacob Gregory) arrive in Kerala from the US anticipating a great holiday they are in for a rude shock right from the word go.
The house that Johns’ father (Lalu Alex) has arranged for their sojourn is "disgusting," as described by Johns to his mother over phone, and he further adds, "How can dad be so irresponsible?"
Not one to give up, the duo check into a posh hotel and start planning on a visit to Goa, only to be greeted with the second shock of the day. They are told by the local bank authorities that Johns’ credit card is no longer valid since his father had closed that particular account in the US.
Puzzled and angry, Johns’ calls up his father and asks, "What the f__k is this dad?"
His lingo is typical of today’s youngster, be it in India or elsewhere, laden with four letter expletives and absolutely disrespectful of his parents.
This American born Indian has been taking life easy basking under his father’s wealth without shouldering any responsibility. When he gets into trouble with an Afro American in a pub there, his life is endangered. So his father, a reputed doctor, concerned over his safety sends Johns to his hometown in Kerala. He also takes this opportunity to mend his son’s wayward ways.
Dulquer gets into the skin of Johns as the spoilt US lad who has least regard for the value of money.  Dulquer has even lent his voice for the song, ‘Johnny Mone Johnny,’ that is a hit online. Jacob Gregory supports Dulquer’s antics as Johns. New comer Aparna Karthikeyan shows promise.
This is director Martin Prakkat’s second film after ‘Best Actor,’ a Mamootty starrer. Produced by Thameens, ‘American Born Confused Desi,’ has music scored by Gopi Sundar. Cinematography is by Jomon T.John.
Taking a cue from the new generation films that make Malayalam industry, this puerile comedy relies on fart and toilet humour for laughs. If that is not enough to irritate you, the accompanying music in almost every frame that grows louder during a supposedly comic moment, will get at you for sure.
Taking a dig at the television media’s fascination for breaking news, some satirical scenes remind you of  Bollywood’s ‘Peepli Live.’ But then that had a stronger script unlike ‘ABCD.’ A tad too long, ‘ABCD’ calls for better trimming.
If you are a Dulquer fan, this one is up your alley. 

'Kuttipuli' is a saga of vendetta and violence with blood flowing freely

Debutant Muthiah opens his innings as a director with a story based on a real life character named ‘Kuttipuli,’ whom he admired during his growing years.
A lot of expectations rode on this film with actor-director-producer Sasi Kumar donning the titular role, but the story is a let- down.
With its backdrop in Srivelliputhur, near Madurai, the story opens with blood-shed when Arjunan,( Lal) leading a group of men brandishing aruvaals (a knife) kills a man from a neighbouring village for insulting a woman from their village. Mission accomplished, the group manages to escape except for Arjunan, who is caught while climbing over the wall. In order to protect his identity Arjunan orders his friends to behead him. And, there is more blood spilt.
His widow ( Saranya Ponvannan) is determined that their only son Kuttipuli (Sasi Kumar) will not follow his father’s path of violence but Kuttipuli often gets involved in brawls earning himself more enemies.  His mother hopes to tie him down by way of marriage but Kuttipuli resists marriage as he does not want another woman to suffer like his mother.
But then, how long can Kuttipuli remain single? Muthiah introduces us to Bharti, (Lakshmi Menon) who moves into their neighbourhood.  And, it does not take long for Cupid to strike arrows between the two. She finds Kuttipuli to be a good soul beneath that hard exterior. Predictable right?
Being in love is reason enough for Kuttipuli to turn over a new leaf.  However,
baying for Kuttipuli’s blood is the local goon who has been publically humiliated by our hero. Muthiah now tips in mother sentiment, an emotion most exploited in Indian cinema. And Kuttipuli’s mother will leave no stone unturned to protect her dear son, even if it means spilling more blood.
Where is the Sasi Kumar who debuted with an impressive story in ‘Subramaniapuram?’ which despite its violence carried a social message and was supported with a convincing story? Not to forget its wonderful music by James Vasanthan.
Where is the Sasi Kumar of ‘Nadodigal,’ another good commercial entertainer with a beautiful message?
And who can forget ‘Easan,’ an urban story speaking on the corrupt system? ‘Kuttipuli,’is not a good choice for the actor.  Saranya Ponvannan is getting too repetitive in her roles and as the suffering mother, she no longer surprises. Lakshmi Menon had very little to do besides smiling coyly at Kuttipuli. 
Kuttipuli lacks a convincing story, the music fails to impress. What is passed off as humour involving a group of young men plotting to win Bharti’s heart is hardly worth a chuckle? Drenched in blood and gore, ‘Kuttipuli’ disappoints. Certainly not a film you would want to watch with the family. 

