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Dejavu Review: ஆள் கடத்தல், ESP, கொலை - த்ரில்லிங் பாக்கெட் நாவல் சுவாரஸ்யம்; ஆனால் லாஜிக்?

பேருந்தில் அமர்ந்துகொண்டு பாக்கெட் நாவல் படிப்பதில் இருக்கும் சுவாரஸ்யமே அடுத்து என்ன என்கிற திருப்பமும், எப்போது முடியும் என்கிற விறுவிறுப்பான நடையும்தான். ஆனால்...

ஒரு பெண் கடத்தலுக்கும், நடப்பதை முன்னரே கணித்து எழுதிவிடும் ஒரு எழுத்தாளருக்கும் இருக்கும் தொடர்பை த்ரில்லராய் சொல்கிறது அருள்நிதி நடித்திருக்கும் `தேஜாவு' (Dejavu).

தான் கதையாய் எழுதும் எல்லா விஷயங்களும் உண்மையில் நடப்பதாகவும், அந்தக் கதாபாத்திரங்கள் நிஜத்தில் தனக்கு போன் செய்து மிரட்டுவதாகவும் காவல் நிலையத்தில் புகார் அளிக்கிறார் எழுத்தாளரான அச்யுத் குமார். காவல்துறை அதைப் பெரிதாகச் சட்டை செய்யாமல் கடந்து செல்ல, அந்த இரவு டி.ஐ.ஜி மதுபாலாவின் மகளான ஸ்மிருதி வெங்கட்டைச் சிலர் கடத்திவிடுகிறார்கள். ஆனால், அது நடக்க நடக்க அதை அப்படியே கதையாக எழுதிக்கொண்டிருக்கிறார் அச்யுத் குமார்.

பிரச்னை விஸ்வரூபமெடுக்க விசாரணை அதிகாரியாக அருள்நிதி உள் நுழைய அடுத்தடுத்து திருப்பங்களுடன் கதை விரிகிறது. யார் கடத்தினார்கள், எழுத்தாளருக்கு உண்மையிலேயே ESP சக்திகள் இருக்கின்றனவா, மதுபாலாவின் மறைப்பது என்ன எனப் பல பிளாஷ்பேக் கிளைக் கதைகளுடன் ஒரு பாக்கெட் நாவல் த்ரில்லராக விரைகிறது இந்தத் திரைப்படம்.

இரண்டு வாரங்களுக்கு முன்னால், D Block படத்தில் கல்லூரி மாணவர், இந்த முறை காவல்துறை உயர் அதிகாரி. இரண்டுக்குமே செட் ஆகும் அளவுக்கு உடல்வாகுடன் இருக்கிறார் அருள்நிதி. அங்கு நிகழும் விஷயங்களில் எது உண்மை, எது பொய் என்பவற்றை ஆராய்ந்து அடுத்த கட்டத்துக்குக் கொண்டு செல்லும் கதாபாத்திரம் என்பதாலேயே கதை நகர்த்தவும் இவரின் கதாபாத்திரத்தையே அதிகம் நம்ப வேண்டியதாய் இருக்கிறது.

எழுத்தாளராகக் கன்னட நடிகர் அச்யுத் குமார். காவல்துறையின் மீது எந்தப் பயமும் இல்லாமல் நக்கல் அடிக்கும் கதாபாத்திரம். அதைச் சிறப்பாகவே செய்திருக்கிறார். ஆனால், அவரைவிடவும் நமக்கு அதிகம் பரிச்சயமான எம்.எஸ்.பாஸ்கர், அச்யுத் குமாருக்கு குரலுதவி செய்திருப்பதால் எமோஷனல் காட்சிகளில் எம்.எஸ்.பாஸ்கரும் நம் செவிக்கு அருகே வந்து போகிறார்.

படத்தில் எல்லா திருப்பங்களுக்கும் காரணமான நபராக மதுபாலா. ஆனால், பெரிய அளவில் அவரது நடிப்பு சோபிக்காததால் எந்தவித பாதிப்பையும் அந்தக் கதாபாத்திரம் ஏற்படுத்தவில்லை. மதுபாலா மிரட்டும் காட்சிகள், எமோஷனல் காட்சிகள் என எல்லாவற்றிலும் அவர் பேசும் வசனங்கள் அளவுக்குக்கூட அவர் முகத்தில் எந்தப் பாவனைகளும் இல்லை. கடத்தப்படும் பெண்ணாக ஸ்மிருதி வெங்கட், காவல்துறை ரைட்டராக காளி வெங்கட் என நமக்குக் கொஞ்சம் பரிச்சயமான முகங்கள் அவ்வப்போது தலைகாட்டுகிறார்கள்.

பேருந்தில் அமர்ந்துகொண்டு பாக்கெட் நாவல் படிப்பதில் இருக்கும் சுவாரஸ்யமே அடுத்து என்ன என்கிற திருப்பமும், எப்போது முடியும் என்கிற விறுவிறுப்பான நடையும்தான். அந்த வகையில் முதல் பாதி முழுக்க அடுத்து என்ன என்னும் சுவாரஸ்ய முடிச்சை அவிழாது பார்த்துக்கொள்கிறார் அறிமுக இயக்குநரான அரவிந்த் ஸ்ரீனிவாசன். ஜிப்ரானின் பின்னணி இசை பல இடங்களில் படத்தை மேல் இழுத்துக் காப்பாற்றுகிறது. ஆங்காங்கே 'கடாரம் கொண்டான்' பின்னணி இசை ஏனோ நினைவுக்கு வருகிறது. P.G.முத்தையாவின் ஒளிப்பதிவும், அருள் E.சித்தார்த்தின் படத்தொகுப்பும், விறுவிறுவென செல்லும் படத்துக்கு உதவி புரிகின்றன.

