The surface plot of “We the Animals” is as simple as they come, and it’s not the source of its lyrical power (the same could be said about the Justin Torres novel that provided its inspiration). Above all else, director Jeremiah Zagar portrays the experiences of an adolescent boy coming to terms with his dysfunctional family and his emerging sexuality as a swirling cyclone of nostalgia, brutal arguments, and bittersweet pontifications. As Jonah, newcomer Evan Rosado exudes the confusing emotions of a child growing into his otherness, apart from the family unit that surrounds him. Each moment contributes to his developing perceptions of the world — telling glances and a ruminative voiceover transforms the movie into a poetic variation on the coming-of-age formula less fixated on exposition than the haunting beauty of growing up. #cliched #The orchard

Beneath the eye-catching photography and violence, and the good acting, there lies an empty plot !!

Other than bratty English major head games, pretty much the entire substance of "No Country for Old Men" is a series of murders and tortures committed by Chigurh, who may symbolize your high school's worst bully a bully so terrifying exactly because he targeted English majors. His victims are often courteous; their likability makes watching them be humiliated and then murdered an uncomfortable, and, given the film's structure, ultimately pointless exercise. Not only are the Coen Brothers torturing their characters, they also torment their ticket-buying audiences.

Chigurh's nice victims are often poor, rural, Southern, whites, the kind of people often not featured as positive, lead characters in Hollywood entertainments. They are often villains witness films like "Deliverance." Here they are murder victims. Chigurh is associated with Mexicans, part of a rising "dismal tide," as one Anglo character puts it. No matter how you feel about immigration, you may find this association of Mexicans with a rising tide of evil to be offensive.

The film's boosters insist that the movie offers three deep and shocking lessons: life doesn't always follow a neat narrative structure; evil often triumphs; and the old days were more peaceful and, nowadays, things are getting really bad. In truth, everyone walking in to the theater already knows the first two "lessons." No one needs the Coen brothers to inform him that life doesn't always follow a neat narrative structure, or that evil often triumphs. We expect filmmakers, and all artists, to offer us a more substantial thesis. As for the third "lesson," that the old days were more peaceful and things are getting really bad today -- have the Coens, or Cormac McCarthy, heard of Attila the Hun, or any number of other less-than-peaceful and courteous personages from our common human past? One might well be dubious about "No Country"'s "lessons." Visit internet discussion boards devoted to this movie, and you will find fans asking, not "What is fate?" or "What is the role of a good man in a bad world?" but questions like, "If Hannibal Lector and Anton Chigurh were locked in a room, who would come out alive?" Given such reflections, one is safe in concluding that the appeal of this film is its emphasis on graphic violence, rather than on any more advanced intellectual or artistic merit.

The worst thing of all though is the ending, you keep thinking that the bad guy will get caught, but no he gets away, after killing like 1 million people, and the film closes with our Sheriff who's done jack anyway talking about some dreams he had. I was literally astounded by this film, it started off well, but just when you were waiting for something to happen, like a showdown between psycho and thief, nothing happened. If you want to waste your time go watch this, otherwise pick something else.

Since this movie has faced a lot of controversy.Due to the people's thinking that this movie will spoil the culture.But this movie if you watched it shows the perseverance of a women.since if you watched the movie in technical manner there is no scope of any technical sites occur in the movie.They used dark theme to show the shadow of the women empowerment. Overall the great attempt by Deepa mehta,and nandhita das has played expectionally well in this movie but that intense of a character is not well established.Shabana Azmi also delivers a good acting and her shows the courage of acting in this movie.Some lesbian scenes and controversy dialogues should have been avoided but the story requiers you should want to place it in a decent manner.

They did a fantastic job of adapting not only the story but the characters. They obviously had to cut some things to make it all fit but they stayed true to the books. With each passing season, they have ventured further and further from the books. Now in season 4, it's hard to recognize the books except for the character's names. The writers spend an enormous amount of time on things that in the books were 10-15 pages while speeding through or completely eliminating some of the best chapters from the books. Diana Gabaldon did an extraordinary job with the books. Quit trying to rewrite them.since it has a 4 seasons but every season is new to watch and engaging the story so that's what the directors.19 directors where used to direct the outlander series that little bit interesting.so overall series is all about time travel so they scripted and established the way of writing in this time travel concept is good and healthy in this type of service format.