‘Ladies and Gentleman’ will appeal to Mohan Lal fans

The perfect gentleman, as he calls himself, Chandrabose (Mohan Lal) pines for his dead wife Achu (Meera Jasmine). And seeks refuge, yes, we saw it coming, in the bottle.
One day in an inebriated state, Bose stumbles upon Sarath, (Krish J.Sathar) a young IT professional who is on the verge of committing suicide. Bose saves him and from then on becomes his mentor guiding him in facing life head on.
He helps Sarath, who has lost his job, in rebuilding life and starting a software company. Joining Sarath in this new enterprise are his friends, Anu and Chinnu.
In no time the company becomes well known but with success it makes Sarath conceited. His bond with his friends suffers and ultimately leads to the downfall of the company. Once again Bose bails him out.  
With Malayalam director Siddique and actor Mohan Lal coming together after two decades for this film, naturally expectations were high. For those of us who remember the duo in ‘Vietnam Colony,’ this story disappoints with a sagging screenplay.
This role is not new to Lal, he has played an alcoholic earlier, the recent one being Ranjith’s ‘Spirit.’ If you are a Lal fan, you will love Chandra Bose. His comic mannerisms and dialogues will keep you chuckling.
The chemistry between Meera Jasmine (with overdone make-up) and Lal as husband and wife is great but the story needed more conviction to have us believe that Bose can fall in love once again.
Padmapriya who plays Sarath’s sister, an aspiring airhostess, delivers her role well. Also Mamta Mohandas fits into her character easily.
Siddique’s signature is seen in the humour and stealing the show was Kalabhavan Shajon as Bose’s Man Friday. He impressed with his flair for comedy. Satish Kurup’s cinematography is brilliant too.
‘Ladies and Gentleman,’ is a mediocre film that is will be lapped up by Lal fans.

‘Neram,’ is a delightful idea of whiling away time

Right from the opening credits with a Tarantino quote: ‘I steal from every movie made,’ to the unusual dedication by the director thanking his girl- friends, ‘especially the last one,’ ‘Neram’ prepares you for a fun ride.
Software engineer Vetri (Nivin Pauly) gets the pink slip, a riff of the butterfly effect, wherein a business tycoon in the US loses his wife after an episode of flatulence and subsequently his enterprise too.
For his sister’s wedding, Vetri is now forced to borrow money from Vetti Raja, a real Shylock who will spare no means to get back his pound of flesh. Vetti Raja fixes a time limit within which to return the loan or else face dire consequences.
When the day of repayment dawns, Vettri is still unemployed and has no funds to clear the loan. His deadline will expire at five pm and the clock is ticking away. Adding to his woes is his childhood sweetheart Veni’s (Nazriya Nazim) father who refuses to marry his daughter in marriage to an unemployed Vetri. Time challenges him again when the money that his friend John arranges gets stolen.
Filmed to depict events on this particular day when Vetri is bound by time, Puthren narrates his story in a non linear way, taking viewers through hilarious moments and thrills. With tongue in cheek humour lines and characters reminiscent of people around you, (Manickam, for one, who prefers to converse in English and be known as ‘Manick,’) ‘Neram’ is clearly not a test of time for viewers. ‘Puthren’s heroine Veni is a mature girl, who does not buckle under difficult circumstances and a wonderful support to Vetri.
Nivin as the boy next door comes out a winner. Nazriya’s cute expressions impress.  Nasser, makes a brief appearance in the second half slipping into his character with the ease of a veteran. Thambi Ramiah as Veni’s father and John Vijay as a cop perform well too. Walking away with the honours is Simhaa as the much despised Vetti Raja. We last saw this newcomer in Nalan Kumarasamy’s ‘Soodhu Kavvum’ where he played a Nayanthara fan, timid and unsure of himself. This role, clearly a contrast to that taps the performer in Simhaa.
Puthren joins the league of growing number of young directors in Tamil and Malayalam who are making a mark with their fresh ideas and novel presentation.
Just don’t miss 'Neram.'

