In another surprising rendition, hit maker Shafi has faltered for the first time in the recent years trying to create a tasty ‘Lolipop’. The movie which comes as a shocker for his fans, have colorful songs, great young cast, good visuals and hilarious moments-But, yet again fails to hook the audience due to its packaging and presentation and end up as another average fare.

The movie is indeed racy, in fact too racy and twisty in the later half to the extent that it may even leave us uninterested. The entire proceedings - clearly erratic and inconsistent, makes us immersed in a mess of mismatched events.

The movie is all about Franco, who runs an automobile workshop at Fort Kochi, continuously finding solace in bashing up his assistants for silly reasons. Franco shares a special bonding with his only sister Jennifer, (Roma) who has lost their parents at very younger stages of their life .And to avoid being left lonely at any further stage of their life; they have even decided to find their match in life, only after mutual approval.

Franco gets attracted to RoseBella (bhavana) who happens to be a sworn enemy of Jennifer and fears that since he couldn't keep his word with his sister, she may object to his relationship. In the meantime Dr Aby, (kunchecko Boban) a practicing psychiatrist bumps into Jennifer and she asks his brother, with all her sincerity, to meet Aby to know whether he likes him to be her partner in life. But on seeing Aby, Franco is left with a difficult situation as Aby holds the key too many mysteries of their past life that he seldom wants to reveal to Jennifer.

Into this mayhem of events arrives Francis(Jayasuriya), a former expert in pick pocketing and fraudulent ways, who is now forced to reform himself on the advice of Father kuriakose(Salimkumar).Francis has his share of atrocious intentions to remain as an assistant to Franco, the major one being that he has already fallen madly for Jennifer. The movie follows these love triangles, and treachery and handles relationships in hackneyed fashions.

The highlight of the movie is that the jokes by Suraj venjaramodu and Salimkumar though corny, makes you break into a laugh at times. Indeed they are the very few whom you love to take a center stage in this movie, with every others becoming inconsequential with made up characterizations. The problem is that the writer Benny P Nayarambalam, seems to have messed things up, with a number of questions remaining unanswered even after the show has concluded. Besides, the second hour is an exercise in dullness, with predictable plot lines and twists after twists which gets unbearable after a point. The handling of the climax by the director is also a major disappointment.

In the acting front Roma and Jayasuriya repeats the roles that they had been to lately, in many films. Prithviraj as Franco has nothing more to do than to be in the centre of activity. Havana and Kunchakko Boban is wasted in insipid roles while Bhavana’s dubbing is more than a suffering, at times.

The first-time producers in Benny and Shafi have left no stone unturned to give the film an upscale looks, even with songs shots at foreign locales. But the real downer in ‘Lolipop’ other than the scripts is the music department by Alex Paul, None of the songs in the movie has that usual appeal of Shafi hits. The lyrics are also too lame to give us a feeling for humming along. More pathetic is the background scoring of the flick which fails to engage us. In the later half, events and sequences accumulate in such a pace that there is no space left for an engaging music bit.

Overall 'Lolipop' is an ordinary fare, the only highlight being the good humour, at places.

CREDITS : Indiaglitz

• Vel

Cast: Surya, Asin, Vadivelu, Lakshmi

Direction: Hari

Music: Yuvan Shankar Raja

Production: M Chintamani

• Kannamoochi Enadaa

Cast : Sathyaraj, Radhika Sarathkumar, Prithviraj, Sandhya, Sripriya

Direction: Priya V

Music: Yuvan Shankar Raja

Production: Radaan Mediaworks (I) Ltd, UTV Motion Pictures

Love at first sight, resistance from parents, and villainy from the wicked uncle – V.Priya’s second venture Kannaamoochi Enadaa is a hodgepodge of emotions, predominated by love. In the contemporary world of cinema ruled by edge-of-the-seat action thrillers, Kannaamoochi Enadaa attempts to break the barrier with the formula of feel-good love supplemented with familial bonds.

Prithviraj, a software architect by profession who lives in Malaysia, is the millionaire stepson of Radharavi. Having lost his parents early in life, Prithvi runs the business of his uncle with impressive results. He stumbles upon the psychiatry student Sandhya, in the most cinematic manner, and as script would have it, falls for her that very instant. Sandhya is the daughter of Commissioner of Police Satyaraj and Radhika in Chennai.