ஆனால், இடைவேளைக்குப் பின்னர் முடிச்சுகள் அவிழ்க்கப்படும் போது, காட்சி அனுபவமாக இல்லாமல் வெறுமனே வசனமாகப் பேசியே பலவற்றைக் காட்டியிருப்பது ஒரு கட்டத்துக்கு மேல் சுவாரஸ்யத்தை இழக்கச் செய்கிறது. அதே போல், சில நடிகர்களின் லிப் சிங்க் பிரச்னைகள் துருத்திக்கொண்டு தெரிகின்றன. கதை சொல்லப்பட்ட விதத்தில் இருக்கும் புத்திசாலித்தனம் படத்தின் நடிகர்களிடம் சுத்தமாய் இல்லை. ஒரு முக்கிய அதிகாரியின் ஐடியைக்கூட பார்க்காமல் எல்லோரும் எப்படி நம்புகிறார்கள்; அவருக்கு ஏன் ஊரே ஆதரவாக வருகிறது; ஒரு போலீஸ் அதிகாரி, குற்றவாளி எனக் கருதப்படும் ஒரு நபரை முழுதாக செக்கப் கூடச் செய்ய மாட்டாரா எனப் பல லாஜிக் கேள்விகள் எட்டிப் பார்க்கின்றன.

இரண்டாம் பாதியையும் இன்னும் சிரத்தையுடன் எழுதியிருந்தால், அட்டகாசமான ஒரு பாக்கெட் நாவல் த்ரில்லராய் இருந்திருக்கும் இந்த `தேஜாவு'.

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Dejavu Movie Review: A Half-Decent Setup Gets Lost In A Sea of Contrivances

Cast:  Arulnithi, Madhoo, Achyuth Kumar, Ragav Vijay, Smruthi Venkat, Chetan, Kali Venkat

Director:  Arvindh Srinivasan

It might not be an entirely original idea but it's kind of cool for a thriller to begin with a pulp fiction writer confessing to a police officer that he's being hounded by the fictional characters he's written. It's part Stranger Than Fiction, part Weird Science when the whole State of Tamil Nadu waits for novelist Subramani's (Achyut Kumar) every new word to figure out what happened to a missing woman. This isn't just any woman—she's the daughter of the DGP (an out-of-place Madhoo) and the fact that the police cannot track her makes the case sensational for the media and an embarrassment for the force. With this flight of fancy, we're primed for an investigative thriller that needs a sort of magic for the screenplay to move forward.

It's a perfectly workable setup placed in a perfectly workable scenario. By taking the conflict of this writer and by placing it into the context of the whole State machinery, the film makes a vague, esoteric issue into everyone's issue. The writer-director doubles down on this by introducing a secret agent named Vikram (Arulnithi) who the DGP contacts to bring back her daughter and we also get an action sub-plot. On one side is Vikram placing the film in a realistic world with real-world problems, even as the other keeps peeping into Subramani's notes for what's going to happen next.

This is also where the screenplay starts to wobble. After investing so much time for such a setup, you expect the film to go all out and push this conceit to take us new to new places. At first, every word the novelist writes truly matters in the scheme of things, but with each passing scene, it recedes to the background, first as a recurring joke and later, as a complete distraction.

This becomes far more frustrating when the idea is almost entirely abandoned to backtrack on this fantastical idea to make it seem plausible. By doing this, it's removing the only aspect of the film that sets it apart from the hundreds of other films that talk about similar cases and the investigation that follows.

But this isn't the only issue. The film then transforms into a series of contrivances that are written around giving you one twist after another. For instance, the film breaks for the interval with a corpse being fished out of a lake. Given that the film until then was about finding a missing woman, it's done intentionally to create an event. But the way even this moment is tossed aside, without anything further being mentioned about this body removes any tension the screenplay was about to create for itself. If the film doesn't care about the missing woman, why should we? These contrivances keep coming and somewhere in its effort to shock us, we stop caring anymore even when it has a valid point to make about encounter killings.

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Deja Vu (III) (2022)

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Dejavu Movie Review

After completing over a decade in the industry, actor Arulnithi has earned the trademark as a thriller film hero. With his filmography in mind, it would not be a wild guess to take, that it is either a horror or crime thriller film the moment we see his name on the posters. If you had made that guess on Dejavu, voila, you are not wrong. The film tells the tale of a crime novelist whose fictional writings begin to transpire in real life causing problems to people. Actor Arulnithi who was last seen in the coming-of-age psychological drama D Block is back on screens with his mystery thriller flick Dejavu. Veteran actress Madhoo has played a vital supporting role. Debutant director Arvindh Srinivasan has directed the movie. So, how has the mystery thriller drama Dejavu come out? Will it help put actor Arulnithi back on the winning zone and reinstate his image of a bankable lead hero in Tamil cinema ? To know that let us get into the movie review. 

dejavu second Poster final tamil

The entertainer is set at a weird backdrop where novelist Subramani’s (Achyuth Kumar) fictional writings transpire into reality. Dejavu opens with an inebriated Subramani experiencing the fictional characters he had written in his previous novel come into his life, and pose a threat to him. He rushes to the police station to make a complaint. Seeing his tipsy state, the cops do not take him seriously. He goes back to home and begins to pen a scene about a girl getting abducted. The very next day the scene happens in real life. A woman calls the police station and informs them that Subramani has a hand in her kidnapping. 

The cops take Subramani under their custody. Shortly after his arrest, Pooja ( Smruthi Venkat ), the daughter of DGP Asha Pramod (Madhoo) goes missing. Fearing her personal connection could cloud her judgment, DGP Asha Pramod unofficially assigns the case to ACP Vikram Kumar (Arulnithi). Vikram Kumar takes charge and goes undercover to begin his investigation. To his surprise Subramani pens every move of his precisely as if he had already lived that moment. Who is Subramani, how do the events he writes transpire to reality, does he have any connection to the kidnappings, and will Vikram Kumar unearth the mystery behind this puzzle, is what makes the rest of the flick. 

