Tag Archives: Tamil

The state of the Tamil film industry

I’m going to write down a few thoughts about the current state of the Tamil film industry. I am going to be commenting on a bunch of themes, but primarily I will be commenting on some of the things that have changed and what has stayed the same. I will be grouping my ideas into two categories: the good and the bad.

What needs improvement

Let’s start off with the stuff that needs improvement. This is done first because I think there is a big issue that is facing Tamil film today:

Gender inequality is a big, big concern

Now, I know this occurs in not just this industry, but in film industries the world over. However, I sincerely want the Tamil film industry to improve hence I am making this commentary with regards to this specific industry. The different roles that actors and actresses play vary starkly when you look at gender. Many of the roles that are played by men are the roles of heroes and villains. These characters are the main driving force of the story. In fact, most stories are shown from their perspectives. The heroines in a movie? Almost all the time, they are relegated to three roles: the damsel in distress, the love interest, or some sort of sexual object in a dance number. Note, that sometimes, a heroine will take on more than one role over the course of a film. But let’s take a look at these roles for a moment shall we? None of these roles serve a particularly important role in the film except for the damsel in distress. The dance number role could easily be removed from the film. The love interest role can be useful to a film, but in most Tamil films that I have seen, it’s kind of like a third wheel that has been bolted onto a bicycle: it serves a purpose, but its absence won’t be missed. Then there is the fact that strong-willed or independent heroines are kind of rare in Tamil films. When I try to think of exceptions to this trend, I can only come up with two. First, there is Bhavani in Bhavani IPS where we see the actress Sneha play a police officer in the lead role of an action film. The second exception is in a film I saw a while back where the main villain was a female crime lord. Other than that, the roles of the heroines are almost always relegated to damsel in distress or love interest. The heroine isn’t out there kicking ass and taking names. She isn’t the one who saves the day. Usually, she is some meek or shy person who is only interested in loving the hero and is perfectly content with sitting on the sidelines for most of the film. If that doesn’t happen, then she is treated as somebody that can be kidnapped by the villain and must be rescued by the hero.  This infuriates me to no end. Of course, Tamil film isn’t the only industry that is guilty of this. Hollywood does this to a large extent as well, but the difference is that in Hollywood, there is a much higher percentage of films that feature strong female roles. These types of strong female roles are severely lacking in Tamil films. Where are my Tamil equivalents to Katniss Everdeen from Hunger Games, Ripley from Aliens, The Bride from Kill Bill, Sarah Connor from Terminator, and Hermoine Granger from Harry Potter?

Next, let’s examine the disparity between the career lengths of Tamil actors and actresses. The career lengths of Tamil actresses are MUCH shorter than Tamil actors. How is it that Rajinikanth or Kamal Hassan have multi-decade careers in acting but many actresses don’t? The main answer here is marriage. Once an actress gets married and has children, it is game over for them in the industry. They are expected to end their careers in order to focus on family and children. The actors? Nah they are good. Even if they get married and have a family, they are still free to continue their career. The actresses never get this chance. A good example of this is Jyothika who stopped acting once she got married, but her husband Surya still appears in films. Very few of these actresses ever come back once their kids are old enough that they can resume work. The only exception that really stands out in my mind is Sridevi.

Another thing that also needs much more improvement is the progression of the romance subplots that occur in movies. In many films, the romance goes something generally along the lines of the following. The guy sees a beautiful girl somewhere and falls in love with her at first sight. She does not reciprocate or is unaware of his feelings. The guy then becomes a creeper and follows her to various places, maybe even standing outside her house. Usually, the girl develops mutual feelings if she sees the guy doing something nice like helping some neighbourhood kids. The important thing is that she sees a few acts of kindness, not the guy persistently being nice. She falls in love based on a narrow sample set of kind acts. On the other hand, if the girl does not reciprocate when the guy confesses his feelings, the guy seems to think that this is a license to keep stalking, bothering and sometimes harassing her until she likes him. The baffling thing is that script writers think that this is what it takes to win the girl: if you harass and stalk her enough, she will fall in love with you. Personally, I am fine with most of the general structure of the romance subplot except for the stalking, constant badgering and harassment until she falls in love with you parts. This is not the type of thing you want to legitimize in films especially when there are reports stating that this often happens in real life to women in India. Romance structures need to be improved to a point where there is much more respect towards the heroine.