Sometimes a journey can give solutions to a lot of your oddness and for those who are reluctant to change these journeys happens accidentally. North 24 kaatham from debutant director Anil Radhakrishnan Menon is that film which will delight you with its fresh content, contemporary plot elements and some really sensible characters
It’s the freshness in the making that makes this movie engaging. And the movie doesn’t really go after situations to create humor. Almost every segment has various emotions and that real feel makes the film a refreshing one. Planting the idea of Harthal and conveying a lot of emotions were quite impressive as far as scripting is concerned. Writer has used each step in their journey to tell something either personal or social. With sound technical backup that just improves the quality of the craft; the movie manages to move in a very appealing way.
Swathy Reddy and Nedimudi venu also has a well applause character in this movie. This movie is just like a travel based so the main advantages is visual so director shows the beauty of wisdom of Kerala through his camera so that's why this movie is so colourful.since it's a dramatic movie 2nd half brings something's lag and director wants to expand the story and he puts a lot of story feeding to the audience.overall this movie is a good lighthearted story with a heart in a right place.

People have this mentality, if any of Kamalhassan’s movie misses to crack in BO, Cult status is issued. Most of his movies are disaster. Artist unable to read the audience mind isn’t a great creator. A simple love story n he has done a loads, no hero should have a problem to don such character at the age of 36 with acting that started at the age 5. Okay movie, nothing to celebrate as it is done.

There was lot of hype about this movie on pre-release and heard that Jeeva was saying this movie will take Tamil movie to the next level.

At the outset if I want to think of this movie and write a review... I would say I am confused or rather mused. What does the director wants to convey us?. Is there any content in this feature film?. I cannot put this film in any category.... it is not an art film...it is not a commercial movie... its not a tender lover story.... its not a drama genre... the film is a protagonist view of the modern society and himself.

The story is narrated by the hero to a TV cameraman who is captured by him to record his story. Hope you get it.... Jeeva has fitted into the role of Prabakar although the narration of story is in a way zig-zag... and so does the screenplay. It is weird moving through the film and thoroughly I cannot understand.... maybe its too heavy for me.

I hope you will all agree that humans relate things.... our eyes associate or relate with whatever we see in front of us. In this movie I still could not relate things.... its like a puzzle which cannot be completed.... cant be fitted together. Is this what the director wants us to do after 3 hrs of the film?. If life itself is a puzzle then we relate to our destiny..... even if there is no destiny in sight atlease most of accept fate... which itself is a destiny.

There is actually no plot... the movie wanders around the life of Prabakar from his childhood to the present level of being a psycopath. He loves his childhood friend Anandhi and sometimes he goes in search and after sometime he turns to psycopath before returning to normal. The events happened in his life are told in a hapazard manner... and thats really confusing. If the director intention is to leave the audience mused he has succeeded 100%.. there is no question about that. The other thing that leaves on my mind he has made me to think about the weird screenplay which no other movie has done. I think I need to see this movie once or twice to understand the flow. Maybe I will do and come back, write a full review then.

The music is good and background thumps you at certain scenes. The acting part is done well by all the characters. The character background and sketches are OK but too thin. I am still not convinced to say it is a good film or bad film.

After being in the crosshairs in the International circuit for its awards and in the National sector for the struggle with the censor board, Aaranya Kandam produced by SPB Charan and directed by newcomer Thyagarajan Kumararaja has finally hit the screens today.

Aaranya Kandam is a gangster flick that records the events that happen in the life of a few of them on a particular day. It is about normal people caught in unexpected situations and their transformations.

The expectations about the film have been on the high and the team has not disappointed their fans. It is hard to believe that AK is the maiden directorial venture of Kumararaja because the director has structured every frame and character in his film with brilliant dexterity. The manner of narration and screen play is commendable. The major players who help him deliver his aces are his pivot leads, music director, editor and cinematographer which goes on to reiterate the fact that cinema is only a team game.

AK does not follow the usual structure of First Half-Second Half, but sticks to the formula of Act 1, 2 and 3. This may look quite odd for our audiences for it takes more time for the conflict to pop up. And Kumararaja has not resorted to any unnecessary frills anywhere.

Well etched out characters mark AK. Jackie Shroff, the yesteryear dream hero from Bollywood makes his Tamil appearance with authoritative aplomb. His portrayal as the ageing gangster Annachi is commendable and his body language when he attempts to jive and remove his cloths with arrogance in his eyes but weakness in his body is just a sample. The opening scene where his anguish at not able to perform with Yasmin Ponnappa is a treat to watch. Wonder if such masculinity deficient protagonists were shown earlier in our films.

Sampath as the thinking Pasupathy sashays through his role effortlessly and his eyes speak for most parts. Somasundaram as the disgraced Zamindar in debt delivers a superior performance and so does Master Vasanth as his son. Though at times, we may feel that young boy is over-reacting it’s justified through the situations. We see him dominating his father, but at the same time, his childishness is also exhibited suggesting the paradox in such a character.