For starters, the way Dejavu begins is an ideal way to begin a mystery thriller. A writer claiming that his fictional characters are disturbing him in real life. This, though weird, takes us by surprise and grabs our complete attention. Debutant film maker Arvindh Srinivasan quickly backs the element of surprise by building a crime around it. The groundwork to raise a solid crime thriller is laid right. Just when we get set for a towering high rise building to be built up on it, all we see is the construction of a shaky structure. Everything unravels with ease for the protagonist after a sake-of-it setback. He does not have to break a sweat to get past the confrontations he faces to crack the case. The logical loopholes in the plot are another set of wrong stones in the brick work that upset the structural flow. But the mystery anchor prompts us to neglect the loopholes. 

In order to keep the audience hooked, director Arvindh Srinivasan frames a series of twists at regular intervals. Sadly, we the audience without much work are able to sense the intent to deceive behind the twists. To place these twists new events that are irrelevant to the plot are written. Since the purpose of these events itself fails, they end up just stretching the film’s run time. Despite flaws, debutant film maker Arvindh Srinivasan built a screenplay that at least inconsistently kept us invested. But what completes a crime thriller? The startling climax. That is where Dejavu crumbles down like a house of cards. The moment the mystery is let loose, all the efforts put in to carve the path to the final show, go in vain. Suddenly, the logical loopholes that we chose to overlook, seem inexcusable. And Dejavu sent us home with oozing dissatisfaction. 

Actor Arulnithi, in a way, has been consistent with his performance. The same expressions, reactions, gestures, and emotional quotient film after film that we are so used to. It is high time the actor works on them to become a better performer. Nothing special comes off of veteran actress Madhoo but she lives up to her role. Actor Achyuth Kumar, yet again is impressive with his performance. Actress Smruthi Venkat has done justice to her part. Actor Kaali Venkat is exceptional as usual. Actress Maria Vincent serves the purpose for the reason why she was roped in. Actors Mime Gopi, Ragav Vijay, Chetan, Supergood Subramani, and Yalini Rajan have all chipped in and have played their part well. The rest of the cast has delivered what was asked of them. 

On the technical front, music director Ghibran’s tracks are not good but are not really bad either. His background score adds value to the film. Cinematographer P. G. Muthiah has covered the drama from the best vantage points possible. His visuals aid in setting the mysterious tone of the flick. Editor Arul E Siddharth has put his scissors at the right spots to trim out the junk clips enhancing the work of his colleague. 

On the whole, debutant director Arvindh Srinivasan’s Dejavu has an interesting idea but not the able craftsman to turn that idea into a displayable effigy.

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Dejavu Movie Review: Logic goes for a toss in this rudderless thriller

Rating: ( 2 / 5).

Debutant Arvindh Srinivasan's Dejavu has an impressive start. A drunk novelist with supposed ESP (Extra Sensory Power) to predict crime scenes, pens a page describing a young girl's kidnap and his fiction turns out to be reality the next day. His predictions are so accurate that he even gets the vehicle numbers of the suspects right, even before they board into one. Though the writer's prediction game is initially fun, the film needed an equally interesting investigation track to keep the momentum going. But, sadly it doesn't. It actually does the opposite, the cumbersome investigation turns the tables and the one predicting the forthcoming event is the audience, not the writer in the story. Cast: Arulnithi, Madhoo, Achyuth Kumar, Kali Venkat, Smruthi Venkat Director: Arvindh Srinivasan

It is disappointing that the scenes which manage to escape this predictability are the ones where logic goes for a toss and the audience is taken for granted. In an attempt to make the twists unguessable Arvindh sabotages the little he had built till then by making his leads react in unusual ways and take the oddest decisions. For instance, in an ideal world, the writer would have been taken into custody within hours and the secret behind the ESP would be out in minutes. But here the DGP appoints a dull PC to overview the writer as he happily pens the crime scenes, sipping a glass of booze.

The penultimate reveals towards the end of the whodunit, makes us wonder more about 'Whys' and 'hows'. And the tool the filmmaker uses to drop these reveals is monologues! Almost every main character goes on a confession spree as if they were waiting for their turn in a queue.  Had the filmmaker opted to show things visually instead of making his characters recite them, the damage would have been considerably dampened.

Achyuth Kumar and Arulnithi's invested performances and Ghibran's terrific score are perhaps the only elements that keep us invested in this unengaging ride. Casting a limited actor like Madhoo in a role with layers does take an extra toll on the overall film.

For those unaware, Dejavu was shot parallel in Telugu as Repeat , starring Naveen Chandra in Arulnithi's role. Sadly, significant chunks of the Telugu portion have been retained for the Tamil version too. This only adds more to the misery.

Dejavu has been titled so to denote the series of events that repeat themselves after a year, exactly on the same day. But the abysmal screenplay and staging of the film give us the Deja Vu of a dozen woeful thrillers that we remember for all the wrong reasons.  

'Dejavu': A promising start by a newbie director (Movie Review)

ilm: Dejavu (Releasing in Theatres); Duration: 117 minutes; Director: Arvindh Srinivasan; Cast: Arulnithi, Achyunth Kumar, Smruthi Venkat, Chetan, Kali Venkat and Madhoo (Madhu Bala); Rating: ***1/2

Director Arvindh Srinivasan's 'Dejavu' begins as an investigative thriller and eventually turns into a revenge drama. The director, who is making his debut with this film, seems to have come up with an interesting script that is full of twists and turns.

'Dejavu' opens with a writer named Subramani (Achyuth Kumar) going to a police station to ask for protection. The writer, who is in an inebriated state, claims that the characters from the crime stories he has been writing are actually making calls to him, threatening to kill him.

Initially, the cops dismiss his statement as the rantings of a drunkard and ask him to leave the premises. But as fate would have it, it is not long before an important case gets them to realise that the incidents the man seems to be writing in his book happen exactly as soon as he writes them or as he is writing them.