Then, there is the other stereotypes that most heroines need to fall into. The main ones I am talking about are: light skin and high pitch voices. Apparently, if you don’t have either of these qualities, you are not cut out to be an actress. Of course, I acknowledge that everyone wants to see a beautiful actress on screen. I do too. But I have seen tons of beautiful Indian women who don’t have light skin and who don’t have high pitch voices that look attractive enough to be actresses. Related to the above is the disparity of requirements for looks between actors and actresses. My sister summed this one up pretty well when she asked my mom the following question: “Why are Tamil actresses always so pretty, but Tamil actors are always so damn average looking?” She raises a good point. Young, new, aspiring Tamil actresses are expected to be: well proportioned, light skin and a good looking face. Heck most of the time, all you need to be is thin and light-skinned to land a job as an actress! Now let’s look at many young actors: any skin colour counts, any body shape counts, and as long as you don’t have any scars or deformities, any face will do. This disparity is quite something isn’t it?

What has improved

If after the above rant, you are still with me, let’s take a look at the improvements in the industry. There are many things that have improved  from the late 90s until now (2013).

More Diversity in Plots, Settings, Genres

Plots, genres and settings have diversified greatly. It used to be that most, if not basically all, Tamil movies would take place in India (particularly the state of Tamil Nadu) and follow a basic story structure: there is a hero who squares off against some villain. The hero always has a love interest and there are two plots: how the hero defeats the villain, and the romance between the hero and the heroine. Often, the two plots are either interwoven with one another such that one influences the other, or they run in parallel with minimum impact from one plot to the other. Of course, you throw in some fight scenes and dance numbers into the film as well. Now, I am not saying that all films were like this, but most had this structure. Recently though, I have noticed that films are getting a lot more diverse in their settings, plots and even genres. Let’s start off with setting. Over the past few years, I have started seeing an increased amount of films that are set in places like New York (and some other parts of the USA) and Europe (particularly London, UK). These films have some or all of the characters as Indians living abroad. This is such a wonderful thing to see. It allows films to show people back in India how Indians abroad are living and it gives Indians abroad some connection to the films. I’ve also noticed fantasy settings as well such as Aayirathil Oruvan, which takes place in an expedition in a more exotic, mysterious part of India. There is also Raavanan, which takes place deep in the jungles of a national park in India.

We are also starting to see much more diversification in plots and genres. There are new genres being explored. For example, there is Enthiran which involves an Android as one of the villains and is a great foray into the science fiction genre. There is Naan-Ee (where the hero is reincarnated as a house fly) and Aayirathil Oruvan (a very Indiana Jones style film), both of which are fantasy films. Then there are the plots. They are becoming much more diverse and have started diverging more often from the plot structure I highlighted earlier. I remember watching a couple of films where the heroine was absent completely and I remember a few films where they did not have any dance numbers. The names of these films don’t come to mind at the moment, but I recall that they came out in the last 5 years or so.

