THE BEN 10 IS THE ONE OF THE LOVED SERIES BY THE KIDS WHICH DEALS WITH A SMALL BOY WHICH A MYSTERIOUS WATCH HAVING 12 CHARACTERS INSIDE IT WITH THE HELP OF ONE TOUCH HE CAN TRANSFORM TO ANY CHARACTER AND GET SUPERNATURAL POWERS OF THEIR CHARACTER . AND ALSO HE TRAVELS WITH HIS GRANDFATHER AND HIS SISTER THEY TRAVEL TO ENORMOUS PLACES FOR THE SEARCH OF THESE ALIEN VILLAINS AND HOW HE A=DEALS WITH EACH OF THEM USING HIS SUPERCOOL WATCH AND HOW HE PROTECTS THE WORLD WITH HIS HELP OF WATCH.

A COMEDY ANIMATION WITH THE SCOOBY DOO MEMBERS REVOLVING AROUND VARIOUS PLACES WITHT HE INTENTION TO FIND OUT THE VILLAINS AND THEIR THRILLER PACKED ACTION MOVES WHICH MAKES US NOT TO LOOSE INTEREST AND TO TRAVEL WITH THEM AS THEIR MEMBERS.

THE MOST EPIC AND THE LIFE OF JACKIE CHAN AND THEIR FAMILY WHO GOES ON VARIOUS PLACES FOR THE STONES AND HOW THEY GET IT FROM THE SHADCONES NAMED DEMONS DARK EVILS AND THE SERIES REVOLVES AROUND THRIE ADVENTUREOUS LIFE AND ACTION PACKED WITH THE SHACONES AND THE EVIL MASK.

THE SHOW WHICH DEALS WITH COMMON PEOPLE WHO ARE SUCCESSFUL IN THIER LIFE AND VISIONARY THOUGHTS THROUGH WHICH THEY MOULDED THE SOCIETY BETTER AND MADE THEMSELVES SUCCESSFUL IN THIER LIFE. IT DEALS WITH THE PEOPLE WHO ACHEIVED IN THE VARIOUS FILEDS AND BRINGING OUT THE TALENTS AND HOW THEY DEALT WITH THEIR LIFE.

THE MOST EPIC AND THE HUMOURS TV SHOW EVER SEEN. IT'S THE SHOW HAVING VIEWERS FROM INFANTS TO THE OLD AGE PEOPLE. I' S LIKED BY EVERYONE ESPECIALLY BY SMALL KIDS THE WAY MR BEAN USE TO BEHAVE WITH THE PEOPLE.

The initial portions are quite ghastly. The editing is frantic. It’s as if the editor guessed that we’d grow impatient with the extremely generic nature of the goings-on and knew that we’d end up fast-forwarding these scenes on the DVD anyway, so he decided to save us the trouble with an editing pattern that resembles fast-forwarding. Scenes whiz by. If you’d asked me, early on, what was happening, I’d have said… Mass (Suriya, playing, well, Suriya) is a conman. He loves Malini. There are some vague bad men. There’s an attempt at a joke about the composer S. A. Rajkumar. There’s another attempt at a joke when an overweight woman is referred to as Kung Fu Panda. A commissioner is killed by someone… But who and why? All that will have to wait. Right now, the film is just warming up.



But when the supernatural element kicks in, there’s finally something to hold on to. These scenes are still badly staged, and the tone is all over the place — but at least there’s a sense of things going somewhere. Of course, it helps if you stop thinking about things like writing and execution. When watching an innings from Scotland, you have to be happy with the occasional single.



It’s only in the last hour or so that Massu begins to score. Venkat Prabhu may like to think he’s a prankster, but his film works best when he hunkers down to deliver hardcore drama, with a paranormal twist on Aboorva Sagodharargal. (Suriya plays a second role as well.) It’s a pity that the screenplay has spent so much time fooling around instead of imbuing the characters with depth and dimension, because this stretch could have really been something, had we been emotionally involved with their plight. But maybe there are too many characters to begin caring about. The cast includes Karunas, Rajendran, Sriman, Riyaz Khan, Samuthirakani and Radhakrishnan Parthiban — all of them underutilised. And Brahmanandam plays a small role so Telugu viewers can find comfort in a familiar face.