The important case that leads the cops back to the writer is the kidnapping of a girl called Pooja (Smruthi Venkat). What makes the case important is that she happens to be the daughter of the Director General of Police Asha Pramod (Madhu Bala).

The DGP, who is under pressure from the government to give a rosy picture of the law and order situation in the state as elections are round the corner, puts up a brave face and tells the media that her daughter is safe and at home.

But she gets worried. As she cannot employ any of the state's resources for tracking her daughter's whereabouts, she seeks the help of a third party, who promises to send a special officer, Vikram (Arulnithi), to investigate the case.

Vikram takes over the matter and promises to bring back the daughter of the DGP safe and sound. That is easier said than done, for everything is not what it seems.

The script is refreshingly fresh and therefore, the film has your attention.

The story gets off to a good start and then starts losing steam, when suddenly a twist in the plot generates some pace to the narration. After this twist, the story has your attention for a while but again starts losing intensity until another twist appears. This cycle keeps repeating itself until the film's climax.

The film has some really good performances to offer as well. Arulnithi as the special police officer investigating the case, looks every bit the part. Kannada actor Achyuth Kumar delivers an impressive performance as a drunk writer and actor Kali Venkat as constable Ezhumalai again scores in this film with a commendable performance.

Actress Madhu Bala, who plays the DGP, however, does not fit the role.

On the technical front, P. G. Muthiah's visuals are just fantastic and Ghibran's music is just about okay.

In short, newcomer Arvindh seems to have made a promising start with 'Dejavu'.

✔️ 'Dejavu': A promising start by a newbie director (Movie Review)

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Home » News » Dejavu release date: When and where to watch the Arulnithi-starrer mystery drama online »

Dejavu release date: When and where to watch the Arulnithi-starrer mystery drama online

Arvindh Srinivasan has directed the film which was released in theatres a month ago

Arulnithi in Dejavu

• Thinkal Menon

Last Updated: 12.09 PM, Aug 20, 2022

Arulnithi, whose first outing this year, D Block, released earlier last month had another release, too, towards the end of the month. Dejavu, helmed by debutant Arvindh Srinivasan, was released in theatres on July 22. The movie, which opened to mixed reviews, is now out on OTT.

Madhoo, Achyuth Kumar, Ragav Vijay and Smruthi Venkat play pivotal characters in the movie which has been bankrolled by Vijay Pandi K.

The movie's story revolves around a cop who sets out to investigate a peculiar kidnapping case. He finds that everything associated with the kidnap is happening based on the sequence of events in a novel written by a drunkard.

The rest of the story is about his attempts to connect the novel's events and the kidnap which has shook the entire police department. Will he be able to solve the mystery?

Dejavu was released on Amazon Prime Video on August 19. PG Muthiah, who has handled cinematography for the movie, has also co-produced the project. Ghibran and Arul E Siddharth have handled music direction and editing respectively for the film.

Vinoth Raveendran has helmed art direction while Pradeep Dinesh has choreographed action scenes for Dejavu. Chetan, Kali Venkat and Mime Gopi are other actors who are seen essaying key roles in the film.

Ghibran's background score and the film's plot received appreciation, but the confusing screenplay and unengaging latter half spoiled the movie's prospects to become a taut thriller.

Arulnithi is now gearing up for his next outing, titled Diary. Billed as a mystery thriller which revolves around bus accidents which happen at a specific place in a hill station, the movie will hit the screens on August 26.

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'Vaazha': Fathers and children try to understand each other in this slice-of-life comedy | Review

How did the all-purpose banana plantain, or 'Vaazha,' come to represent the modern-day slacker in Kerala? It's a mystery that remains unsolved. In 'Vaazha', starring Siju Sunny, Amith Mohan Rajeswari, Joemon Jyothir, Anuraj OB, and Saaf, this metaphor comes to life through the struggles of five aimless young people burdened by their parents' expectations. The film explores the familiar yet emotional themes of youthful angst, anger, and inner turmoil of young men. Directed by Anand Menen, the movie offers a thoughtful examination of what it means to be a 'Vaazha' and the challenges that come with parenting one.

Written by Vipin Das, of Jaya Jaya Jaya Hey fame, the movie tells the tale of five slackers, all of whom grew into being friends from being in the same mental space. Just like in his last outing, Guruvayoor Ambalanadayil, Vipin Das hits the right spots in getting the attitude of the five slackers right, providing much of the humour in the first half. The main cast provides an honestly good performance, which makes a likely case they were slackers too once. Joemon Jyothir, with his impeccable sense of timing, stands out among the quintet, delivering the peak moments of humour, especially in the scenes with his father, played by Noby Marcose.

But as the young men grow from the carefree environments of their schools and colleges and take their first steps in adulting, the movie shifts tonally and this is where Vipin's script falters. The film does touch on the lives of those who find success, but these narratives feel a bit flat, lacking the depth and definition needed to make them truly resonate.

At one point, two love stories happen simultaneously, only to disappear with the same energy they came in. The stories go so wildly in the second half, trying to accommodate different points of view that by the time the movie ends, you're left puzzled, wondering what was the whole point.

Despite its shortcomings, Vaazha keeps you hooked to the screen with its moments of humour, which feels structurally similar to the kind of humour content one sees on social media. The advantage here is the casting of internet sensation, Hashiree and his friends, whose mere presence cracks a smile on your face without you even knowing it. The film provides these brief moments, peppered throughout the film and the icing on top is Basil Joseph as an empathetic police officer in an extended cameo, doing exactly what was meant to do.

Apart from the main actors, the movie also tries to show the side of their fathers who go through societal humiliation and a sense of hopelessness. The seasoned casting here provided much stability in the emotional scenes, pushing the youngsters to try and match the same level of depth in their performances.

Vaazha is the story of both those who struggle to succeed in life and who struggle to meet their parents' expectations.  But while the latter confront their demons long after they establish themselves, the former find themselves stuck in limbo, wondering where to take the next step. This could be what Anand Menen struggled with as well. But for all its faults, if you ever find yourself catching a slacker mood, pop this on your TV, and hopefully, you'll come out laughing out loud, to say the least.