‘Mumbai Police’ clearly a cut above the rest

“I have found him,” says ACP Antony Moses (Prithviraj).
It is a dark night and he is discussing a murder case on his mobile with Police Commissioner Farhan (Rahman) while driving his jeep.  At that very moment, Moses’ jeep meets with an accident.
Moses recovers but he suffers from a loss of memory. He cannot remember his identity or his profession. Neither does he recognize his family and friends.
Close buddy, Farhan who brings him home from the hospital takes it upon himself to revive Moses’ memory. Moses’ loss of memory remains a secret between the two of them. Farhan slowly reveals to Moses information of his past including the investigation that he was tracking and how he had almost nabbed the culprit before the mishap occurred.
Life begins anew for Moses who reopens the case.
It is a real challenge for this police officer who in trying to deal with people around him also has to grapple in the dark with respect to his past.  Farhan however believes that Moses can solve the case since his intelligence has not been affected in the accident.
As Moses shuttles between his past and the present, viewers learn that he is pursuing the murderer of his close friend, Aryan (Jayasurya). You also understand the close bond the trio, Farhan, Moses and Aryan shared.
Divulging beyond this would be a spoiler for this edge of the seat thriller keeps viewers completely hooked with its uniquely presented screenplay. The story written by duo Bobby-Sanjay maintains a sense of intrigue throughout the film. And director Rosshan Andrrews has captured this brilliant story most beautifully on screen.
Prithviraj as Antony Moses is just awesome. Rather, he plays two different personalities, Antony Moses A, the cocky police officer before the amnesia and Antony Moses B, the cop trying to prove his credentials as well his friendship for Aryan. The actor pitches in a powerhouse performance taking the leap from shock, despair, hope and arrogance with electrifying energy. His eyes are his biggest strength and the silent eloquence that they convey leave you impressed, especially the scene where Moses B discovers a shocking truth about himself.
Matching Prithviraj step by step is Rahman, creating the perfect tango. With his subtle acting he essays Farhan, an endearing big brother to Moses and Aryan. Although his screen space is brief, Jayasurya delivers a commendable performance. The casting of roles is perfect. Aparna Nair as assistant to Antony Moses and Kunjan as constable are convincing. Taking the film a few notches higher is R. Diwakar’s cinematography with its low lighting shots and night visuals. Thankfully there are no songs to mar this racy thriller except the background score that complements this adrenalin pumping narrative.
Rosshan Andrrews comes out with a winner in this gripping tale that aims to portray the good side of the police force bringing out their humane traits.
‘Mumbai Police’ is a landmark film, bold in its story and finding a place in the new wave of Malayalam cinema.
You just can’t miss ‘Mumbai Police’ Go for it.

‘Ethir Neechal’ has the right ingredients of a mass entertainer.  

‘What’s in a name?’ asked Shakespeare.
Plenty if it happens to be ‘Kunjithapatham,’ (Siva Karthikeyan) as the lead character of Tamil film ‘Ethir Neechal,’ found out through his growing years when this name became the butt of all jokes. The joke continued into his adult years and at work as well. ‘Kunjithapatham’ in fact gave him an inferiority complex. Completely fed up, he takes his friend Peter’s suggestion seriously and goes for a name change.
In his new identity Harish, he finds a new job and life looks up for the better. He even finds love in Geetha, (Priya Anand) a school teacher! 
Just when all seems to be going great, the old name crops up creating confusion and misunderstanding in his love life. That’s when Kunjithapatham, sorry Harish decides to participate in a marathon in order to prove himself to his lady love.
‘Ethir Neechal’ is not just about swimming against the tide for Kunjithapatham and winning his love; it also becomes a voice for championing the rights of Valli, (Nandita) his marathon coach and a wronged athlete in the politics of sports and ambition.
Siva Karthikeyan, who has proved himself in comedy roles, reveals his ability to take on serious roles. Matching pace with him is Priya Anand.  Nandita, last seen in ‘Attakathi’ gets into the skin of Valli’s character with ease.
Dhanush, who has produced this film, makes an entry in a kuthu number with Nayanthara, adding to the commercial element of the story.
The first half of the film is laced with humour and is a breeze. Post interval the story of the underdog and the thrill of the marathon keeps viewers hooked. Of course, it has a predictable ending. 
But then like Shakespeare said, ‘What’s in a name? Kunjithapatham could not have agreed more.
R. S. Durai Senthil Kumar on his debut scores with this story.  

