Massu engira masilamani therikkudhu masss

Nayanthara gets no help from the script while Praneetha does little more than look on in wide-eyed wonder probably trying to come to terms with the fact that she has been paired opposite Suriya. ThereвЂ™s not much to say about the other actors. And itвЂ™s sad to have to see him piggybacking on AjithвЂ™s iconic line from Mankatha (2011) or have the Kaththi (2014) background score play in the film. Being the star, these films only get made once he gives the go-ahead to the project. It is tragic to see such a colossal waste of talent but here, I feel Suriya is as much to blame as the filmmakers. Post Vaaranam Aayiram (2008), there has been a steady decline in the quality of his films and barring an Ayan (2009) or a Singam (2010) вЂ“ not great films but at least watchable enough вЂ“ the films have been mediocre to say the least.

He is an extremely capable actor and he delivers (heвЂ™s great in the more emotional moments of the film) for his fans but I do wonder what makes him select scripts like this. I canвЂ™t complain about his performance(s) as father and son. The other person one is most disappointed with is the filmвЂ™s leading man, Suriya. RD Rajasekar does give the film some polish with his lighting and framing but again when the script is weak, no amount of great technicalities can save a film and MEM is no exception. The background score does come alive occasionally like the lively вЂMasss ThemeвЂ™ but overall, does little to elevate the film. Yuvan Shankar Raja gives a very average musical score in terms of his songs ( Poochandi perhaps being the best of the lot) and their choreography and picturization lack sparkle. The scene where he first sees her with the change in music is lifted straight from Mani RatnamвЂ™s Thalapathi (1991). Staples like the intro song or the action scenes feel awfully stale and the less said about the romantic track and its development (or lack of) between Suriya and Nayanthara, the better. But at least the filmmaker should work on the elements to make the narrative flow entertaining. For instance, Premgi says spirits donвЂ™t go to temples but he does and later on we find out he is one. I have no issue with the formulaic entertainer or even lack of logic. This when the second part of the film is a notch better with at least some plotting and the odd interesting twist but by then its bland going ons fail to engage you.ДonвЂ™t get me wrong. OK, he might have attempted a type new to Tamil cinema, but itвЂ™s finally the complete film that counts and MEM fails miserably in its execution.В Lazy writing, tacky CG and a terribly weak first half pretty much sound the death knell for the rest of the film. Unsurprisingly, the final result is a half-baked hotchpotch of a product going nowhere. In MEM, he combines the horror-comedy genre вЂ“ the film owes a lot to The Frighteners (1996), Ghost Town (2008) and the Korean film Hello GhostВ (2010) amongst others вЂ“ with a formulaic revenge drama thatвЂ™s been done to death. Little wonder then, his films are becoming little more than a collage of obvious crowd pleasing commercial items and in-house Tamil film jokes put together haphazardly and edited most jerkily in the hope of boosting a flimsy narrative, which is then put together by mishmashing from various films. He leaves behind a man who claims to make not films but instead dishes out diets ( Biriyani (2013)) and aims to hit sixes ( Massu Engira Masilamani). Venkat Prabhu, the once extremely promising filmmaker ( Chennai 600028 (2007)), is dead. I think I can finally say it though I was hoping I did not have to.

And among the ghosts is his father, Sakthi (Suriya again), who was brutally murdered by the villainsвЂ¦

After a nearly fatal accident, petty conman of the streets, Masilamani (Suriya), realizes he can interact with ghosts who need their incomplete wishes fulfilled.

Massu engira masilamani therikkudhu masss