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Kaalarathri Review: కాళరాత్రి రివ్యూ - తెలుగులో రిలీజైన మ‌ల‌యాళం స‌ర్వైవ‌ల్ థ్రిల్ల‌ర్ మూవీ ఎలా ఉందంటే?

Kaalarathri Review: మ‌ల‌యాళం స‌ర్వైవ‌ల్ థ్రిల్ల‌ర్ మూవీ నల్ల నిళ‌వుల రాత్రి...తెలుగులో కాళ‌రాత్రి పేరుతో డ‌బ్ అయ్యింది. డైరెక్ట్‌గా ఆహా ఓటీటీలో రిలీజైన ఈ మూవీ ఎలా ఉందంటే?

Kaalarathri Review: చెంబ‌న్ వినోద్ జోస్‌, బాబురాజ్ ప్ర‌ధాన పాత్ర‌ల్లో న‌టించిన కాళరాత్రి మూవీ ఇటీవ‌ల ఆహా ఓటీటీలో రిలీజైంది. స‌ర్వైవ‌ల్ థ్రిల్ల‌ర్‌గా రూపొందిన ఈ సినిమాకు మ‌ర్ఫీ డేవ‌సీ ద‌ర్శ‌క‌త్వం వ‌హించాడు. మ‌ల‌యాళం మూవీ న‌ల్ల నిళ‌వుల రాత్రి సినిమాకు డ‌బ్బింగ్ వెర్ష‌న్‌గా రిలీజైన ఈ సినిమా ఆడియెన్స్‌కు థ్రిల్లింగ్‌ను పంచిందా? లేదా? అంటే?

ఆరుగురు స్నేహితుల కథ‌...

డొమినిక్ (జీను జోసెఫ్‌), జోషి(బీను), పీట‌ర్‌(రోనీ డేవిడ్ రాజ్‌), రాజీవ‌న్(నితిన్ జార్జ్‌) కాలేజీ ఫ్రెండ్స్‌. ఆర్గానిక్ ఫార్మింగ్ బిజినెస్ చేస్తుంటారు. పీట‌ర్‌, రాజీవ‌న్ ఫార్మ్ బాధ్య‌త‌లు చేప‌డితే డొమినిక్‌, జోషి సేల్స్ వ్య‌వ‌హారాలు చూస్తుంటారు. పైకి మిత్రులుగా న‌టిస్తోన్న న‌లుగురికి ఒక‌రిపై మ‌రొక‌రికి ద్వేషం ఉంటుంది. ఈ స్నేహితుల తోట‌లో పండిన ఆర్గానిక్‌ పంట‌ల‌ను అచాయ‌న్ అనే బిజినెస్‌మెన్ త‌క్కువ ధ‌ర‌కే కొంటుంటాడు. కురియ‌న్ (బాబురాజ్‌) రియ‌ల్ ఎస్టేట్ బిజినెస్‌లో చాలా న‌ష్ట‌పోతాడు.

క‌ర్ణాట‌క‌లోని ఓ అట‌వీ ప్రాంతాల్లో త‌క్కువ ధ‌ర‌కే 260 ఏక‌రాల భూమితో పాటు బ్రిటీష్ కాలం నాటి ఓ ప్యాలెస్‌ను కొంటాడు. దానిని అమ్మి అప్పులు తీర్చే దారి కోసం ఎదురుచూస్తుంటాడు. అది త‌న భూమి అని తెలియ‌కుండా త‌న కాలేజీ స్నేహితులైన‌ డొమినిక్‌, జోషి, పీట‌ర్‌, రాజీవ‌న్‌ల‌కు ఆ భూమిని అమ్మాల‌ని కురియ‌న్ ప్లాన్ చేస్తాడు. అక్క‌డ కూడా ఫార్మ్ బిజినెస్ చేస్తే కోట్ల‌లో లాభాలు సంపాదించ‌వ‌చ్చ‌వ‌ని స్నేహితుల‌ను న‌మ్మిస్తాడు.

ఈ ప్లాన్‌లో ఇరుంబ‌న్ (చెంబ‌న్ వినోద్ జోస్‌) కూడా భాగం అవుతాడు. ఆ భూమిని చూడ‌టానికి న‌లుగురు స్నేహితుల‌తో పాటు కురియ‌న్‌, ఇరుంబ‌న్ అట‌వీ ప్రాంతంలోని ప్యాలెస్‌లో దిగుతారు. అదే రాత్రి కొంద‌రు అప‌రిచితులు వారిపై ఎటాక్ చేసి డొమినిక్‌, రాజీవ్‌ల‌ను చంపేస్తారు.

ఆ ఆప‌రిచితుల నుంచి కురియ‌న్‌, ఇరుంబ‌న్‌తో పాటు మిగిలిన వాళ్లు ఎలా బ‌య‌ట‌ప‌డ్డారు? ఆ స్నేహితుల‌ను చంప‌డానికి వ‌చ్చిన అగంత‌కులు ఎవ‌రు? కురియ‌న్ అండ్ గ్యాంగ్‌పై ఆ అప‌రిచితులు ప‌గ‌ను పెంచుకోవ‌డానికి కార‌ణం ఏమిట‌న్న‌దే కాళ‌రాత్రి మూవీ క‌థ‌.

హాలీవుడ్‌లో పాపుల‌ర్‌...

హాలీవుడ్‌లో స‌ర్వైవ‌ల్ థ్రిల్ల‌ర్ చాలా పాపుల‌ర్ జాన‌ర్‌. ట్రిప్ కోసం కొంద‌రు స్నేహితులు అడ‌విలో అడుగుపెట్ట‌డం, వారిని చంప‌డానికి ఓ సీరియ‌ల్ కిల్ల‌ర్‌ వెంటాడ‌టం అనే కాన్సెప్ట్‌తో వారానికో సినిమా వ‌స్తూనే ఉంటుంది. ఈ స‌ర్వైవ‌ల్ మూవీస్ క‌థ చాలా వ‌ర‌కు ఒకేలా ఉంటుంది.