‘Immanuel’ is a simple tale that brings out the goodness of a man caught in today’s materialistic world

Immanuel (Mammootty) works in a publishing house and lives with his wife and son. The publishing house is not doing well and Immanuel has not been paid his salary for the past few months.  But this simple soul finds it hard to confront his boss for his dues despite several pressing needs of the family.
The film gets rolling with Immanuel’s son preparing him to boldly confront his boss. When he reaches work he is shocked to find his boss missing and the publishing house in the hands of its debtors.
As Immanuel leaves the premises crestfallen, the security guard hands him an envelope, a letter written to him by the publisher. His boss has left him a few thousands of rupees besides suggesting that he meet a friend, who manages an insurance company for employment.
Immanuel joins this private insurance company, where he is a fish out of water. For one with a clerical background to drive sales figures is not easy finds Immanuel. Not to forget a domineering boss, Jeevan (Fahad Fazil) barking orders and setting targets for him. He realizes that the company driven by profits cared less for its clients, even to the extent of denying them their claims as in the case of Khadeeja, a poor widow pursuing her husband’s death claim. Nor does it show compassion for a cancer survivor with a child trying to meet her medical bills. Immanuel also realizes that the young generation in their quest for money and fame had no qualms of cheating their co-workers.
The film hits out at Corporates and their work ethics while gently reminding us of compassion, friendship, love for the family and more, which seem to have been left behind in today’s race for success.
Jose has etched out his characters beautifully. Be it Immanuel, an ordinary individual, who just follows his heart, or his wife Anne (Reenu Mathews) with her little dream of purchasing a house of their own, or their son (Gauri Shankar) who hero worships his father.
Mammootty carries this role with aplomb. Dubai resident, Reenu Mathews fits into her role perfectly. You will love Gauri Shankar and the cute moments he shares with his father. Once again Fahad Fazil proves his versatility. Watching late actress Sukumari brought back memories of her in similar roles. Music by visually challenged composer Afzal Yusuf complements the film with his soothing melody. 
Without sermonizing, Crisp narration and dialogues that you can identify with, Jose without sermonizing on moral behavior, Jose brings you a family entertainer that is marked by crisp narration and good humour.    

‘Moondru Per Moondru Kadhal’ a film you don’t fall in love with

As the name suggests this is a story of three couples in love.
The first story is about Varun, a chartered accountant who falls in love with Anjana, another chartered accountant joining his father’s firm. But Anjana is in love with someone else and engaged to him.
The second story is about Guna, a Cambridge educated young man who quit a lucrative career to start an NGO for the rehabilitation of ex-convicts.  Mallika, daughter of a poor fisherman and a trained physiotherapist is in love with Guna, who sponsors her brother’s education. 
The third pair of love birds is Harris, a swimming coach and Divya, his protégé.
What connects the three stories is a book written by Varun.
The film opens with the launch of this book and moves back and forth between the three stories.
Sadly, the film disappoints. Fans of Vasanth had greater expectations from this director who has known for his penchant for the unusual and the poignant.
The slow pace of the narration hampered by poor characterization does not hold the attention of viewers. Somehow ‘the love’ fails to come through the stories despite having a formidable cast in Vimal, Cheran and Arjun.
New comer Lasini merely delivered her lines. Muktha Bhanu's performance was average. Surveen Chawla, who resembles Ashwariya in some scenes, has put in effort to bring out her character and although she shares good onscreen chemistry with Arjun, their love tale does not move you.
Yuvan Shankar Raja’s music is the saving grace of the film. Ritvik Varun who makes his debut through a song sequence needs to work hard on his dance movements as well as his expressions.
 Bhojan K.Dinesh camerawork is another plus for this film. Otherwise ‘Moondru Per Moondru Kadhal,’ is a let- down.

