Tag Archives: Arjunan

Tik Tik Tik

Posted on by

Tik Tik Tik

Tik Tik Tik is basically Armageddon meets Gravity meets Now You See Me set in space. Plus a whole mish-mash of ideas from other HW movies which may have been thrown in as an attempt to hide the planet-sized plot holes, of which there are many. It’s not that you need the usual suspension of disbelief to enjoy this film – Tik Tik Tik requires complete ignorance of scientific knowledge, in fact best to leave any common sense way out past Pluto too, as the film has little logic and few attempts to include anything resembling realistic scientific fact. Now that wouldn’t necessarily be a bad thing if Shakti Soundar Rajan had decided to make a comedy set in space, but despite the presence of Ramesh Thilak and Arjunan as bumbling side-kicks, Tik Tik TIk tries to be a serious space drama and that’s where it ultimately falls down.

The story goes like this: there is a giant asteroid hurtling towards the Earth, but somehow no other nation has noticed the impending disaster about to strike. But that’s OK, because it’s apparently a selectively damaging asteroid that’s going to hit the Bay of Bengal and only obliterate Chennai and the rest of Southern India. Naturally the Indian Army have a plan – which is to send a magician-thief and his two mates into space to steal a 200 mega-tonne nuclear warhead. This has been hidden in a heavily guarded space station because where else would you hide a highly illegal nuclear bomb? Then the team need to fire the bomb into the centre of the asteroid, which will split perfectly into two and narrowly avoid the Earth, not causing any problems at all as it easily avoids the Earth’s gravitational pull. Oh, and the team have six days (and a few odd minutes) to find the thief, train him how to be an astronaut, steal the bomb and save the world.

None of that seems too ridiculously far-fetched to be honest – after all, it’s no more ridiculous than the idea that only the USA can deal with any potential planetary threat. It’s what happens once they are in space where the really preposterous stuff starts. The plan to steal the bomb is terrible, badly plotted and riddled with convenient coincidences, although the action sequences themselves are actually quite good. However, rather more problematic is the addition of a secondary plot that includes a villain who tries to sabotage the mission. Unfortunately, the characterisation here is particularly weak and poorly written. The villain’s actions don’t seem likely or credible and there is no justification or good reason (other than the vague mention of money) for them to act the way they do. The introduction of the whole sabotage plot is also rather odd and fails to generate any of the required tension. After plenty of action where imprisoned thief Vasu (Jayam Ravi) is selected for the mission, demonstrates his credentials and learns how to deal with zero gravity, the villain’s addition feels lacklustre and feeble in comparison.

Jayam Ravi is fine a kind of modern-day Robin Hood – using his magic tricks to steal from the wealthy for the benefit of the poor. He’s obviously a nice guy who has been imprisoned by the ‘corrupt system’ and he’s made even more human by his relationship with his son Aarav. Vasu’s wife is dead making him a single father, and there is even a sweet song to show just how special his relationship is with his son. This is important later on, as Vasu is more concerned with keeping his son safe rather than saving the world, which is a major factor in how the mission plays out.

However, Jayam isn’t a natural action hero and although he does well in most of the choreographed action sequences, once in space he seems rather shell-shocked and passive while carrying out General Mahendran’s (Jayaprakash) orders or when attempting to trick the captain of the Chinese space station, Captain Lee (Aaron Aziz). It gives him the appearance at times of almost sleep-walking though some scenes, and ends up removing any tension that the film really needs. After all, the Tik Tik Tik of the title refers to the ticking clock that’s counting down the hours and minutes until the asteroid strikes and over 40 million people are wiped out, but you wouldn’t know that given the often laid-back approach to the mission from Vasu and his friends Venkat (Ramesh Thilak) and Appu (Arjunan).

On the other hand, Nivetha Pethuraj is excellent as Swathi, one of the co-captains running the space mission, and she is efficient and decisive throughout. Thankfully her character is vital for the mission and is shown to be a competent engineer with good reason to be in the story with no hint of any romantic interest at all. The unexpected equality also applies to the Indian army where two of the top generals are also female, as is a large part of the scientific team behind the space mission. It’s also good to see Vincent Asokan in a more heroic role for a change and he works well with Nivetha as the other captain on the space mission, although mostly he is unhappy with the inclusion of a group of scrappily trained thieves on such an important mission. And I have to say he does have an excellent point!

One of the other issues with the film is the lack of suspense and tension, as the time limit before the asteroid crashes into the Earth seems to be forgotten for much of the second half. There is some excitement with Vasu bouncing around in space and with the team fighting the Chinese onboard the space station, but there is none of the background tension that should come from an impending sense of doom if the mission fails. This ends up derailing the plot right when it should be at its most exciting and a ‘twist’ right at the end makes for a very unsatisfying conclusion to the film.

However it’s not all bad. Despite the problematic plot and dodgy science, there is still quite a bit to enjoy in this space heist/disaster movie. The special effects are pretty good and there is a real attempt to make the space mission more than just a glorified reason to roll out said effects. Much of the action during the space scenes is well done while the training and take-off sequences are excellent. The comedy around Vasu, Venkat and Appu trying to adapt to space is funny and both Nivetha Pethuraj and Vincent Asokan are good in their roles as ‘serious astronauts’. While the plot may have huge holes, the film is mostly entertaining and at just over 2 hours it’s also well edited to avoid any unnecessary or overlong scenes. Shakti Soundar Rajan also deserves some credit for attempting the genre and for setting a large portion of the film in space. While it may not be as successful in terms of plot, there is plenty of vision and some good ideas here which hopefully will encourage more filmmakers to aim for the stars.