Like a benevolent Santa, the overlong Massu tries to have something for every segment of the audience. Kids are going to love the scene where Mass smiles at a schoolchild after signing a report card filled with zeroes. International audiences will love the bit where someone, after listening to the Sri Lankan lilt in the second Suriya’s Tamil, asks, “Ceylon-a?” and Suriya shakes his head and says, “Thamizhan.” The weak-bladdered will heartily embrace the unimaginative and drawn-out action sequences. (The songs, too, in the theatre I was in.) As for fun-loving family audiences, what do I pick? The scenes of drinking at a TASMAC bar? The beeped-out F-word? The stretch where a mother and her little girl are burnt alive? The film’s U-certificate may be its spookiest accomplishment.

Much of Indian cinema is still stuck in the age-old belief that it must present “wholesome entertainment”. This means that a film should have a liberal mix of romance, comedy, villainy, fights and just about everything else packed into high drama. Unfortunately, this kind of scripting does not work in today's India, where ticket-paying masses have become extremely choosy. They are not so keen to munch masala, except of course spiced-up popcorn.
What is worse, Ravi cannot seem to get rid of his wooden looks (film after film) and Pethuraj is equally disappointing. Come on, these guys are on an unimaginably dangerous mission, and they are the least prepared for it (!), but I could see no trace of fear on their faces: even when Vasu finds himself struggling without oxygen to get back into his craft. And, earlier, when he steps on the moon, he announces that he is the first Indian to do so. Great, but where is the excitement?

Sadly, Tik Tik Tik did not not get my heart tik-tiking, the movie turning into a sloppy slide into space.nd this is precisely where Shakti Soundar Rajan falters in his latest outing, this time into space. Termed Tik Tik Tik, the Jayam Ravi starrer is obsessed with, what I presume, offering its audiences value for money (especially now that ticket prices have been jacked up in Tamil Nadu after a decade).

And here is the buffet. There is a 60-sq-km killer asteroid hurtling towards Tamil Nadu, and whose crash into the Bay of Bengal will be catastrophic. Giant tsunami waves will kill millions in the region, including Andhra Pradesh and Sri Lanka. The only way to save lives and property will be to get a large missile to destroy the asteroid as it races towards the earth

It looks like Jeeva's assistant Manikandan along with Harris Jayaraj has made Dhaam Dhoom as a sort of musical tribute to the late filmmaker. The film lacks a solid story, rambles all over between Russia and Tamilnadu, is disjointed, and has continuity problems with a very predictable lackluster ending.
The highlight of the movie is the music of Harris Jayaraj, shot in music video style by Manikandan in never seen before picturesque locations. The Anbae Anbae? song picturisation on Jayam Ravi and Kangana Ranut is awesome, in lush green Coorg.

Harris's soft soothing melody is a tribute to his friend Jeeva and all the six songs are beautifully picturised keeping the Jeeva legacy alive. Hats off to Harris, even the background score enriches the movie.

Next is the camera of Jeeva (the scenes in Russia were taken by him before he died), which is eye catching, and also gives you a feel of the hero's loneliness and the inhospitable terrain in cold and dreary conditions. Jayam Ravi as an action hero triumphs, largely due to the action director from Hollywood Chris Anderson.

The scene where the hero escapes from a police car, after an assassination attempt is made the way he climbs on top of buildings and the jump is spectacular. The climax fight with the Russian Mafia is taken in a fast paced manner.

A happy-go-lucky Dr. Gautham Subramaniyam (Jayam Ravi) while on a visit to his sister's (Anu Hassan) house in a village falls in love with country lass Shenbagam (Kangana Ranut). Their marriage is fixed but Ravi is sent by the government to Russia for a medical conference.