‘Soodhu Kavvum’ a dark comedy that leaves you in splits

Nalan Kumarasamy who won the top prize at ‘Naalaya Iyakunar,’ a television show of Kalaignar TV makes his onscreen debut with ‘Soodhu Kavvum.’
That Vijay Sethupathy trusts his instincts with the script is clear from the word go.
In this story he plays a forty year-old kidnapper, Das (Vijay Sethupathy). But then he is not your usual criminal. This kidnapper follows certain rules with regard to his profession and Das always ends up sharing a few notes from the ransom money with his victim. Das also seems to be suffering from some kind of schizophrenia as we understand from his conversations with lover, Shallu who is not visible to others around.
Friendship strikes during a chance encounter between Das and three friends, Sekhar, Pagalvan and Kesavan, who have lost their jobs. In no time, they become Das’ accomplices and making money never seemed easier until a local Minister’s son becomes their next target.
A dark comedy is seldom seen in Tamil cinema and ‘Soodhu Kavvum,’ belongs to this genre. With an unpredictable story that keeps viewers engaged and chuckling with its clean humour.
Vijay Sethupathy in a role that belies his age lives his character, once again proving his mettle as an actor. A stark contrast to the Vijay we saw in ‘Naduvala Konjam Pakkatha Kannom,’ a film that earned him laurels, the recent one at Norway Tamil Film Festival.
Sanchita Shetty as his cute moll pitches in a brilliant performance on her debut into Tamil cinema. Her expressions are cute. After a long time, we see comedian M.S. Bhaskar in a significant role as an upright politician who will not succumb to anything, not even when his only son is kidnapped for ransom. Bhaskar shines in his role. Karunakaran plays his son, Arumai Prakasam and effectively portrays the dumb son, who is actually not that dumb.
The first half of the film is hilarious. Post interval, though a bit disconnected at parts, it picks steam with the arrival of cop Brahma, the tough guy who cannot be bought. Essaying this role is Yog Japee, who enacts solely with his eyes and cool demeanour, without uttering a single word.
Nalan has fleshed out each character well, be it the car driver working in a star hotel, who longs to drive a Jaguar, the engineer working in a Corporate being seduced by a coworker and the Nayanthara fan with acting dreams. And, the new actors have not let him down.  
‘Soodhu Kavvum’ signs off as a satire on the political system and society around.
In the music section by composer Santosh Narayanan, the song, ‘Mama Douser’ is a delightful number, but what was the need for the gana, ‘Kasu Panam,’ you wonder when it intruded into the nice flow of story.
Nalan on his debut joins the growing list of young film makers who are busting the norms of Tamil cinema with unusual story lines and unique presentation. 
‘Soodhu Kavvum’ promises an evening of laughter with family.

Udhayam NH4- A road journey you could hitch onto for its speed thrills.