కానీ కిల్ల‌ర్ నుంచి హీరోహీరోయిన్లు ఎలా త‌ప్పించుకుంటార‌న్న‌ది ఎంత గ్రిప్పింగ్‌గా రాసుకుంటే క‌థ అంత ర‌క్తి క‌డుతుంది. మైండ్‌బ్లోయింగ్ ట్విస్ట్‌ లు, ట‌ర్న్‌ల‌తో ఇలా కూడా జ‌రుగుతుందా అని ఆడియెన్ అనుకునేలా స‌ర్‌ప్రైజ్ చేయాలి. అప్పుడే ఈ స‌ర్వైవ‌ల్ మూవీస్ ఆక‌ట్టుకుంటాయి.

సేమ్ ఫార్ములా...

ఎన్నో హాలీవుడ్ సినిమాల నుంచి ఇన్‌స్పైర్ అయ్యి డైరెక్ట‌ర్ మ‌ర్ఫీ డేవ‌సీ కాళ‌రాత్రి మూవీని తెర‌కెక్కించాడు. స్టోరీ, స్క్రీన్‌ప్లే విష‌యంలో పూర్తిగా హాలీవుడ్ ఫార్మెట్‌ను ఫాలో అయ్యాడు. బిజినెస్ ట్రిప్ నిమిత్తంఅడ‌వి మ‌ధ్య‌లో ఉన్న పాత‌కాలం నాటి బంగ‌ళాలో అడుగుపెట్టిన కొంద‌రు స్నేహితులు త‌మ ప్రాణాలు నిలుపుకోవ‌డానికి ఎలాంటి పోరాటం చేశార‌న్న‌దే ఈ మూవీ క‌థ‌.

ఆర్గానిక్ ఫార్మింగ్ క్లాస్‌...

ఈ సింపుల్ పాయింట్‌ను రెండు గంట‌ల్లో చెప్ప‌డానికి ద‌ర్శ‌కుడు అష్ట‌క‌ష్టాలు ప‌డ్డాడు. సినిమాను సీరియ‌ల్‌గా సాగ‌దీశాడు. సినిమా ఆరంభంలో వ‌చ్చే సీన్స్ ఆర్గానిక్ ఫార్మింగ్ బిజినెస్ క్లాస్‌లా ఉంటుంది. స్నేహితుల మ‌ధ్య గొడ‌వ‌లు, ఒక‌రిని మ‌రొక‌రు మోసం చేస్తూ వేసే ఎత్తుల్లో ఆస‌క్తి లోపించింది.

కిల్ల‌ర్స్ గ్యాంగ్ హీరోల‌పై ఎటాక్ చేయ‌డానికి కార‌ణం ఏమిట‌నే మెయిట్ ట్విస్ట్ అయితే సిల్లీగా ఉంటుంది. ఓ పంది కోసం ప్రాణాలు తీస్తున్నార‌ని తెలిసిన అప్ప‌టివ‌ర‌కు సినిమాపై ఉన్న కాస్తో...కూస్తో ఆస‌క్తి కూడా ఆవిరైపోతుంది.

సీరియ‌ల్‌లా...

కిల్ల‌ర్స్ నుంచి ఫ్రెండ్స్ గ్యాంగ్ త‌ప్పించుకునేసీన్స్ సీరియ‌ల్స్‌ను త‌ల‌పిస్తాయి. ఆయుధాలు ప‌ట్టుకొని కిల్ల‌ర్స్ ఇళ్లు మొత్తం వెతుకుతుంటారు...వారిని దొర‌క్కుండా హీరో గ్యాంగ్ ద‌క్కుంటారు. ఇవే సీన్స్ రిపీట్‌చేస్తూ క్లైమాక్స్ వ‌ర‌కు క‌థ‌ను సాగ‌దీస్తూ వెళ్లారు. ఓ మ‌లుపుతో సినిమాను ఎండ్ చేసి సీక్వెల్ అనౌన్స్‌చేశాడు.

హీరోలు లేరు...

సినిమాలో హీరోలు అంటూ ప్ర‌త్యేకంగా ఎవ‌రూ లేరు. అన్ని పాత్ర‌ల‌కు స‌మానంగా ఇంపార్టెన్స్ ఉంటుంది. ఇరుంబ‌న్‌గా మాస్ క్యారెక్ట‌ర్‌లో చెంబ‌న్ వినోద్ జోస్ క‌నిపించాడు కురియ‌న్‌గా పాజిటివ్‌గా క‌నిపించే నెగెటివ్ క్యారెక్ట‌ర్‌లో బాబురాజ్ న‌ట‌న ఆక‌ట్టుకుంటుంది. మిగిలిన వారి న‌ట‌న ఓకే అనిపిస్తుంది.తెలుగు డ‌బ్బింగ్ బాగుంది. నిడివి రెండు గంట‌లే అయినా ఎక్కువే అనిపిస్తుంది.

సిల్లీ స‌ర్వైవ‌ల్ థ్రిల్ల‌ర్‌...

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Dejavu Review

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Dejavu - A deceptive thriller with an interesting twist

Arulnithi continues in his mission to experiment with films of different genres and consciously avoids the usual leading man roles.  His recent film 'Dejavu' also has an interesting plot and lead character.  Whether the film will satisfy its target audience remains to be seen.

Subramaniam (Achyuth Kumar) , a novelist, arrives at a police station in a drunken state and lodges a complaint that his life is being threatened by the imaginary characters of his books.  Police DGP Asha Promod's (Madhubala) daughter Pooja (Smruti Venkat) goes missing after being kidnapped by masked men. Investigations lead to Subramaniam as a call is received from Pooja's number mentioning his name.  Asha and her team of cops are shocked when whatever Subramaniam writes in his story starts happening in real life.  An undercover cop Vikram Kumar (Arulnithi) is called on to investigate in a hushed manner and the rest of the screenplay is how he resolved the strange case and whether he finds the girl and rescues her alive.