In the airport, he bumps into Hanna a Russian model who is a carrier of drugs. The ruthless Russian Mafia lays a honey trap for Gautham and he is accused of killing Hanna. The local police arrest him with strong evidence and torture him.

A smart Tamil speaking lawyer Arathy (Lakshmi Rai) comes to his rescue, as the officer at the Indian Embassy Raghavan Nambiar (Jayaram) in not much of help. Meanwhile he escapes from police custody and is on the run with both the cops and mafia looking to gun him down. At the same time, back home in Pollachi Shenbagam is sure he will turn up on the day of their wedding.

It is an out and out Jayam Ravi movie, and he is simply amazing in his role as the man accused in a murder he did not commit. Kangana looks cute but lacks nativity especially in dhavani ?pavada, Lakshmi Rai sans make-up is adequate for the role. Jayaram does not suit the bad guy role.

The biggest weakness of the film is its screenplay On the whole film lacks a tempo and the second half is far too drawn out. In the first 22 minutes of the film three songs pop out, making it look like a music video album. Anyway at best the film is a mindless time- pass.

The dream team of Gilli returns after a 4 year long gap, but this time with a poor, sick Kuruvi! Dharani fails to attract the viewers with his immature, illogical and unimpressive script and narration. First time, I have seen, the ardent fans of Vijay cursing their matinee idol for choosing a loose script and repeated dance numbers throughout the film.

No doubt, the film lacks a basic story and became a big test for ones patience for almost three long hours. It lacks any novelty and reminds us the same old stories of mass masala released in the late 70's.


The first half has the shades of Mask of Zorro (The heroine also mentioned the same in a scene!) when the lead pair meets and romances and post interval it looks like some Balakrishna starred third rated Telugu films and Prabhas's Chatrapati.

The idiotic heroism starts right from the first scene of the movie. Our hero wins a national car championship with an old and condemned car against the well maintained new race cars. After this win, the glam girl accompanied with the loser of the race dances with our hero for an item number!

It seems like a real comedy that a well trained gang leader can not shoot the Kuruvi like ordinary boy straightly in many scenes. Our hero always escapes from bullets pouring from the baddies guns!

You know how our hero destroys one of the villains in the film? Once the villain uses a stone to hurt our heroe's father's hand worse. That time the father swears that his son will come and destroy all the baddies one day. After many years, the hero kills the same villain with the same stone (sentiment?!).


Not a joke or satirical comment on this first attempt of Chief Minister's grandson Udhayanidhi Stalin, pathetically this is the main plot of Kuruvi.

Vel alias Vetrivel alias Kuruvi (Vijay) is a happy go-lucky young man, who is running his father's old industry and a part time car racer. He lives near Cooum in an old house attached to his old factory and with his father's three old wives including his mother and sisters! His father Singamuthu (Manivannan) a quarry worker in Cuddappa has captivated under baddies like Suman, Ashish Vidyarti&Co.

After the first intro song of the hero, one of his father's creditors tries to vacate Vetrivel and his family. To settle his amount, Vel flies to Malaysia as a Kuruvi (like courier) with a dishonoured cheque given by his father's debtor, and traced out him, who is none other than Suman. After a fierce fight with him, Vijay takes away a rare diamond of Suman and also steals his sister's (Trisha) heart and returns to Chennai.

The rest of the film is how Kuruvi goes to Cuddappa and discovers a slave camp run by Suman and his partner Ashish Vidyarthi at the rock land and also finds his long lost father. Kuruvi turns into a 'roaring lion' and single handedly takes on the mining mafia and finally destroys them.

It is a big surprise how Vijay and director Dharani choose this loose script for a VVIP producer like Udhayanithi, who enters in to the tinsel world for the first time.

Almost all the scenes in the film are unbelievable larger than life hero elements and the action scenes are the real mockery of the three hours long show. In a scene, Vijay dives from a 200 ft high building and wings in the air for another 200 meter to catch the metro train!