Manimaran’s debut film, ‘Udhayam NH4 is a road story set on the NH4 highway connecting Bangalore to Chennai.
The film opens with a bird’s eye view of this highway and we listen to a group of young men as they discuss their plan of kidnapping Rithika, a college student.  Mission accomplished, Prabhu and his friends find themselves on the run taking NH4, the shortest route to Chennai from Bangalore.
Rithika’s father, a politician from the state of Karnataka puts cop Manoj Menon on the job of bringing home his daughter by midnight before she turns major. He also instructs Menon to keep this mishap a secret since it could sabotage his political ambitions.
Menon soon learns that Rithika has actually eloped with her lover, Prabhu.
And, indebted to the politician for a favour in the past, Menon continues with his chase.  What makes this pursuit interesting is the use of technology that Menon employs to track Prabhu, via his mobile SIM card and access to social networking sites. As you watch the cat and mouse game of Menon and Prabhu, Manimaran reveals Prabhu’s and Rithika’s love story, shuttling between the past and the present.
Complementing this racy narrative is the excellent camera work by Velraj.  Without relying on double entendres and toilet jokes, here is a Tamil film that comes with clean humour. You chuckle as you watch Prabhu’s friends trying to impress girls in a pub, you smile at Menon’s assistant when he goofs up and you laugh when Rithika’s former lover shares stories of their college days.
Tender moments from a tough cop’s life are disclosed over tele-conversations that Menon has with his wife. We recognize her only by her voice as she often interrupts him at work that day, to remind him of their six-year-old son’s birthday party at home.
Lending an authentic feel to the story is the different languages spoken by the cast, Kannada dialogues spoken by Rithika, her father and his goons as well as Menon’s Malayalam conversations with his son.  
In the acting department, Siddharth’s lover boy image fits the role of Prabhu perfectly. New comer, Ashrita Shetty captures the innocence of Rithika’s character well. Endearing himself to the audience is Bollywood actor Kay Kay Menon, who comes up with a terrific performance as Menon, the cop.
Of course, this story is not new and predictable too, yet it’s the treatment that makes ‘Udhayam NH4’ worth a watch.  

‘Amen’ is a cute love story that wins hands down with its fresh music and breath stealing visuals

With a tag line stating ‘divine comedy,’ Lijo Jose Pellissery introduces us to a Christian community of a village named Kumarankari, with a prank that literally stinks. As the camera pans over the picturesque village,  its glistening water bodies  and evergreen palm fronds, the story pegs itself around an old church managed by Father Ottaplackan.

 Father Ottaplackan, an orthodox to the boot does not like the flashy attire or cool attitude of Father Vittoli, the new and young priest appointed to the church. Nor is he keen on continuing with the church band that has been tasting defeat at the hands of a rival band, belonging to Martha Mariyamma.
 Solomon, a young clarinet player from this band struggles to make himself heard as he aspires to play like his dead father but is always overcome by fear and nervousness, reason enough for everyone to put him down including his sister, Clara. Solomon loves the rich Shosanna against her brother’s disapproval solely encouraged by the bold Shosanna. And, when his clarinet becomes an object of challenge not only for the sake of his church band but also to win the hands of Shosanna, the timid Solomon wonders whether he can do it?
‘Amen’ touches viewers’ hearts with its simplicity, tickling you now and then with its humour and gently sending across the message of love, of triumph of goodness over evil and of humanity over religious traditions.
It is hard to single out any one actor for his or her performance; such has been the work of the entire cast. Joy Mathews as the old priest matches Indrajit, the young exuberant music loving priest, Father Vattoli, whom you will end falling in love with. If Fahad Fazil reveals yet another aspect of his versatility as an actor in Solomon, then Swati Reddy as the bold Shosanna makes an impressive Malayalam debut. You will see a different Kalabhavan Mani as Loius Pappen, the senior most member of the church band and an old friend of Solomon’s father, who believes in Solomon’s hidden art.
Natasha Sehgal, writer at National Geographic Traveller India plays Michele, a French violinist with a soft corner for Father Vattoli. Not to forget all the supporting actors who complemented their roles. Don’t’ miss the toddy vendor often perched atop a tree and keeping an eye on the village happenings below regaling viewers with his comments. Good idea, Jose Pellissery.
Prashanth Pillai’s music is a big plus to the story, it appeals with its freshness and melody. Capturing the beauty of the village Kumarakari in every hue, especially those scenes bathed in moonlight and drenched in rain, cinematographer Abhinandan Ramanujam is just awesome as he leaves a poetic trail in every shot. My favourites are many, but one that remains in my mind is the scene where the villagers in their white attire travel in boats, looking so pristine in the ebony night,  flanked by greenery and an azure sky overhead. Solomon playing the clarinet at Shosanna’s arched gate every night while the light from her room above streams down to reveal a smiling Shosanna is another favourite.
Yes, there is toilet humour and a couple of expletives, but somehow they seem to blend in well with the story. Kudos to Jose Pellisery, for his unique presentation of the story. After his earlier successes with Nayagan’ and ‘City of God,’ he scores a hat trick, creating another ripple in the new stream of Malayalam cinema.
Good Cinema? Say ‘Amen.’