Vijay Antony always has an interest in making a socio-political statement through his film, and this one has a lot of socio-political arguments.
Kodiyil Oruvan is a Tamil political action film directed by Ananda Krishnan and produced by Infiniti Film Ventures and Chendur Film International. The film stars Vijay Antony and Aathmika. Vijay Antony also edited the film while the music is composed by Nivas K Prasanna.
The movie starts with a flashback story which later connects to the current scenario and the story then moves in a progressive way, the hero is reaching his goal and suddenly he has been encountered something unexpected, which deviates his goal into something bigger.
Vijay Antony made a good impression by playing the role but the space given for Aathmika was quite too short and unnecessary and that's what always happens in most south Indian films where the heroine always shares a little screen time. The movie has an interesting storyline and a piece of adequate background music and a surprise at the end. Overall, Kodiyil Oruvan is not a waste of time.
Only often do we come across movies that leave a lasting effect on us. Bollywood has produced several so-called patriotic movies just to cash in the sentiments of people but Shoojith Sircar plays differently here. And that makes Sardar Udham a memorable yet painful experience.
Sardar Udham tells the story of a revolutionary freedom fighter who chased down and assassinated Michael O'Dwyer in London to avenge the 1919 Jallianwala Bagh massacre in Amritsar. Sardar Udham isn't just made to inject patriotism in us but also to educate us about the horrific 1919 massacre and the man who shed blood to avenge it. Shoojith Sircar makes no mistakes nor does he take any fake cinematic liberties to depict Udham's life. The focused and recurring non-linear style of storytelling takes us through the journey of the fighter and the injustice the country has gone through. This film is the slowest of the slow-burning film of the director and he never rushes to any point instead tracks the incident in a steady and straight path.
The remodelling of 1930s London street and the entire pre-independent era is so meticulously constructed with utmost passion. Avik Mukhopadhyay's enigmatic frames are never out of place and the superior visuals add more horror to the incidents. I wonder how someone could make a movie so well crafted and detailed at the same time break all stereotypes. Shoojith Sircar makes sure his British characters are not mere caricatures and leaves them enough space to make their mark.
Without Vicky Kaushal, the movie is soulless, an absolute masterclass performance by the actor who fills the martyr's shoes with ease. Sardar Udham Singh was his destiny and the actor's game-changing performance is gonna attract accolades for sure. Shoojith Sircar exceptionally pulls off the horrendous massacre in the final hour that leaves us with a lump in our throat. The disturbing, gory visuals exhibit the amplitude of the crime with conviction and haunt us even after the credits roll.
I really wish they explored the Bhagath Singh episode a bit longer. For some of you the overstretched narrative might sound unsettling. But Sardar Udham is a craft you need to witness with utmost patience. This cinematic version of India's unsung hero stands top among the historical dramas made in India. Congratulations Bollywood you finally have a winner!.
The movie provided a glimpse of showcasing an aspect that has not been covered by many sports biopics in Bollywood rather than the simplistic approach of portraying an underdog story Rashmi Rocket progresses to initially showcase a journey of an athlete and move on to shed light on the regressive controlling and binary notion that comes with gender tests.
Rashmi Rocket focuses on Rashmi played by Taapsee Pannu who grows up in Gujarat is given the nickname of Rocket due to her fast pace when she grows up and becomes a tour guide of the area she is motivated by captain Gagan Thakur played by Priyanshu Painyuli to showcase the world her gifted talent of agility and pace barking upon immediate success Rashmi met with animosity within her own team politics from influential figures that curtail her growth and finally the infamous gender test that solidifies in the minds of the public that she was not a woman within the confines of an athletic federation the court case in order to uplift her ban forms the second half of the film and how it transpires to educate the viewer and expand their thought process of what constitutes a woman be it the clothes she wears the colour of her skin the decision she makes or more importantly her testosterone levels.