In another scene, he breaks a strong tree by just a kick. Above all, he is drowned into the deep part of earth in a lift collapse but comes alive from other part of the earth (Cooum) freshly! In other words, it looks like a third rated Telugu mass masala of the whole.

Vijay, as a mass hero, has done his job well as what the director instructed. But it seems he is bored while doing such unbelievable but often beaten versions of such masala flicks. This time the chemistry does not work out well between the lead pair Vijay-Trisha. Suman and Ashish Vidyarti are wasted for meaningless roles.

Thaen Thaen… is the only melody in the film, which attracts the viewers. Other numbers and the way the director picturised are irritating.

If you are looking for a tight, razor-sharp action thriller like Gilli, you have got the wrong film. But of course, if Kuruvi is salvaged to some extent, it's thanks to Vijay's irresistible screen presence and his spontaneous approach to the character.

Tamil Film Industry and its viewer's taste improve a lot in recent days and directors like Dharani should mind the same while making a film like Kuruvi.

'Love makes life beautiful' – says the tagline of Kalaprathi S Agoram's Santhosh Subramaniam directed by M Raja, and you realise, once you're out of the movie hall, that the underlying message applies not just to romantic relationships, but other kinds as well.

Take, for example, the relationship between Santhosh the protagonist ('Jeyam' Ravi) and his father Subramaniam (Prakashraj); the son is always subdued, eager to acquiesce to his father, not having a say in choosing even his own shirt. Everything, from business decisions and board meetings, arranging a marriage to eating puri the right way are designated by this domineering father who always seeks the best for his twenty-four year old son. No one else at home disagrees. They are caricatures, right from mother Geetha to his sisters and brother (Sadagopan Ramesh), nodding their heads in assent.

Enter Hasini (Genelia), who's everything a guy could possibly ask for: bubbly, effervescent like fresh champagne, and always blurting out the unexpected. She tumbles out of classrooms, befriends teashop owners, and calls the whole world her friend.

To Santhosh, who's never known what it is to be free and easy his own home, her naiveté and innocence are captivating. Through a series of comical and romantic interludes, assisted by his friends (Premji Amaren and Co), the two gradually strike up first a friendship – which blossoms into love.

And then begins the true test of any relationship: getting the parents to approve the girl. Santhosh has next to no idea about how to proceed, but valiantly tries to get his point across: he asks his father to just give the girl a chance. Seven days, and if she doesn't pass the test, she can pack her bags. With a Damocles' Sword hanging on her head, Hasini steps into her beloved's home.

A classy remake of the Telugu blockbuster Bommarillu (Toy-house), the movie is a love-story … but it strives to be something even more. Rarely do you get primary characters that are well etched; cinema has always portrayed its players in stereotypes. Here, however, the hero and heroine each come with their own quirks, distinctive flaws and plusses. Hasini might be a bubbly girl who sometimes gets on your nerves but she has a habit of bleating out every thing to everyone; Santhosh might be live in mortal fear of his father, but he still takes every chance to defy him out of the house. Where does a father's love end, and friendship begin?

'Jeyam' Ravi sometimes known as 'Remake' Ravi for his extraordinary penchant for starring in remakes, performs with his usual flair in this one too.

Genelia appears a little too good to be true, at first. But her character grows on you.

As for Prakashraj, the role's a cakewalk. He's dignified, authoritative, domineering and downright infuriating. And in the end, when he holds his son's hand within his own, he brings an unexpected tear in your eye.

Shayaji Shinde's cameo as Genelia's father is thankfully too short to be of any importance; Kausalya and Geetha flit in and out of the frame, acting as the support system.

Devi Sri Prasad's music follows the Telugu version faithfully, right down to the background score – which is merry and uplifting. Senthamizh Pesum Azhagu Juliet sets the tone, while Yeppadi Iruntha Yem Manasu makes you tap your feet.

Editor Mohan's work is slick and neat, dwelling just the right amount in the right places, and moving away the narrative when necessary.

Yet another emotional, romantic piece that puts you in a good mood about life, love and relationships. Go for it.