As the fairy tale progresses, Sandhya is being summoned by her parents for their silver jubilee wedding anniversary back home. Notwithstanding the fact that he has a flourishing business to attend to and much to the wrath of his uncle - who arranges for his wedding with his business partner’s daughter - Prithvi takes the next flight to Chennai to accompany Sandhya. He is subjected to a warm welcome by Radhika and cold shoulder by Satyaraj. To make matters worse, Radharavi’s vicious character assassination – in the name of a complaint he sends to the Police Commissioner’s office – doesn’t help Prithvi in the task of gaining enough confidence among his girlfriend’s parents. Will Prithvi ever win his love back, now that his chance of impressing Sandhya’s parents are doomed, forms the rest of the story. Kannaamoochi Enadaa thus sledges its way towards a rather predictable ending adding yet another array of characters during the process.

The movie does have its moments. Not to mention, the director deserves to be lauded for not banking on just eyeball grabbing skin show or gravity defying stunt scenes. The first half, sharing resemblance to a desified version of Hollywood blockbuster, “Meet the Parents”, travels at a good speed with a medley of romantic and feel-good scenes, courtesy the chemistry between Prithvi and Sandhya that lights up the screen vibrantly. While Prithvi’s strategies to woo Sandhya are adorable, his traits do work wonders for the movie. His career is gaining momentum and his nuances in acting are discernible during emotional scenes – especially the scenes where he suffers insult at the hotel by Satyaraj. Sandhya plays a chirpy and short-tempered young girl and pulls it off with consummate ease. She looks adorably cute in the song sequences – thanks to whoever designed her gorgeous costumes. The scene where, Prithviraj having trouble sleeping while Sandhya is sound asleep, tells her that he wants to be a good grandfather for her grandchildren and goes back to sleep peacefully and in turn Sandhya loosing hers was cute.

Although Satyaraj’s character demands dignity and poise expected of a Police Commissioner, director Priya seems to have purposefully diluted the seriousness of the character portraying him rather comically. You can't imagine anyone but Satyaraj essaying such a character with utmost comfort. Radhika’s role as a mother makes for another neat choice, wonder why she limits herself to the small screen. Sripriya as Sathyaraj’s twin sister does have some good moments too.

Dialogues are crisp and engaging. Cinematography by P.C.Sriram’s assistant Preeta, though good in flashes has few glitches too. Better editing could have avoided a slumping second half. Yuvan’s music is OK, with yesteryear hit remix ‘Andru Vandadum Adhe Nila’ standing out. “Kan oonjal adi irundhal” song too has been choreographed enjoyably. Few comics might not be for everyone’s laugh; nevertheless, the movie does manage to leave the audience with a smile.
To sum it all up, V. Priya's effort is noteworthy, if her first movie was like a morning cup of coffee for the youth, this time she serves well for the whole family.

• Polladhavan

Cast: Dhanush, Divya
Direction: Vettrimaran
Music: G V Prakash Kumar
Production: Kathiresan

Dhanush is a happy-go-lucky guy who plays carom in the streets, blows out a considerable amount of his middleclass father’s earnings and indulges in a hopeless romance with a stranger girl who he meets in the bus stop. When caught red-handed for stealing pittance from his father for booze with his friends, Dhanush questions his father’s responsibility towards his upbringing. The angry father gets touchy and parts with some of his dear savings to his son and asks him to get a life. Dhanush gets one, a bike instead. The bike takes over the movie from here - gets Dhanush a job, saves his life from a freak incident and gets lost, subjecting him to interminable anguish, when all hell breaks loose.

That is not all yet. Dhanush’s sees himself at crossroads with underworld, courtesy a brutal murder from where his bike gets stolen. Although he wants to stay away, Dhanush invariably gets dragged into rubbing shoulders with the hooligans who now targets his family to seek revenge. Will Dhanush save his family and his bike from the assassins and reclaim his now-bloomed love is anybody’s guess.

Over the period of years, what Dhanush seems to have learnt is to let go off the image-building factor. He pulls it off with ease during the earlier half of the movie while struggling to make himself and his friends believe that a girl is earnestly in love with him. Tailor made script, Dhanush hasn’t left a single possibility to prove himself.