Taapsee manages to effortlessly go under the skin of her character and make you root for her. The dedication and hard effort she has put into building an athletic body for the role will leave you speechless, especially in the close-up views of her sprinting on the tracks. Her talent as an actor has been proven without a shadow of a doubt by her filmography and the concerns that each of them has raised. Rashmi Rocket appears to be the latest addition to the list, this time criticising the inequitable and outdated practice of gender testing on female athletes. Taapsee looks stunning during and after her medical examination in the flick. She successfully conveys Rashmi's emotions of befuddlement, fury, and helplessness, particularly in the emotional passages, with sincerity. "Kuch toot sa gaya hai andar," she says Gagan (Painyuli), and you know exactly what she means as she fights with her whole identity and existence being questioned by everyone around her.
Sadly, Amit Trivedi's music does not impress. No song, whether it's Rann Ma Kutchh, Zidd, or Ghani Cool Chori, manages to stay with you. The background soundtrack is also uninspiring, failing to raise some of the usually exciting passages. The editing, especially in the first half, might have been tighter. Aniruddha Guha's script and Kanika Dhillon's extra dialogues aren't exactly hard-hitting, but they do contain a few sparks here and there. In terms of directing, Khurana seemed to be unsure whether he intended Rashmi Rocket to be a sports picture or a courtroom drama, and it shows in the execution.
Udanpirappe is the most recent film to attempt to join the list of Tamil films that have shown a brother-sister connection. The film opens with a gang of thugs chasing Vairavan (Sasikumar), a ruffian whose life revolves around his family, through a hamlet near Pudukkottai. He gets to say a few lines about farming (which has become somewhat of a must for heroes in Tamil cinema in recent years in films set in small towns), which are backed by an outstanding background soundtrack by Imman, though it does remind us of a few of his earlier works.
As the title suggests, Udanpirappe is focused on the relationship between Vairavan (Sasikumar) and
Maathangi (Jyothika), who had previously had unpleasant difficulties and have been separated from one another as a result of what has occurred. As they strive to solve the problems, other ones arise, and what happens next is the story's central theme.
Era. Saravanan gives the picture an old-school vibe and dives deeply into the character's emotions. The first half of the film is highly hectic, and it does not waste time establishing its characters one by one; instead, it goes with the flow and gets the ideas through about why the conflicts amongst the characters arose. However, the film has some flaws in the second half, with pacing concerns surfacing. The thrilling closing stretch, on the other hand, is guaranteed to appeal to the public and have a lasting impression.
In the film, Sasikumar gives a mature and appealing portrayal, performing everything asked of him with great conviction. The performer makes a good first impression, which works in the film's favour. Jyothika, on the other hand, is cast in a magnificent role that is a complete departure from her second innings performance. Her second-half performance is particularly noteworthy. Samuthirakani is excellent as the stern instructor, and the cast is well-led by Sija Rose and Soori.
Velraj's cinematography is excellent throughout the film, giving it a very realistic sense. Imman's music doesn't have any amazing tunes, but his re-recording works.
The film Thalaivii is a biopic based in the life of Jayalalithaa, popularly addressed as 'Amma', the film focuses on the journey of the celebrated and popular individual from her young days of acting her budding romance with mgr her introduction into politics urged by the love of her life the unfortunate demise of the political figure and acting legend the hurdles jaya faces in order to become the political heir of the party dealing with the vitriol of the gatekeepers mostly men that constantly protected the vested interests of ngr and finally her rise to prominence to become what we all know and remember her as.
Arvind Swamy has used prosthetics and makeup but it is uncanny how similar he looks to MGR being privy to vintage Tamil cinema and just through all the MGR footage that come across swami looks like an absolute spitting image of the legend. On the other hand, Kangana’s acting is over-the-top. She goes way overboard in her emotional scenes. Her close-up shots are cringe-worthy. But she does have some good moments during a dinner scene at her house when she talks about how much she loves MGR.It goes on to the extent that she is manhandled and as the scene takes place, she absurdly narrates about being treated like Draupadi in Mahabharata.
The film gets repetitive after a point. It constantly switches between acting, politics and the love story between Jaya and MGR. Apart from that, the film makes Krishna’s references when talking about love and medu vada in a petty fight. The latter reference actually gets pretty nasty. Raj Arjun, the villainous assistant to MGR, is powerful. His constant face-offs with “Jaya” or Kangana Ranaut are something to look forward to in "MS Dhoni: The Untold Story". And of course, he shines as an actor much more than Kangana.
