Enai Noki Paayum Thota

To be honest the movie has GVM standard script all over it, but i find that too much songs in the first half of the movie taking the momentum away. Second half is much better but then you can see that due to the movies shooting dates issue the movie was ended in a rush. This is average at best. Acting from Megha Akash doesnt seem good and also Sasikumar's presence is wasted with very little time on it. A one time watch .

The problem is with the lack of proper pattern throughout. We know Gautham Menon has that potential to engage the audience to an outer perspective context but now he just slipped off and brought a dimension-less output. Went for the songs actually but here it did not goes off the mark. Poor visualization of songs and incorrect usage of non-linear pattern are the basic faults that i can feel throughout the movie. Gautham's significant portrayal is the addition of romance in his movie but here he never went up to that expectations. That's why I am done this rating to the movie.

Recently watched this movie on Amazon Prime. Danush's acting was on point, in fact this is right up there with Polladhavan. It is a delight to watch Danush grow so much, which is precisely why the voice over was a tad too much. If the characters were left to interact with each other a little bit more the gaps which BR indicates in his review ( brother relationship and even romance in 2nd half) it would have been fixed and turned this into a great movie. GVM has relied way too much on voice overs, there were few dialogs which was refreshing on the voice over. Next time, if the story narration style is voice over , then I would urge GVM to strike a balance. I feel like GVM missed a golden opportunity. Danush has given his all, with all the production issues I thought Danush would half-as it, but NO! a tremendous performance.

3.5 years since the date of its announcement, this movie finally got to see the light of day. Overcoming various struggles in making and release, the team had managed to sustain the expectation levels high throughout this phase. Whether the movie lives up to it is a big question mark.

Raghu (Dhanush) is an Engineering student at Chennai who falls in love at first sight with actress Lekha (Megha Akash) who comes to his college for a shooting. Surprisingly, Lekha also falls for him since the beginning and they get along. Lekha's guardian Guberan has other plans of making a fortune out of her acting career and is not ready to let her go. When Lekha decides to settle with Raghu, Guberan threatens Raghu's family and she has no other option but to give up her love interest. After 4 years, Lekha calls Raghu and informs him that she and Raghu's estranged brother Thiru (Sasikumar) are in trouble and she needs him to come to Mumbai. What happens at Mumbai and how Raghu manages to solve the crisis is the plot.

For 2.5 hrs, the audience get a claustrophobic attack of getting stuck in Dhanush's mind-voice.While Gautam Vasudev Menon's movies are known for the narration through the protagonist's mind-voice, this one has done it to death! While the first half was bearable because of the songs and the excitement of audience, the second half goes all over the place, lacking content and direction. The director has literally mocked the audience by showing how Dhanush escapes the gun shots because of his belt buckle and a key (?)! This is just one of the too many irking sequences in the movie. Sasikumar as a cop trying to deliver dialogues in English didn't gel too well. Darbuka Siva is the only saving face with his fresh rendering of music and BGM.

The hero keeps saying that he needs to shift from Auto Pilot mode to Beast mode to Death Wish mode. But the audience had been granted with Death Wish, by default!

Every artist suffers from tedium at some point. Every director has their templates. It's high time Gautham Vasudev Menon brushes aside the after-effects of his earlier films and moves on to something totally fresh. For GVM, it's always been high-on-love-high-on-action storylines; so much that a number of his recent films (including this one) feel like less-than-fulfilling rehashes of his earlier outings. 3.5 years in the making with plenty of sustained hype regarding the collaboration between one of Tamil cinema's most relevant stars (Dhanush) and a director who has always been known for balance styling with substance (well, that used to be the case), ENPT was touted to be a cracker.

However, ENPT is filled with (by-now-generic) GVM tropes that come across as no surprise to viewers: a fully-urban setting, a romance that may sound superficial on paper but somehow translates well onto the screen, voice-overs (one too many in ENPT, I felt), familial vibes that often remind you of your own homes, a gracefully written heroine, a viciously creepy villain who always targets the heroine, crisply shot fight sequences and chartbuster songs. It's all there but packaged slightly differently!

ENPT is more in tune with GVM's Achcham Yenbadhu Madamaiyada which was also a strange blend of action and romance. The non-linearity in the screenplay doesn't work in its full effect here. The frequent jumps in the timeline only contribute to the overall chaos. Yet, it does feel like the first half was a lot more upbeat compared to the second. As in most GVM flicks, the initial half is all about the breezy romance between the lead pair of ENPT: Raghu (a clean-shaven Dhanush), a college student and Lekha (a gorgeous Megha Akash), an upcoming actress. The love-at-first-sight element kicks in as usual, and in no time, they're chilling in each other's arms.

But we are also shown snippets of Raghu being involved in somewhat non-sensical gunfights in between. So, the director, with the help of a gazillion voiceovers, keeps spoonfeeding his viewers, in case they couldn't follow what the hell was going on. Some of them (the voiceovers, I mean) do enhance the storytelling (for example, the scene in the caravan's bathroom) and help connect a few dots especially when dialogues are lacking.

As one would expect from GVM films, the cinematography (Jomon T John and Manoj Paramahamsa) and the music (Darbuka Siva) are top-notch. Dhanush tries his best to salvage what the lazy scripting offers him, and the scene (set in a hospital corridor) where he inquires about the health condition of someone he cares deeply, is particularly remarkable. There's also an intriguing fight sequence that takes place inside an elevator; I wish these elements (including the wonderful compositions by Darbuka Siva) were used in a film boasting a better screenplay, and not something that frequently evokes déjà vu.