Puriyaatha Puthir (2017)

Posted on by

Puriyaatha Puthir

Ranjit Jeyakodi tries to sell an important message in Puriyaatha Puthir, but despite a decent performance from Vijay Sethupathi and good camerawork from Dinesh Krishnan, he doesn’t quite pull it off. There are some creepy moments in this thriller, but they don’t compensate for the abundance of plot holes and the slow start that drains much of the excitement well before the interval. This one falls into the ‘could have been better’ box for me, mainly due to the unevenness of the screenplay and unrealistic reactions from the lead characters as the drama unfolds.

Kathir (Vijay Sethupathi) is a musician who also runs a musical shop. He first notices Meera (Gayathrie) on a bus and becomes interested when she turns up in his music store as a customer. Meera is also a musician who works as a violin teacher in a local school, and she has a surprisingly large number of students in her classes. Who knew playing the violin was so popular! The best thing about Meera’s character is that she does actually know how to hold and play a violin, and that is a significant improvement over most actors who seem fairly clueless when handed a musical instrument to play. Although to be fair, Vijay Sethupathi also knows his way around a guitar when he gets to show off his skills later in the film. However, otherwise Gayathrie makes hard work of Meera’s character and generally appears stiff and awkward with little chemistry with her co-star during their romantic interludes.

This may be partly because the romance develops very slowly despite Meera initially asking Kathir to deliver her new violin directly to her apartment and seemingly making the first moves. When they go out together she seems skittish and shy, and doesn’t want to invite him up to her apartment at the end of the night. This leaves her alone at the entrance to her block of flats and cinematographer Dinesh Krishnan makes the most of the shadows and empty spaces to build tension and a feeling of suspense as Meera makes her way up to her apartment.  There is a good sense of menace in these scenes and Meera’s sense of panic feels very real as she suspects someone is following her home.

Although it’s Meera who appears to have a stalker, it’s Kathir who starts to get videos of Meera taken without her knowledge or consent. He’s enraged by shots of her changing in a store changing room, and bursts in to the store like a bull in a china shop, throws around wild accusations and never actually seems to explain to the shop assistants exactly why he is so distraught. I don’t think it was a subtitle issue either, as nothing Kathir said seemed to be any sort of explanation for his wild behaviour, but it’s no wonder that he doesn’t get very far in finding out the source of the videos.

At the same time, Kathir’s friends start to have problems too. An early scene shows Vinod and DJ (Arjunan) explaining to Kathir that nothing is really a crime unless you get caught! Unfortunately for both, that’s exactly what happens. Vinod works for a music TV station, but is a serial womaniser and is having an affair with his boss’s wife. He gets caught on video and ends up losing his job as a result. VJ also is exposed as a drug user on video and is subsequently arrested by the police. Whoever the stalker is, they are well-informed and always manage to be in the right place at the right time. It’s no surprise that Kathir starts to feel that he is under siege.

Although the film as a whole doesn’t quite hit the mark, there are some excellent ideas adrift in the choppy waters of the story. At one point Kathir does the sensible thing and goes to report Meera’s video stalker to the police. However, once there he realises that the police aren’t interested in discovering who is behind the videos at all – they just want to see the images of Kathir’s girlfriend in various states of undress. They appear to be no different from the stalker, in fact seem much worse given that they should be investigating the crime, and Kathir realises he can’t get any help from official sources. Who do you turn to when the people supposed to deal with crime are more interested in perpetuating the assault themselves? A scene where Kathir ends up standing exposed in the rain is also well staged as is the creepy discovery that the messages are coming from the phone of a girl who suicided a few years previously, but unfortunately in between there are too many plot holes that weaken the tension.

Ramesh Thilak appears in a rather bizarre role that doesn’t make any sense. I think he was supposed to be a significant red herring, but instead just seems out-of-place and an unfortunate add-on to the plot. The video’s too become less feasible, while Meera seems either too unconcerned and overly compliant with Kathir’s demands, or bizarrely happy to head back to her apartment alone at night. It takes Kathir finding a diary (sigh) to finally work out what is going, and by that stage I’d really lost interest in the proceedings.

Puriyaatha Puthir was filmed in 2013/2014, back when Vijay had just completed such diverse films as Soodhu Kavvum and Pannaiyarum Padminiyum, and was starting to make a name for himself. Here he carries the film on his shoulders, and it’s only though his intense belief in the story that a number of unlikely scenarios and appear even vaguely plausible. Part of the problem may be that when this film was written there was less media attention and community awareness about the topic of cyber-harassment. Making Kathir appear angry and his reactions so intense probably made sense to get the outrage and sense of violation from the videos across to the audience. Nowadays we are all more familiar with the crime and here Kathir’s confusion and anger seem to be initially misdirected, although blaming the victim for the crime is sadly still something that occurs even now. Vijay Sethupathi is definitely watchable and his anger and despair are well expressed, along with his frustration, but it’s not enough to keep the tension and suspense the film needs to be effective.

The issue of cyber-crime has been addressed in a few films recently, and as a crime with serious consequences it’s a worthwhile topic too, but the treatment needs to be much tighter than Ranjit Jeyakodi achieves here. There are some good moments but the slow romance, flashback sequence and character reactions are at odds with developing suspense. Worth watching for Vijay Sethupathi and some good tunes from Sam C.S, but that’s about it.