வெள்ளிக்கிழமை ராமசாமி வெட்டாஃபீஸ் வெங்கிடுசாமி (11 4.2014 ) 5 படங்கள் முன்னோட்ட பார்வை

 

1.நான் சிகப்பு மனிதன் -விஷால், லட்சுமிமேனன் ஜோடியாக நடித்த நான் சிகப்பு மனிதன் படம்  ரிலீசாகிறது. 

இதில் லட்சுமி மேனன் இதுவரை யாரிடமும் காட்டாத நெருக்கமும், ஓவர் கவர்ச்சியும் காட்டியுள்ளாராம். அதோடு நில்லாமல் விஷாலுடன் உதட்டு முத்தக் காட்சியிலும் நடித்திருக்கிறார். இந்நிலையில் இப்படம் முடிவடைந்து தணிக்கை குழுவினரிடம் சான்றிதழ் பெறுவதற்காக அனுப்பப்பட்டது. 

படத்தை பார்த்த தணிக்கை குழுவினர் படத்தில் இடம்பெற்றிருக்கும் குறிப்பிட்ட அந்த முத்தக்காட்சி படத்தில் இடம்பெற வேண்டுமென்றால் படத்திற்கு யுஏ சான்றிதழ் கொடுப்பதாக தெரிவித்துள்ளனர். முத்தக்காட்சியை எடுத்துவிட்டால் படத்திற்கு யு சான்றிதழ் அளிப்பதாகவும் கூறியுள்ளனர். அந்த முத்தக்காட்சிதான் படத்திற்கு மிகப்பெரிய பலமாக இருக்கும் என்றும் படக்குழுவினர் நம்புகின்றனர். 

எனவே, நான் சிகப்பு மனிதன் படம் நேற்று மறு தணிக்கைக்கு அனுப்பப்பட்டது. படத்தை பார்த்த தணிக்கைக் குழுவினர் குறிப்பிட்ட சில காட்சிகளை நீக்கினால் மட்டுமே படத்திற்கு யு சான்றிதழ் வழங்க முடியும் என்று உறுதிபட சொல்விட்டார்களாம். ஆனால் படக்குழுவினர் படத்தின் முக்கியம் கருதி சம்மந்தப்பட்ட காட்சிகளை நீக்க மறுத்துவிட்டனராம். இதையடுத்து தணிக்கை குழுவினர் ‘நான் சிகப்பு மனிதன்’ படத்திற்கு யு/ஏ சான்றிதழ் வழங்குவதாக அறிவித்தனர்.


IN ERODE ROYAL,ANNAPOORANI,SANDIKA

2  ஆண்டவா காப்பாத்து- ONLY RELEASE IN CHENNAI

3 காந்தர்வன் - கரண் நடித்த காத்தவராயன் படத்தை இயக்கியவர் சலங்கை துரை. இவர் தற்போது இயக்கி தயாரித்துவரும் படம் காந்தர்வன். கதிர் ஹீரோவாகவும், சிங்கம் புலி படத்தில் நடித்த ஹனிரோஸ் ஹீரோயினாகவும் நடிக்கிறார்கள்.

 

சென்னையில் குடிதண்ணீர் லாரி ஒட்டும் டிரைவருக்கும், கல்லூரி மாணவிக்குமான வடசென்னை காதல் கதைதான் காந்தர்வன். இப்படம் வருகிற 28ந் தேதி படம் வெளியாகிறது. இந்நிலையில் எனது படத்தின் ஹீரோயினை காணவில்லை என்று சலங்கை துரை பரபரப்பு புகாரை கூறியுள்ளார்.அவர் கூறியிருப்பதாவது: என் படத்தில் ஹனிரோஸ் என்ற மலையாள ஹீரோயின் நடித்தார். ஆரம்பத்தில் ஒழுங்காக நடித்தவர் பிறகு பிரச்னை செய்ய ஆரம்பித்தார்.
ERODE SANGEETHA

4  SABOTAGE,

Arnie's new film is a Sabotage of his chances at a successful return to movies

109 minutes/Opens on Thursday/1.5 stars

The story: Breacher (Arnold Schwarzenegger) is the leader of a Drug Enforcement Agency special ops team, which includes Monster (Sam Worthington) and his wife Lizzy (Mireille Enos), Grinder (Joe Manganiello), Sugar (Terrence Howard) and Neck (Josh Holloway). During a raid, they squirrel away US$10 million (S$12.5 million) for themselves but the money goes missing when they return for it. And then the members of the team start getting killed one after another in horrific ways.

This is quite a gathering of one-time stars.

There is Holloway from television's Lost, Oscar-nominated Howard from indie drama Hustle & Flow (2005) and yesterday's It Guy, and Worthington (Avatar, 2009). Then there is the granddaddy of them all, beefcake action star- turned-politician-turned-ageing action veteran Schwarzenegger.

They were all probably hoping to revive their sagging fortunes with this film - a la The Expendables franchise for has-been actions stars - but they might have just sabotaged themselves instead.

Writer-director David Ayer (End Of Watch, 2012) sets up the premise of the missing money at the start and then proceeds to abandon that in favour of a mystery-slasher flick as people start dropping like flies.

The tableaux of gruesome scenes feel like rejects from more elaborately stomach-turning murders on TV shows such as Hannibal, Dexter and True Detective.

Meanwhile, the survivors go all macho and aggressive in their posturing, with Enos (World War Z, 2013) possibly being the craziest of the lot.

