Annaatthe Detailed Review & Analysis

Director Shiva, who appeared at the end faithfully to the hideout star, who showed the father-daughter bond, tried to enhance the brother-sister love here. problem? he falls into the water In every scene of the two films they say, “I really love you. This film exposes the disturbing practices of the Tamil film industry. Some filmmakers seem to believe that as long as Rajinikanth is in control, he can lounge around in the director’s chair. ‘s scenes together to create the illusion of coherent story flow.It is Rajinikanth who has to do all the heavy lifting. He must use all his energy and strength to make up for the director’s shortcomings. Unfortunately, the lack of a coherent script also daunts Annaatthe.

Only Rajinikanth’s return to settings that we have missed since the 1990s makes the opening half of the movie stand out; fans of his movies may be brought back in time to the era of Muthu and Arunachalam. Even that feeling, though, is short since so many loud characters—Khushbu, Meena, and a plethora of other well-known faces—appear to force their way into the frame, creating listless, flat moments. Nayanthara’s presence makes things a little more interesting, but her function as a lawyer who essentially acts as a glorified interpreter is somewhat unsatisfactory. Action begins when the scene shifts to Kolkata, yet even there, bad guys come and go as Kaalaiyan persists.

Another problem with the film is the dialogue that smells of melodrama. They’re very predictable, mostly due to their repetitive nature.Jagapathi Babu comes across as another stereotypical villain, but looks menacing. However, in the action scenes, none of the villains seem thrilled due to the weak characterization. For even more comical relief, Karaiayan has a bouncy sidekick, Pachaikiri (Suri). Its one-word response to the hero’s dictation rhymes with his name: exact, absolute, happy. The first half of Annaatthe moves at a leisurely pace with cinematic brother-sister vibes and unnecessary comedy scenes starring Khushbu, Meena, Sathish, Soori, and more. Nayantara looks beautiful and imposing as a lawyer, but she has little to do and she is always Rajinikanth. Keerthy Suresh is serious, but as mentioned earlier, too much melodrama kills the novelty factor.

The music of D Imman is excellent. Imman does the duties that are expected of him in a situation with which he is very familiar. Frames by cinematographer Vetri are appropriate for the story. Siva, it’s okay to repeat your favorite topics. But a director needs to be creative when working with a star as huge as Rajinikanth. Because it is a terrible mash-up of Siva’s earlier movies (Veeram, Vedalam, etc.), “Annnatthe” is intolerable.