Arulnithi's body build is perfect for the undercover cop and his solid performance as usual lends credence to the character.  When there is a big reveal in the end his emotional outburst is pretty effective.  Raghav Vijay plays key characters in the story and has done a neat job.  Veteran Madhubala is miscast for the most important character in the entire film. Achyuth Kumar is just okayish as the writer which again is a crucial character.  It is also debatable whether M.S.Bhaskar's dubbing voice being too familiar to the audience is a plus or minus to Subramaniam.  Smruthi Venkat, Kaali Venkat, Mime Gopi and Chetan are the other familiar faces who go about their jobs with minimum fuss.

What works best in 'Dejavu' is one of the climax twists involving the writer that throws the screenplay on a totally different track.   The interest that is created with the core idea in the first half is sustained to a certain extent as well.  The hero's character twist works if you can ignore the logic factor.

On the downside, logical loopholes are of the gaping variety throughout the film, especially the way a DGP behaves and the less said about the manner in which police procedures are shown the better.  The idea that looks great on paper has been executed in a teleserial style for most parts.  Two different persons masterminding the same mission and everything working together for their individual goals is too far fetched.

Ghibran's music, P.G. Muthiah's cinematography and Arul E Siddharth's editing go hand in hand in making 'Dejavu' watchable.  Producers Vijay Pandi K and P.G. Muthaiah deserves appreciation for backing a cerebral thriller.  Debutante Arvind Srinivasan has attempted an offbeat thriller and has put in hard work as far as justifying his interesting idea in his screenplay.  Although the execution is found wanting he is one to look out for in the future.

Verdict : Go for this different thriller that has a effective twists in it

Rating: 2.75 / 5.0

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• Manorathangal (2024)

‘Manorathangal’ Review: Priyadarshan Assembles All Of Malayalam Cinema For A Boring Anthology Film

The Malayalam film industry has been having a splendid 2024 on the big screen so far. They started things off with Aattam , which showed that 12 Angry Men can be remade in the 21st century, and it’ll still be relevant. Abraham Ozler wasn’t a critical success, but it did quite well at the box office. Meanwhile, Lijo Jose Pellissery’s Malaikottai Vaaliban didn’t make a dent at the box office, but personally speaking, it was nothing short of a visual masterpiece. Anweshippin Kandethum , featuring Tovino Thomas, was a massive success, given its budget. Then there was the Barbenheimer of the Year, Premalu and Bramayugam , which impressed critics and brought in the big bucks. Manjummel Boys knocked it out of the park by bringing forth an unbelievable story. The same can be said about Aadujeevitham . Aavesham is currently the frontrunner for the “Movie of the Year” title. Ullozhukku and Paradise were well-received, too. So, it seemed like the convergence of the best of the bests of Malayalam cinema in Manorathangal was going to be a slam dunk. Well, spoiler alert, it’s not.

With Priyadarshan serving as the showrunner, and the daughter of M.T. Vasudevan Nair (the celebrated writer of the stories the anthology show is based on), Aswathy V Nair as the creative director, Manorathangal is an anthology of 9 stories. Shilalikhitham tells the story of Gopalankutty and his daughter, Renu, visiting the former’s old home for some professional and personal work. While Gopalankutty keeps complaining to his mother, Maluvamma, about the apathetic nature of village life, he doesn’t really do anything himself after learning that there’s a girl who is dying at a creek nearby. Swargam Thurakkunna Samayam shows the transactional relationship between an ailing Madhavan Mash and his family through the eyes of a cleric, Kuttinarayanan. Kazhcha is about Sudha’s journey moving out of her marriage and reviving her love for music. 

Abhayam Thedi Veendum has a man trying to get a room for rent while being haunted by visions of a girl. Vilpana is centered around a conversation between Mrs. Parekh, a woman who is trying to sell her belongings before moving to Kolkata, and Sunil Das, someone who is interested in buying something from Parekh but ends up aiding her in the yard sale. Kadalkkattu is about an extramarital affair between Keshav and Margaret, and the hurt it inflicts upon Keshav’s pregnant wife, Bharathi, and his daughter, Babymol. In Sherlock , Balu, a recovering alcoholic, tries to get a job in North America while living with his “Chechi” and the titular cat. In Kadugannava Oru Yathra Kurippu , Venugopal tries to reunite with a girl who he had briefly met when they were both children. And in Olavum Theeravum , a timber trader named Baputty falls in love with Nabeesa and wants to marry her, but since Nabeesa’s mother wants her to marry Kunjali, a conflict arises.

Manorathangal desperately wants to be an amalgamation of these “slice of life” kinds of stories, but nobody really knows how to make it interesting. There’s not much depth to any of the stories. What you see is what you get. But the lack of plot or depth isn’t the main issue there; it’s the way the storytellers spend their time with the characters. It’s apparent that they want to show the mundanity of the lives of the characters and how they undergo significant changes, even though the transformative process isn’t apparent on the surface. However, the dialogue-writing around the topics being discussed is so bland that it never manages to be engaging. People just talk endlessly and make the most basic observations, and then their story ends. And while a short film in an anthology is supposed to make you wonder what happens after the credits roll or make you wish for a feature-length version of the film, every concluding moment in Manorathangal comes with a sense of relief that that’s all there is to it.