More semi-famous names pop up as investigators as Olivia Williams (Dollhouse, 2009-2010) and Harold Perrineau (Oz, 1997-2003) look into the deaths. Jarringly, Williams' character has a fling with Arnie's Breacher.

By the time the movie reaches its perfunctory chase-scene ending, everyone is behaving like idiotic amateurs instead of the top special ops agents they are supposed to be.

Motivations are revealed and masks stripped away as revelations tumble out to no particularly compelling effect.

The last few minutes wrap up the film in indecent haste as vengeance is finally exacted. It is the final act of self-sabotage.

 ERODE VSP

 5 Rio 2"

These days, the potential for animated films is seemingly limitless. In the past few months, we've seen Disney's boldly contemporary fairy tale "Frozen" deservedly become the highest grossing animated movie of all time, while Hayao Miyazaki was able to delicately frame the story of a man who made war machines as a love letter to artistic pursuit with "The Wind Rises," and "The Lego Movie" transcended its commercial base to become a dazzlingly funny and heartfelt movie about the true power of imagination. So it's such a shame, then, that a movie like Blue Sky Studios' "Rio 2" comes along – a visually stunning, wholly empty experience that fails to conjure any emotion stronger than an impassive shrug.

"Rio 2" picks up where 2011's similarly unimpressive predecessor left off. Blu (Jesse Eisenberg) and Jewel (Anne Hathaway), a pair of ultra-rare Spix macaw parrots, are living comfortably in a sanctuary in Rio de Janeiro, under the watchful eye of Tulio (Rodrigo Santoro) and Linda (Leslie Mann), their human owners. They now have three baby parrots (Amandla Stenberg, Pierce Gagnon and Rachel Crow), all of who are obnoxious and hard to differentiate. Tulio and Linda are away on an expedition in the Amazon when they notice another Spix macaw. It turns out they do exist in the wild! When Blu and Jewel see a television news report with Tulio and Linda, Jewel urges her nebbish bird husband to pack up the kids and go down to the rainforest in search of their fellow rare parrots.

Now, while it was probably a good idea to get the parrots back into the wild, the idea of a new colony of parrots being discovered totally takes away any of the tension or dramatic stakes of the first movie. The idea was that this family was the last of this particular breed of birds. Now there are countless birds. The other thing is that other characters from the first movie, including a couple of smaller birds played by Jamie Foxx and will.i.am, accompany them on their journey for no apparent reason. When these two characters, who look like they are better suited for an "Angry Birds" movie, announce their intention to tag along with the family, it took a lot of willpower for us to not yell "WHY???" at the screen. 

Kids movies obviously don't have to make a whole lot of sense, but what "Rio 2" fails to understand is that animated films can be way more streamlined than normal fare – it's all about making the narrative as tidy as possible, so that it can be told in bold visual strokes. Maybe it was because of the South American jungle setting, but the entire time we were watching "Rio 2," all we could think about was "Up," and that movie's superior simplicity. It was about a man who ties a bunch of balloons to his house and soars away to the South American jungle -- and that was pretty much it. Characters and situations grew organically, sometimes bizarrely, from that foundation, but that was the basic premise of the movie and it was a premise that was followed through on, spectacularly and in unexpectedly emotional ways. 

Instead, "Rio 2" piles on the subplots and unnecessary characters and busy set pieces, until the whole thing creaks and groans and eventually falls apart. Amongst the subplots that get trotted out for no apparent reason: the return of the supposedly dead villain from the first film, Nigel the cockatoo (Jermaine Clement), who teams up with a poison dart frog (Kristin Chenoweth) and a silent anteater to exact his revenge on the parrots who did him wrong; Jewel reconnecting with her father (Andy Garcia) and ex-flame (Bruno Mars); the birds looking to "cast" jungle animals in a new Amazon-inspired stage show (or something); and maybe most baffling of all, a storyline where an evil logging baron plots to kill the two human characters for exposing the parrot sanctuary and throwing his illegal logging operation into jeopardy. Just recounting all of these different, ill-fitting parts is enough to make you exhausted. 

It's not that "Rio 2" is uniformly horrible, because there are some fine moments, usually having to do with the movie's visuals that are genuinely wonderful. In the birds' flight to the Amazon is portrayed in a trippy, 2D pop-up book style that serves as more than a passing homage to Disney's "it's a small world" ride, and the characters themselves (especially the newly introduced ones), have a charming simplicity, looking like a Build-a-Bear character with too much stuffing. There's also a couple of rousing dance numbers that play like midair Busby Berkley productions and a pseudo-soccer game that is like a bird-world version of Quiddich.

Politically, though, the movie is even more problematic. A few months after the message of female empowerment in "Frozen," the attitude of the male characters in "Rio 2" towards their female counterparts is summed up by the phrase, "Happy wife, happy life." It would be bad enough if this condescending platitude was uttered once but it is said so many times that it becomes the movie's de facto mantra. (The thought of little kids repeating this after the movie is positively stomach churning.) Even worse is the movie's dangerous environmental message. When the loggers attempt to destroy a large portion of the rainforest in the movie's last act, the animals rise up, "Apocalypto"-style and beat them back. Except that the movie doesn't offer any kind of real world solution or tips for how to actually affect change. The animals beat back the humans and then that's it. The rainforest is safe forever. But that's not how this works. And like much of "Rio 2," it seems to be a moment staged for the visual spark of it all and not much more. You get the sense that "Rio 2" wasn't thought through as much as it was quickly cobbled together as it went along, with a simple, clearheaded goal in mind: just make it good enough to warrant a "Rio 3. 

ERODE NO RELEASE

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