Better Visuals

The Tamil film industry has been a bit slow on the uptake of HD in my opinion. Without a doubt, they have been shooting in higher resolutions than HD already and have been using digital for a while now, but HD has not trickled down to consumers. Almost all films are still released exclusively on DVD. However, there are signs that change is coming. There are a bunch of films, both new and re-releases of old films, that are being released on Blu-ray so that audiences can watch them in full HD. There is still a ways to go until all films get Bluray releases, but at least they are making an attempt to get there. The other improvement that is the most noticeable in the visuals department is the huge improvement in the technical quality and frequency of computer generated imagery in Tamil films. I used to cringe slightly whenever I saw the greatest and latest Tamil film use visual effects that Hollywood thought was new maybe 10 years ago. But today, it seems that the visual effects industry has matured greatly and the computer generated imagery in modern Tamil movies is almost on par with Hollywood. There is still a noticeable gap between Tamil films and Hollywood, but the gap is much smaller today than it was 10 years ago. Some examples of the great work produced by the Tamil visual effects industry are Enthiran and Naan-E, both films who rely heavily on computer generated images that are almost on par with what Hollywood has to offer.

Diversified Sound

The songs used in Tamil films have always had a number of genres, but recently I have noticed that there are more genres being used. Electronica sounds are becoming a lot more prominent and as a big fan of electronica, I am ecstatic about this. It’s great to see music composers start playing with even more genres. Even the underscoring that occurs in scenes to highlight emotions has diversified in terms of sound. It used to be that if there is a sad scene or one that is heavy in emotions, the underscoring relied heavily on some sad, distant voice to create the atmosphere. Today, I see films using more diverse instruments to create that atmosphere without relying on that distant voice


I think overall, the Tamil film industry has improved greatly over the last 10 years or so. Yes, some major issues exist, but I think recent films (last 3 years or so) indicate that these issues are becoming overcome (albeit slowly). I am hopeful and I look forward to seeing how the industry changes over the next 10 years.

Ayutha Ezhuthu Review

Ayutha Ezhuthu is a tamil political thriller film written and directed by Mani Ratnam. Like his previous political thriller films, this one features personal relationships set against politics. However, unlike his previous films, this one focuses more on the politics and features not just one relationship, but 3.


Unlike many films, this film is full of well known actors and actresses including Madhavan, Surya, Siddharth and Trisha Krishnan. It’s rare to see so many actors and actresses that are well-known star in the same film. First, let’s talk about Madhavan. The man does a splendid job of portraying a power hungry thug who swings quickly from anger to kindness. The level of emotion that Madhavan delivers is truly astounding and he flexes his acting muscle quite a bit. It’s also refreshing to see him playing a more villainous role that his previous acting gigs. Surya, Siddhart, Trisha Krishnan and Esha Deol both deliver good performances that I will classify as “good enough”. I don’t have anything bad to say about their performances, but I did not see anything that really pushes their performances. Meera Jasmine, who plays the wife of Madhavan’s character, does an impressive job and is able to keep up with Madhavan’s acting. To be honest, these two make a great pair on screen and you can really see the chemistry between them during their performances. The most of the main characters themselves are not 2-dimensional at all. Unfortunately, the villain characters come off as fairly 2-dimensional. They are villains because they want to keep power and money, and that is all there is to them. Madhavan’s and Meera’s characters are both fairly complex. They have a complex relationship between them that both continue to pursue due to various motivations that are shown over the course of the film. Surya’s character also gets some background exposition and his motivations are revealed. Siddharth’s character undergoes the most change from being a selfish young man to being a politically active individual who wants to represent the best interests of other people. Trisha’s character also shows some change during the course of the film as she develops her love for Siddharth’s character. Unfortunately, Esha’s character is a 2-dimensional affair. She plays a girl who loves Surya, but that’s about all that there is to her character. Overall, the acting and character department of this film is fairly solid.

Score: 8/10


The music is helmed by A.R. Rahman and as usual he delivers. What is particularly interesting about this film is that A.R. Rahman experiments with more Western styles and influences, and I even saw some hints of music from the Electronic genres. Songs such as Dol dol dol and Yakkai Thiri have modern Western styles and make heavy use of electronic sounds. They sound incredibly experimental, especially considering music from Kollywood during the time of the films release. Heck, even now, they still sound quite new and edgy in comparison to most Kollywood music. Janna is a song that is a typical upbeat song and of course there is a melody song there as well. Both songs are solid.

