Iru Mugan Reviewby MyMazaa.com
Once a mission has Chiyaan Vikram in its shed list, the insight around it takes on a special color. And filmmaker Anand Shankar’s following directorial Iru Mugan is no exclusion moreover. To peak it, we have two Vikram’s who strive for our thought in the fittingly titled movie.
A trailer is somewhat that gives the viewers a glance of what to wait for and as well encourage the snooping levels to formulate them buy the tickets and go to the theater. Leaving by that, the clip gave a hint of how Iru Mugan is obtainable to be.
Director Anand Shankar has shot to give an exploit-oriented spying thriller with some systematic innovations unnerved in. There are high flying compound formulas used by the characters with mention of Hitler too. Looks like the crew had done their study on it fine.
Well hatched action scenes, trendily shot visuals, well-brought-up music, and smart performances blot Iru Mugan. on the other hand, there is a bit a miss in the movie to formulate you feel that it was such a well made, inflexible, money-making boiler.
What can one state about Vikram? He gives his being and spirit to any character that he does in Iru Mugan as well, it is his demonstrate all the technique. As the RAW official Akilan, he brings out the callousness and unevenness of a cleverness officer and as adores, he rocks it big time. He brews in the maleness and also the effeminate character pretty well. It sure is a trope on foot and reputation to the director for not making a scorn of such characters. But, why is this personality this way? Was it just to bring in eccentricity?
Nayanthara and Nithya Menen have their roles obviously fixed out to fetch in the shade to the events. Exciting job descriptions such as ethical hacker and RAW case official. Out of the behind characters, Thambi Ramaiah has extra screen time and the role is like any other one that he has been describing in many of his movies. It is a little vain to see cop characters long-lasting to be expected utter silly onscreen.
The loveliness of Malaysia, Kashmir, and further places come to the fore with RD Rajasekar’s visuals. Bhuvan Srinivasan’s edits show decent. Under Harris Jayaraj’s musical Halena song stays on. Although the songs are richly choreographed and blasted, they are all needless protractions, particularly when the events are at a dissimilar gear. Costumes of Nayanthara are absolutely elegant and street cool.
In an analytical action suspenseful tale such as this, scenes must carry on at a quick pace. But there are scenes when we go away the actions on screen and ramble around. The set should have focused more on the narrative and script, which could have resulted in an improved product. The future twists are well guessable by the existing audience. There are small numbers of logical questions which look unrequited in the story