Wow, is it Ravi Krishna? The lad has lost oodles of weight and looks much younger and his essaying of the naïve Sappai is effective. Although Yasmin Ponnappa’s dialogue delivery creates an impression of a lower IQ girl, the debutant delivers what is needed for the role with ease.

Realistic and natural dialogues spice up the proceedings of AK. Sample this during the final touch-up between Sampath and the young boy when the former asks the latter ‘Unakku appava rumba pidikkuma?’ and the boy replies ‘Appadi yellam illa, aana Appa’. The profundity of this simple phrase is striking. And also Yasmin’s final statement “The best thing about being a woman is in man’s world’ is bound to be a hit with all women. Kumararaja makes amends with his women audience in this pithy expression for his statements of women in the earlier part of the film. The analogy of dhoti with rich and poor is noteworthy and so is the defining of a character by their preference for Rajni or a Kamal film.

The justification that comes through the example of ‘ecological web chain –worms, fish, man’ is appreciable. The flawed human nature is brought out when Somasundaram lamenting about his luck on losing the telephone number doing a complete volte face on receipt of the same.

Intelligent humor is sprinkled all over and is enjoyable. While the major story proceeds as a conflict between Jackie Shroff and Sampath, the ultimate twist during climax is something unpredicted and makes the proceeding all the more worthwhile.

Yuvan Shankar Raja is one of the major plusses for AK. His experiments with different pattern of BGM are brilliant. The solo violins, guitars and mild fill-ins (credits to sound engineer) enhances the visual feel. It is heartening to hear such pleasant sounds in place of the deafening notes that are generally found in such a premise.

Cinematography by Vinod is a treasure for the film. He has avoided using unwanted tones and his placement of angles is appreciable. Transition through editing is simple and neat. The picturization of the climax action sequence between Sampath and Gajendran is done in an interesting manner and deserves loud plaudits.

The only minus point if any, or in fact the movie's biggest plus point is that it is made keeping in mind experimental and true cinema lovers. Entertainment cinema lovers might find the proceeding a little slow at few instances. But at the end of the day, hope every cinema lover embrace such movies so that more filmmakers come forward to experiment with such products. #bestOfThriller #parody #mustWatch #

When there is a confluence of creative energies from the likes of Mysskin, Cheran and Ameer, the expectations are bound to soar up to stratospheric levels especially with Mysskin who is fresh from basking in the glory of his recent Nandalala. In this AGS production venture, Mysskin has chosen the crime and detection genre with Cheran as the protagonist steering the cast.

Yudham Sei
J K (Cheran) is the honest CB-CID officer who is distressed when his sister Charu goes missing suddenly. When he is about to resign his job on her search, his superior hands him a sensational and a high profile assignment that requires untangling a case wherein severed and neatly packed body parts are continuously found in strategic places in the city. This trail takes Cheran to various people and places, and the link to his sister, culminating in many unprecedented twists and turns on the way.

What works for Yudham Sei is its linear narration and effective screen play. There are no unwanted elements in the form of comedy tracks or romantic angles. Mysskin has veered clear off the expected syntax of Tamil films of such genre. He has handled this subject with a few forensic aspects thrown in. The larger part of the film keeps the audience guessing and in suspense. He has also managed to tell his story with little known artists which requires appreciation.

In the performance department, brevity seems to be the key word with Cheran who scores by delivering a subtle portrayal. Jayaprakash gives him good support, although appearing for a short while. Y Gee Mahendra, a tonsured Lakshmi Ramakrishna, Dipa Shah, Selva and Naren form part of the supporting cast and provide the necessary foil.

Under newcomer Kay’s music, Kannitheevu Penna alone finds its place in the film where the much talked about ‘Yellow sari’ clad Neetu Chandra cavorts with Ameer and ‘blink and you miss’ Charu Niveditha. Mysskin tries to duck the complaint of this particular cliché of his by placing a relevant incident at the end of the ditty. Kay’s RR is sometimes perfect, delivering the right kind of mood for the film whereas in a few sequences it stands out obtrusively. Sathyan’s prying camera peeps, thrills, and gives the needed feel.

A genre such as this should have a frenzied pace to keep the viewer on the edge of the seat but Mysskin misses the bus here with a languorous mode of unfolding events. This could work for an emotional drama but a certain amount of pace which is required for thrillers is a casualty in YS. Besides that, the climax scene is the antithesis of all the tone and mood that was set in the entire film with characters behaving in a dramatic and non-Mysskinish manner.

The long wait is over - literally for all. Be it Selvaraghavan, Karthi, Reema Sen or the audience who were yearning for an `adventure' film. Selvaraghavan, who is known for his adapt handling of mind-blowing sensitive issues (read human emotions), should be a relieved man now.