Score: 8.5 / 10


This is one part of the film that I was not blown away by. Don’t get me wrong, I did not find the cinematography bad, but I did not find it astounding either. It did its job and did not get in the way of telling the story. The angles were fine, shots set up nicely and there were no shaky cameras. The song/dance sequences for the various songs in the film also were nothing special. There was nothing really special about any of it.

Score: 6.5 / 10


This is easily one of the strongest parts of the film. We start off with a sequence of events that involve all 3 characters. Surya is giving a ride to his love interest, they have a conversation and he drops her off. Then, Siddharth who is chasing his love interest asks Surya for a ride so he can chase down Trisha’s auto-rickshaw. Then, we see Madhavan’s character having a discussion about how he can’t live with his wife and how he cannot live without his wife. Eventually, the scene culminates into Madhavan shooting with a gun Surya as he is riding his bike. At first the viewer is totally confused about what is happening. Then, we are sent back in time to see how this particular sequence came about. We  start with Madhavan’s character’s story and how they relate to this sequence. Then, we see Siddharth’s story and Surya’s story.  These flashbacks make up the first half of the story. After the flashbacks, we are brought back to the present where the aftermath of the sequence is dealt with and eventually this leads to the movie’s conclusion. While part of the time, the story is non-linear, it is not confusing at all because it manages to be simple enough that the viewer can understand. The flashbacks are also used to greatly develop the characters. While the story is simple, there are a lot of interesting nuances that the viewer will connect together during the course of the various flashbacks that lead to me having a few “AHA” moments. Arguably, the first half the film is the strongest. The second half of the film is where it starts to falter a little bit as the story becomes a standard young people fighting the old geezers in politics. Thankfully, the second half still remains strong enough to not drag down the movie.

Score: 8/10

Overall Score: 7.75 / 10

Mudhalvan Review

If you can’t tell by now, I am going on an trip through various Tamil movies from the 90s and early 2000s that were released during my childhood. Next up is Mudhalvan. This film is interesting because it portrays the standard David vs Goliath story and tackles the theme of corruption in politics in India. I will talk about this more later in my review.


First of all, this is a fairly simple story. Unfortunately, it does result in characters that are somewhat 2-dimensional. First off, let’s start with our hero: Arjun as Pughazhendhi. Arjun’s character is the stereotypical good guy hero. He loves his parents, does honest work as a cameraman and is willing to help people. Yes, this appears to be a 2-dimensional character. But this innocence and good guy vibe is very important later in the film. He does grow and change as the movie goes on, so while he appears 2D at first, he definitely becomes more developed towards the end of the film. Unfortunately, our heroine did not fare so well in this film. Manisha Koirala plays Tenmozhi, a village girl who falls in love with Arjun’s character. Unfortunately, that is about all the depth that appears in Manisha’s character. She is just there purely to be a love side story, nothing else. She does not contribute that much to the plot line at all except partially to provide an excuse for the various songs. It really was depressing to see Manisha in this role. Now don’t get me wrong, Manisha did a fantastic job with what she was given. Unfortunately, she was not given enough to work with. There was absolutely no room for her to flex her acting muscle at all. Next up, we have the main antagonist Aranganathan played by Raghuvaran. The archetypal villain, there is not much depth to this character either. While Aranganathan does a splendid job of acting this role, just like Manisha, he does not have much to work with. Overall, this is the most disappointing aspect of this movie.

Score: 5/10


A. R. Rahman is at the helm of the music for this film. As usual, he delivers a great set of songs. Some of them will definitely be making it into my music collection including Shakalaka Baby and Uppu Karuvadu. That said, I was not a big fan of the other songs. While they are catchy, I do not think are quite up to par with what A. R. Rahman usually produces. That said, it is a much better soundtrack that many of the more recent tamil films. So I will give this a decent rating.