On top of that, a lot of these stories kind of have the same messages. Hence, after a point, the viewing experience becomes quite repetitive. For example, Shilalikhitham and Swargam Thurakkunna Samayam end up saying the same thing about the relationship between parents and their children. You will notice similarities between the arcs of the characters in Shilalikhitham and Kadugannava Oru Yathra Kurippu as they involve failed attempts at reunions. Kazhcha and Vilpana are about failed marriages. And the ones that do manage to stand on their own are straight-up weird. I don’t want to spoil anything, but Kadalkkattu ’s ending is so problematic. Abhayam Thedi Veendum is too abstract to get a reading on it. Is it about casteism? Does it take place in purgatory? I don’t know. Sherlock tries to use a cat as a metaphor for alcoholism and the issues that come with emigration, but then the issues exist in literal form, so what’s the point of a metaphor? Olavum Theeravum is so cliche that it made me wonder why it has been adapted at all.

The pacing of each of the stories in Manorathangal is absolutely atrocious. Visually speaking, and in terms of the production design, art direction, costume design, cinematography, editing, music, and title credits, all the shorts in the anthology film look fine. Of course, the ones that have been shot by Santosh Sivan , Olavum Theeravum and Abhayam Thedi Veendum, are excellent. But, maybe, with the exception of Sherlock , the rest are just alright. That said, I can’t tell if everyone except Santosh Sivan was given the freedom to experiment with dynamic camera angles and editing. So they went with the safest choices imaginable. Yes, you can say that those creative decisions were in service of the story, but if I was bored out of my mind, then I have to question the quality of said creative decisions. The performances from the cast are, as expected, great. There’s a brilliant rafting stunt by Mohanlal. Asif Ali has a weird wig. Indrajith Sukumaran will get on your nerves. Mammootty, Fahadh Faasil, Parvathy Thiruvothu, Biju Menon, Madhoo, Aparna Balamurali, and the rest portray various shades of sadness and despair. And Kamal Haasan is oddly comfortable as a narrator.

I am sad to state that Manorathangal disappointed me. It was quite the task for me to get through each of the stories, which shouldn’t have been the case. Just look at the talented cast and crew involved! This should’ve been the most enriching 9-ish hours of my life. But here I am feeling absolutely exhausted (not in a good way) after slogging it through these excruciatingly boring short films. I think I was on board until the third entry. However, after the fourth one, things just went downhill. So, if you are looking to binge-watch it, I’ll advise you to not perform such a stunt even though you’ll be doing so from the comfort of your home. Maybe watch one short film each day. If you can keep your anticipation in check, maybe watch one short film per week. And if you are familiar with M.T. Vasudevan Nair’s writing, well, let us know how Manorathangal fares as an adaptation and whether or not having an idea of the text and its origins helps with the viewing experience.

‘Manoranthangal’ Episode 1 “Olavum Theeravum” Recap And Ending Explained

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• Raj B Shetty's ‘Kondal’ character poster drops, Antony Varghese starrer set for Onam release

Raj B Shetty's ‘Kondal’ character poster drops, Antony Varghese starrer set for Onam release

Bazooka - Official Teaser

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Demonte Colony 2 X Review: Arulnithi's Supernatural Horror Thriller Hits Screens Worldwide Amid Decent Hype

Demonte Colony 2 Twitter (X) Review: There is always a dearth of good horror films and any season is never a bad time for one. The South Indian horror thrillers have a different vibe and one such super hit film is Demonte Colony, which was released to acclaim in 2015. After many years, the sequel titled 'Demonte Colony 2: Vengeance of the Unholy' hit the screens.

The movie starring Arulnithi and Priya Bhavani Shankar in lead roles carries hype. Directed by R. Ajay Gnanamuthu, the movie was released amid decent pre-release buzz. Arulnithi is reprising his role as Srinivasan in the sequel. The movie is earning positive reviews.

Demonte Colony 2 is earning positive buzz as it hit the screens and Arulnithi, who is known for his selection of unique scripts, has been getting applause for the movie. The horror film is expected to make a fair cut at the box office with Chiyaan Vikram's 'Thangalaan' and Keerthy Suresh's 'Raghu Thatha' in competition.

Demonte Colony 2 Audience Review

Fans of Tamil horror films, movie buffs, and critics who watched the movie Demonte Colony 2 on its release day a bit earlier than others shared their two cents about the film. Check out some of the interesting tweets below.

Everyone was waiting for #Thangalaan to be a blockbuster, but #DemonteColony2 came out syllabus 💥🔥 pic.twitter.com/Qlh3LBkRCJ — AshXkdey (@AshXKdey) August 15, 2024

#DemonteColony2 Review: ‣Good first half with a high point at the interval followed by Suspenseful 2nd Half ‣ Started with a recall of the first part. pic.twitter.com/PPNuwvY8qQ — Lets X OTT CINEMA (@LetsXOtt_Cinema) August 15, 2024

Hpy morning 🌞 1st in Kollywood clash 3 movie got postive view everywhere sofar....🔥 #Thangalaan #DemonteColony2 #RaghuThatha pic.twitter.com/Q6fXTnjhkk — Naresh 🎭An-Sisyphean (@Naresh_Off1) August 15, 2024

#DemonteColony2 going to break the second part curse of Kollywood 💥😈 pic.twitter.com/vn9wjam6ND — Kay (@kazhaga_mjs) August 14, 2024

#DemonteColony2 Hope @AjayGnanamuthu deliver a solid horror plot 💥🖤 @arulnithitamil pic.twitter.com/oUzSIyGcCP — Kay (@kazhaga_mjs) August 14, 2024

Demonte Colony 2 Cast

The movie stars Arulnithi as Srinivasan aka Ragu, Priya Bhavani Shankar, Archana Ravichandran as Aishwarya, Tsering Dorjee, Arun Pandian, Muthukumar, Meenakshi Govindarajan, and Sarjano Khalid among others in key roles.

Demonte Colony 2 Crew

Co-written by R. Ajay Gnanamuthu along with Venky Venugopal and Rajavel, the movie Demonte Colony 2 was produced by Bobby Balachandran, Vijay Subramaniam, and RC Rajkumar under the BTG Universal, Gnanamuthu Pattarai, and White Nights Entertainment banner. The movie was edited by Kumaresh D and Harish Kannan cranked the camera. Sam C.S. composed the film's entire music and background score.

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