अरणमनै 4

The story started after protogonist's sister family died and he try to save their kids and find behind truth... Normal story and screenplay but comedy didn't workout... Still one time watchable movie

The story started after protogonist's sister family died and he try to save their kids and find behind truth... Normal story and screenplay but comedy didn't workout... Still one time watchable movie

The story started after protogonist's sister family died and he try to save their kids and find behind truth... Normal story and screenplay but comedy didn't workout... Still one time watchable movie.

The fourth installment to this surprisingly hit franchise gets Tamannaah on board to be Sundar C's new sister turned ghost. This time around it's Baak, a shapeshifter aiming to become Immortal and it's prey are 3 souls. Lawyer Saravanan is an honest guy, living with his aunt while missing his estranged sister Selvi. He is informed of Selvi and her husband's death, with her elder daughter fallen into coma. He arrives at the village to look after the kids and figures out that his sister and her husband's deaths were murder and the comatose daughter is one of the target of Baak. How does he save the girl and what help he gets on the way to defeat the Baak, forms rest of the story.

The positive is obviously the introducing of the shapeshifting demon and thankfully the heroines aren't used as just glam-dolls though Raashi Khanna as Dr. Maya doesn't get much to do. With Tamannaah as Selvi holding the film together in the key scenes, rest of the film is like the other 3 films in the franchise and the distasteful outdated comedy, pulls the film down big time. None of the comedy scenes were remotely funny and it didn't surprise at the bunch of talented comedy actors getting typecasted again. The poor vfx doesn't help either. The cameos in the climax had the correct placement. With the scenes getting lifted off especially from Marvel's recent two films, this no logic only magic driven franchise, may work with it's fanbase but for the rest, it's just another Aranmanai film with a new ghost.

What else justifies this amount of laziness? When was the last time Sundar C had an original thought he wanted to explore? This is the 4th movie in a series that didn't have a single good movie (which of course is mostly speculation on my part, as I have only watched the first; which was bad, watched bits of the second; which seemed horrible, and wasn't even aware of a third until I saw the fourth in theaters). There's nothing here to enjoy really, as the movie is as predictable and pathetic as you'd come to expect. Is it funny at least? Nope, not even close. Having Yogi Babu in your movie doesn't automatically make it funny, and this is something directors just seem willfully blind to. In any case, save yourself the trouble of watching it, as there's absolutely nothing to enjoy here. The most it could squeeze out of you is a couple of chuckles and that too could just be you laughing at how stupid the movie is.

I didn't know how this collected 100+ cr, story was good new story in aranmanai series and hip hop adhi music was nice, no unwanted songs and love scenes in this movie and no glamour scenes otherwise screenplay and comedy are worst, in the full movie with cringe comedy and predictable scenes even emotion scenes also worst, previous sundar.c movies was good comedy and great entertainment but aranmanai series comedy very worst except part 1 and 2. Aranmanai 1 and 2 are decent one time watchable movies but 3rd and 4th part is worst . I cant believe audience celebrate this movie. Story is different but screenplay making is same like previous aranmanai series.

Given that Aranmanai 3 ended up making money despite the negative reviews, it is no wonder that Sundar C has once again returned to this franchise to prop up his box office cred after the misstep that was Coffee With Kadhal. But you have to give credit to the director for having developed a formula that is essentially critic-proof. All that a reviewer has to do is take a leaf out of the director's playbook, rehash observations from their reviews of the previous films, and it would perfectly pass off as a review of this latest instalment. And so, here we go !

Aranmanai 4 does what it sets out to do - faithfully tread the formula set by the first film (a reworking of the plot of Aayiram Jenmangal), content to be coasting along with a 'people will see this movie no matter what' attitude. It has the failsafe must-haves - good-looking A-list stars who can draw the youth (here, it is Tamannaah, who gets to dial up the melodrama to an extent she's never done before, and Raashi Khanna, in a role that appears throughout the film while hardly making any impact), scares that thrill kids without disturbing them (they can take a peek at the scenes through their fingers without worrying about having nightmares), a spiritual element that might appeal to the women (featuring a cameo by a yesteryear actress in the climactic song; here, we have two!), and comedy that works for the entire family (though the humour quotient keeps going down with each film; Yogi Babu and co are quite unfunny here).

And the tropes keep coming - palatial mansion, formless smoke figures, brutal murders, children who can sense/see the ghost, bumbling comedians who get thrashed by the ghost, godmen spouting mystic mumbo jumbo, tragic flashback, tacky visual effects, and, of course, Sundar C in a part-detective part-mass movie hero avatar, taking on both henchmen and ghost with the same unfazed expression.

This time, the plot or the clothesline on which the director hangs these tropes, involves a mother trying to protect her kids from the spirit realm after having been tragically killed by a demonic entity. This is baak, a creature from Assamese folklore that can take the shape of the person it kills (though it is still treated in a way that's no different from the way the ghosts in the previous films were). In another film, the fact that the wife dies trying to protect her kids from the baak, which has taken the form of her husband, could be read as a commentary on domestic abuse, but subtext is the last thing this film could be bothered about.

The one noticeable difference is the slightly different visual aesthetic in the first half (borrowed from the Kannada film Vikrant Rona); the glossy, ad film-like forest we see here at once feels unreal and unsettling. But the director soon returns to the chaotic, hyper-saturated look of the second and third films and the rapid cuts.

On the whole, Aranmanai 4 does what it intends to do - overwhelming us with kitsch and underwhelming us with its lack of imagination and originality, in utterly predictable, instantly forgettable and mildly entertaining fashion.