Score: 7/10


The village scenes are truly beautiful as well as the scenes used in the dance sequences. Overall, shots were clean and well thought out. There was a number of CGI sequences used in this film. While they do not look splendid in terms of today’s standards, they pretty decent for the Kollywood industry at the time. At the same time, nothing really stood out for me. In terms of song and dance sequences, they were well choreographed, the costumes and sets used were nice and colourful. Again, these are typical of the films of the time in my opinion so nothing particularly stood out for me.

Score: 7.5/10


This is easily the strongest part of the movie. A good summary of the plot is that a news reporter, played by Arjun, causes the CM of Tamil Nadu, played by Raghuvaran, to mess up an interview. As a result, the CM challenges him to try being a CM for one day just to see how tough it is. Against the CM’s expectations, Arjun’s character manages to do a fantastic job. People are in the streets demanding that he becomes the CM, so the current CM is forced to resign. Arjun’s character is voted into power during a landslide victory. The rest of the film deals with Arjun cleaning up Tamil Nadu and the former CM plotting ways to remove Arjun from power. It is not a complicated plot, there is one main story with a side story of the romance. Unfortunately, the romance feels mostly tacked on and as filler for the first half of the film. The romance is almost forgotten during the latter part of the film and is resolved in a hurried manner in the last few minutes. The not complicated plot works in the film’s favour. Instead of being bogged down by the details of the day-to-day goings of the CM’s job and going into depth on how Arjun comes into power, the film opts for a simple explanation that suffices to move the plot along. The most important part of this plot is when Arjun starts losing everything he holds dear as a CM and eventually how this drives him to put aside the ethics he swore to keep just so he can be rid of Raghuvaran’s character. You see him fighting the urge to become just like the politicians he dislikes. The film also delivers a very strong message to the people of Tamil Nadu and to the politicians themselves. If politicians actually did their job of upholding laws and justice instead of caving in to corruption, think about how much better the state would be. It’s definitely not an easy message to ignore.

Score: 8.5/10

Overall Score: 7/10

While the film does have its flaws, the plot alone is enough for me to recommend this film to others.


Bombay Review

This is a review about the 1995 Tamil film titled Bombay.

First off a little background about this film and me. At the time of writing this review, I had just finished watching it for the second time ever. When I first watched this film, I was about 12 years old. Being the young, stupid kid I was, I disliked this film a lot when my mother first showed it to me. I saw it purely as a lame romance film set against a bunch of religious zealots killing each other. Now, 10 years later, while I was surfing YouTube, I stumbled the song “Uyire Uyire” from the film and was actually impressed by the song. So I decided to sit down and re-watch it. Now that I’m older, I was able to appreciate this film much more during my second viewing. I now consider it to be a classic of Tamil cinema. Yes, I know that some people’s definition of classic Tamil cinema differs from my definition, but I was born int he 90s, so films from the 90s feel classic to me. Anyhow, enough background! Let’s get on to reviewing this film.



All I can say is wow. Seriously, the acting in this film from the main and supporting characters is fantastic. Again, Manisha Koirala shows off her acting skill by portraying a young school girl thrust from rural into city life, and then a distraught mother perfectly. Her acting easily carries the entire film. This film has cemented her in my personal actress Hall of Fame. There are not many actresses who can capture my attention and hold it for a 2.5 hour movie just on the strength of their acting alone. The character she plays in the film is well developed. We get to see her background including her religion, her family and most importantly, how she grows and develops over the course of the film. I can’t say I have seen very many films (Tamil or otherwise) that have shown the level of growth that Koirala’s character undergoes. Of course, Manisha is not the only star of this film. We have her counterpart, Arvind Swamy. While he does not give that great of an impression at a beginning, soon I was impressed by his acting as well. The man really knows how to portray emotions. Again, just like Manisha’s character, Arvind’s character also grows during the film. Then of course, we get to the two actors that played Arvind’s father and Manisha’s father respectively: Nasser and Vasudevan. Both of these men show some serious acting prowess. While you are watching them, you would think that these actors hate each other and hate their contemporary’s religion  in real life. That’s how strong their acting is. Again, both of the characters that these actors play also develop and change during the course of the film. All in all, a solid cast delivering solid characters.