Divya has three duets and less than a handful of scenes to her credit. She is curvy and seems to have potential. She is at complete ease in the romantic scenes which need mention as these days romance in movies seem largely contrived. There couldn’t have been a better choice than Murali, as Dhanush’s stern and considerate father. While portraying a characteristic middle class father’s role with effortless ease, he wells one’s eyes in scenes when he comes out in support of his son. Bhanupriya, as an emblematic mother, essays the role with her distinctive effortlessness. Karunas and Santhanam take the credit of lightening the mood of the movie with their wisecracks. Daniel Balaji as the adamant and hot headed goon does a good job, though it does carry shades of his character in 'Vettaiyaadu...'

Director Vetri Maran’s non-linear narration and packaging style are unique. Characterization needs special mention as they don't contradict themselves during the course of the movie. Though good in patches, a tighter and focused screenplay could have helped the movie much more. The director does go over board, in fact, a few face off scenes between Dhanush and Daniel is an exercise in self indulgence. Vetri Maran shows promise but still has a long way to go as far as finesse is concerned.
Songs are well choreographed, Engeyum Eppodum is sure to become a rage among the music charts. 'Adichchi Paarthean ..' number at Dhanush's friend's sister's marriage, does stick out of the flow. The re-recording by G.V.Prakaash appropriately emphasizes the emotions required.
Cinematography and production design blend very well bringing to life the surroundings, the characters are set in, especially the setting of the shady bike robbery rackets does send chills down your spine. Dhanush’s stunt scenes are stylishly shot. Censors seems to have played havoc chopping violence left, right and center so much so that some of the stunts in the climax lack continuity, so do some dialogues. They do have a fuzzy logic, profanity is expected from guys who are smugglers and goons, they would not have in anyway seemed inappropriate, the film was any way granted an 'A' certificate.

On the whole, Polladavan is not everyone’s cup of tea. Some might find it gory, some might find it a tad slow but there is certainly going to be a section of crowd who find the narrative good. If it still interests you, why not give it a try.

Azhagiya Thamizh Magan, if you are a Vijay fan, you are bound to love it. If you are someone who throws logical sense out of the window before entering the theatre, chances are that you might like it. If you are someone who appreciates quality film making, you will hate it. Now to the review…
First thing first, Vijay, newly christened “Iniya, Idhaya, Illaya Thalapathy”, is magical. He is power packed, style personified and ruthlessly elegant. The ease and grace with which he carries himself is something that needs to be seen on the silver screen. Perhaps, perhaps, he could have chosen a better platform.

Coming to the story, if there is one, is about Guru(Vijay) who is an athlete, meets Shriya, falls in love and to everyone’s surprise (the only non cinematic twist in the movie) both their parents give the green signal. Vijay suddenly acquires powers to prophesy the future, with most of his predictions coming true. After seeing a disturbing visual, Vijay decides to get away from Shriya and goes to Mumbai. In comes a mean money lender, Prasad, whose only aim in life is money, played by Vijay again. All hell breaks loose when Prasad decides to act as Guru and marry the rich Shriya. The rest of the story is how the good Vijay saves Shriya from the evil Vijay. Truly unstoppable with villainy, Vijay generates expectations and buzz with the introduction of the second role, only to be lost towards the end, courtesy the screenplay.
The main drawback of the movie is that it tends to follow a predictable path, one taken by zillions of masala movies before. Predict a fight, it is there, wish a song, it is there too, by the end of the movie, we tend to be a bit confused if we were also blessed with the ability to foresee the future. The first half is long, slow and clichéd.

Shriya has a good role and she has done a decent job and looks angelic. Santhanam does his part. Sayaji Shinde and Ashish Vidyarthi suffer from improper characterization. Namitha for a song and a few scenes, is a living proof of the dozing censor board, as the movie’s U certificate is cruel to say the least.

Director Barathan, who had the rising Superstar of Kollywood as his hero, Shriya, arguably the number one heroine in Tamil, fresh off Sivaji, A.R.Rahman for music and Appachan as the producer has let down a lifetime opportunity. Camera work by Balasubramaniam is excellent. All the songs have been choreographed artistically with top notch visuals. Lawrence needs special mention, as Vijay’s moves and shakes are sure to become a rage, especially the “Munnal vada” and “Ponmagal Vandal” numbers. A.R.Rahman as usual dazzles. The Visual effects are a bit tacky in some places, but overall a nice attempt. The effects for the last chase sequence is better left not discussed. The editor hasn’t impressed with a dragging first half. Only if a few scenes had been cut out, the movie would have been better. The stunts are over the top, the laws of gravity seem to not apply to the hero, though the fight between the two Vijays does stand out.

But it is all the way Vijay, with a towering performance, never seen before.