Two and half years of his hard work is out for the audience to watch and relish. But is the wait really worth? To this question, the answer is both 'yes' and 'no', for the film is a mixture of surprises and dissapointments.

A look at the film, it is evident why it has taken toll on the time. An engrossing, enthralling and entertainment was what Selvaraghavan would have planned. But he is only partially successful in his attempt, as the second half takes all the sheen away the first half provided.

In other words, the filmmaker seems to have been firm on what he wanted to do, but it did not come out with that exactly on screen. At the same time, films on such genre are a rarity in Tamil cinema. One can't spot a single movie in this genre in Kollywood before. Selvaraghavan who strives for perfection in every frame of his, seems to have taken the lead to fill the void with 'Aayirathil Oruvan'.

His shrewdness of blending the lives of common man with such complicated themes is amazing in 'Aayirathil Oruvan' too. There is no love or family or other such elements in this film.

But what is striking is that a down-to-earth coolie ( Karthi) setting out as a help to archaeologists who sets out on a mission. Quite typical to his earlier films, it is the heroine around whom the major part of the story is set and revolves.

Archaelogist Lavanya (Andrea Jeremiah), Anitha (Reema Sen) and a troupe of government forces go on a voyage to an island in Vietnam to find 'some truth'. Helping them is a team of coolies led by Sukumaran (Karthi). As they cross oceans and enter forests, moments loaded with thrill, suspense and tension welcome them. At one point of time, the lead trio (Karthi, Andrea and Reema) is left alone from their team. They find an ethnic Tamil group living in the island, ruled by a king (Parthiban).

Stuck by drought and poverty, people in the place believe in black magic and practice it. As the trio is about to be killed, Reema reveals a truth. What follows is a lengthy second half, which ends abruptly. Karthi's role seems to an extension of the one that he played in 'Paruthiveeran'. But a touch of sophistication is evident in the way his character unfolds. He instant reactions and quick response on screen is quite amazing.

He was more brawny in 'Paruthiveeran', while he is a combination of both brain and blows here. Working with two directors who are taskmasters but with different styles seems to have had a positive effect on Karthi. From Ameer to Selvaraghavan, Karthi has just got the right thing to be poured out when it comes to standing before the camera.

Reema Sen, until a glamdoll, is a revelation here. Tamil filmdom had been cruel to many actresses, whose life spans are already short. One among them is Reema Sen. Such a skilled actress pouring out various emotions seems to have been under utilized until now. Selvah manages to give her the right opportunity, which she has grabbed with both hands gleefully. As Anitha Pandian, her portrayal appeals instantly. Pouring out right emotions when needed is no easy task for a taskmaster like Selvaraghavan. But Reema is right there delivering what his master wants from her on screen.

Andrea as archaeologist excels. From a loving wife in 'Pachaikili Muthucharam' to a dynamic archeologist in 'Aayirathil Oruvan', she has come really good and quick. Her body language, mannerisms have been perfectly shaped by the filmmaker. But walking with all applause is Parthiban. Selvaraghavan conceiving such a role for Parthiban, makes one wonder the vision of the director. Parthiban seems to have been tailor-made for the role. Lending solidity to the script is his character. He is more like cricketer Rahul Dravid lending a backbone to the Indian middle order batting, in the movie.

The real `Ayirathil Oruvan' is cinematographer Ramji. The tall-beard Ramji, who weaved a magic working with director Ameer before, has rendered a scintillating stuff here. His lens speaks poetry at one place and spits venom in other places.

Art direction is what lends credibility to movies on such themes. It is evident that Selvah and his team seem to have done intense research before venturing for the project. There is antiquity and authenticity in huge statues that we see in the film.

G V Prakash's songs leave a right impact. They fit the scenes. The background score by young Prakash, though did not match the standard of Yuvanshankar Raja ( a routine in Selvah's films), is ok.

Stunt master Rambo Rajkumar, who passed away recently, has given one of his best before his demise. His choreography of chase and stunt involving several hundred junior artistes, is a rich treat for audience especially for Tamil audience they are something new. Also the choreography by Kalyan and Shivashankar sits apt in the film.

But the eyesore is the computer graphics. It challenges all laws of physics, especially in that 'Gladiator' kind of stunt scene. In some places, one could easily spot that CG is at work, thereby taking away the credibility.

Length is another problem as the movie beats around the bush and needs an urgent trimming.

Producer Raveendran deserves special appreciation. His patience and support to come with a quality entertainer deserves special mention. A big-budgeted film with no commercial compromise reflects the right involvement of the producer.

Selvah has made us wait for a long time. Though the wait is not that fruitful, it is once a blue moon do we get such movies.