Score: 9/10



I think it is safe to say that this is one of the best set of songs that A. R. Rahman has ever composed for a film. The tracks cover a wide diversity of genres from ballads/melodies to more fast-paced dance-ish songs. Each song is memorable and consequently each song has made it into my music collection. They are that good. Rahman takes full advantage of the singers and instrumentals to deliver songs that are powerful and emotional. I actually felt the songs affecting my emotional state as I was watching the movie. Same with the instrumental soundtrack used during the various scenes in the film. The music was perfect in creating the atmosphere that Mani Ratnam wanted to show to the audience. The tracks “Uyire Uyire, “Kannale” and “Malarodu” were incredibly powerful tracks that fit perfectly for the scenes, moments and dance sequences they were used in. All in all, an astounding soundtrack. I will not go too much into the music videos for the songs themselves. They all did a wonderful job of keeping up with the quality of the songs. I would however like to highlight that the music videos for “Uyire Uyire” and “Kannale” were fantastic. The shots used in “Uyire Uyire” were beautiful and the use of nature to accent the emotion of the song was brilliantly done. “Kannale” also managed to keep up with the song itself and showcased some beautiful scenes.

Score: 9/10



After watching this movie, it is pretty obvious that the cinematography is amazing. The locations and shots used during the beginning of the film are beautiful to look at. I found myself replaying certain scenes over and over again just to enjoy the landscape and weather. Then there is the entire sequence with the riots in Bombay. The props, the set, costumes and makeup were all incredibly detailed. You saw people’s clothes get dirty as they were moving through the chaos, cars were moving, trash and smoke everywhere. It looked exactly how a riot was supposed to look. The use of cloudy weather was also a nice touch and contributed to the negative atmosphere of the entire riot portion of the film. Mani Ratnam also had no qualms about using tons of extras to feel like the riots actually had mass and momentum instead of looking like it was a small group of people. Indeed, the entire film looked beautiful.

Score: 8/10



Now the important bit, the plot. All I can say is wow. We start off with Arvind and Manisha born into a Hindu and a Muslim family respectively. They are from worlds very different from each other and have fathers who are incredibly religious and dislike the other family’s religion. We see them meet, and see their love overcome their religious differences. We seem them move to Bombay from a rural village and adapt to big city life. We see them raise a family together and teach their kids both religions in a respectful manner. We see their parents come to visit their grand children and how the grand children have allowed each of their parents to come to respect each others’ religion. We the family survive the ethnic 1993 riots of Bombay. It’s not everyday that we see a film about a couple who are from different religions trying to survive in a world where the religions of the couple are at each other’s throats. But, the film is not purely a love story. It manages to delicately weave into the story an exploration of the religious divide between Hinduism and Islam, and how the two co-exist in India in a tense yet mostly stable state. We see what happens when that stability breaks down and both religions clash, how it can escalate into a vicious cycle that feeds itself, and how people can overcome their differences to join together to end the conflict between the two religions. The film has several fantastic moments where various characters highlight how despite being two different religions, Hindus and Muslims are really the same people on the inside. In fact, one moment that really stuck out to me is when the lady that saves one of Arvind’s and Manisha’s kids tells him (and I’m paraphrasing here) “Hinduism is one path to god. Islam is another path to god. They both go to the same god, but I have no idea why people fight like this.” The entire plot takes place over about 6 years from Arvind and Manisha first meeting to the riots. What amazes me is that despite all these different stages of life being shown, the film did not feel overly long. All I can say is that my skepticism from my first viewing of this film has been totally blown out of the water. This is one of those films where I actually was thinking about the consequences of the two main characters’ actions instead of just being pulled along for the ride.

Score: 9/10



Score: 8.75 / 10

This is a must see film, regardless of whether you are Hindu, Muslim, Atheist, or any other religion. As a self-proclaimed atheist, even I enjoyed this film immensely, and I’m sure many others will as well.

Naan Ee Review

Today, I am going to reviewing a more recent Tamil film, Naan Ee. The basic premise of the film sounds silly, a man is reincarnated into a fly. As the fly, he has to defend his love interest from the antagonist of the film. Yes, the premise is totally ridiculous and it is not hard to dismiss this film outright. But surprisingly, this film does not that bad. Read on for more.


The three stars of this film are Nani, Sudeep and Samantha Prabhu. The real star of this entire film is Sudeep. The man switches easily from serious action and villain moments to pure silly comedic moments well. It’s hard to pretend you are in a fight against a house fly, but Sudeep pulls it off flawlessly. The femaile heroine, Samantha does a decent job of her role. Unfortunately like many Tamil films, the heroines usually don’t get to show off their versatility very well, and Samantha’s role in this film prevents her from doing anything spectacular acting wise. However, like Sudeep, she manages to interact well with a CGI house fly without looking like she is faking it at all, so she gets points from me there. Finally, there is Nani. I am not going to evaluate his acting much because he was in the movie for like the first 30 minutes. He does a wonderful job playing the love-struck boy chasing after a girl. The characters themselves are not fleshed out very well and are very very 2-dimensional. While this does not detract that greatly from the film, it does result in a few points being taken off for this section.

Overall, Sudeep single-handedly carries the entire acting team through this entire film despite the 2-dimensional characters that are in this film.

Score: 8/10


As far as I can tell, there were two distinct song/dance/music video sequences in this entire film. While both were good, only one song from the entire film will actually make it into my music collection. However, that is not going to result in an abysmal score in this section. Yes, there were not many memorable songs. But let’s be honest, it would be hard to add many song/dance sequences to this film without the sequences looking forced. After all, this film is about a guy and a house fly duking it out. There is not much room for fancy songs. That said, the background instrumental track did its job well during the various scenes of the film and definitely contributed strongly to the atmosphere. Thus, the music gets an average score.

Score: 6/10

Cinematography/Special Effects

This really is where the movie shines. The movie is full of special effects, especially considering the fact that it stars a CGI house fly. I think this is a good movie to use as an example of Kollywood finally catching up to Hollywood’s CGI standards. While this movie is not quite at Hollywood’s level yet, it’s special effects can definitely hold their own alongside Hollywood blockbusters. The house fly itself is well detailed and its movements are convincing. Same with a sequence where there are birds chasing the house fly. There is also a sequence where the antagonist shoots up an entire house and the special effects are good enough that it looks like a classic shoot-em-up Die Hard film. The special effects team should be commended for their great work on this film. The cinematography itself is standard fare for these kinds of films. The colors were correctly chosen, angles were fine, no shaky sequences, etc. All done well.

Score: 9/10


This is arguably the weakest part of the film. Let’s get one thing straight, the premise of this film does not help the story. It’s very hard to come up a good story for a film about a house fly. While the script writer for this film does come up with a good enough story, the film certainly won’t be winning any awards for this story. The story is simple and straight forward. The antagonist wants the same girl that the hero of the film likes. However, for the antagonist, the heroine also likes the hero. So the antagonist does what any good antagonist would do, and gets rid of the hero so he can have the heroine for himself. Of course, the hero is reincarnated as a house fly and is now out to stop the antagonist from getting the heroine. While certainly many parts of the plot are not very original, they come together well enough to keep the audience entertained for the 2 hour film. There were some plot holes that could have been fixed, but these problems did not ruin the film for me. In fact, despite the premise, I found that I enjoyed the film. There were tons of laughs and some tense action moments. One thing viewers should keep in mind is that this is a lighthearted film not meant to be taken seriously. Thus, I am not going to dock too many points on the plot score.

Score: 7 / 10

Overall: 7.5 / 10