Thalaivi was expected to do well at the box office, but it sank faster than expected after the inevitable death of its star. Kangana Ranaut as Jayalalitha tried her best to hold the film together, but her efforts were not enough. The second half of the film was chaotic and rushed; trying too hard to spread a message of The most absurd point of the movie is when Jaya gets plump out of nowhere. While she is seen as slim, trying to walk on her own in one scene, right in the next, she is seen standing with the bandage on her neck, a plump face and giving out orders to people.
While the film was already hard to follow because of its ridiculous and absurd scenes, Vijay and Kangana Ranaut had another surprise in store for the audience. The film ends on a random note, where Kangana practically threatens people to call her Amma or… if that is how Vijay wanted people to remember amma.
Verdict:
Avoid Thalaivii if you want to retain good memories of J. Jayalalithaa. The only reason to watch this film is Arvind Swami, without who, even Kangana Ranaut cannot stand out in the film.
Remakes can go terribly wrong sometimes and we have experienced a lot in the past across various industries. Bhramam the Malayalam remake of cult hit Andhadhun will make you realise how good the original was.
Bhramam is a muddled attempt that doesn't take itself seriously at any point. I wonder how Prithviraj, a man who delivered quality films in the past, agreed to sign this pile of shit. What was the intention of the director ? I wish I could understand the mindset of the maker while the idea of remaking such a masterpiece was going inside his head. It's really frustrating to watch a set of quality actors performing unbelievably bad in a totally awful narration.
I quite admire Ravi. K. Chandran's idea of making this more funnier but at the end the whole movie turned out to be funny but not the way the director wanted. There aren't much change of narrative from the original yet Brahmam isn't bearable even as a standalone film. The force-fitted comedies and substandard making shows how a quality script can turn into a disastrous movie.
It's the cast that makes even the bland script a bit acceptable but Bhramam loses it full control over there and makes us curse the time we spend on this shit. I can only pray for Mamta Mohandas that Tabu doesn't end up seeing that monoact.
If you still wanna experience Bhramam then approach it with lower expectations you might enjoy bits of it. Rest go and revisit the original and refresh your minds.
Ruroni Kenshin: The Final, and the fourth part of Ruroni Kenshin Series. It's a samurai-based big-budget Japanese Action movie by director Keishi Ōtomo.
The main plot was the story of 1879 Japan before they got Independence. It's a continuation of the other three parts of Rurouni Kenshin (2012), Rurouni Kenshin: Kyoto Inferno (2014), and Rurouni Kenshin: The Legend Ends (2014).
There is an assassin named Himura Battousai (Actor: Takeru Satoh) he is a dangerous guy in this movie. The hero has a superpower in this movie. That means he can kill people with the sword (Katana) and the fact that he can kill 1000 people with one sword. After the main war, he promises that he does not use the sword anymore to kill people within it. And after the pledge, he has taken some changes in his life from an assassin to a traveler and choose his name as Ruroni Kenshin for self-identification that he is no more an assassin.
But eventually, the problems occurred and he has to face some problems without breaking his promise using his Backblaze.
Here, in this movie he protects the people the same as however, the Government protects the people. In that peaceful place, some people cames and make huge violence. Vengeance from a misunderstood. There is a twist, that makes the movie great. As compared to other parts, fighting style and geographical appearance are a little bit changed in this movie. Fight scenes are really appreciated and the bgm is very attractive and accurate for the situation that makes sense to us. With the power full Music by Naoki Satō, the movie gives goosebumps.
Among horror films, only very few like Madhavan's 13B drifted away from the usual route and set their own benchmark. Lift, another horror film from the land of horror comedies managed to make few impressive deviations despite its limited setting.
Being trapped in the office, two IT employees played by Kavin and Amritha try to survive from a ghost that haunts through the lift. With stuck inside the company and no way to escape, the couples must find an exit to save their lives before dawn. It's quite heartening to watch how director Vineeth Varaprasad has packaged this horror thriller with utmost perfection.
Lift doesn't make too many turns to be different but there are instances where the film takes genuine chances. Even within tried and tested space, the director has stuffed enough established sequences which elevate this horror thriller elegantly. Shot within a confined area with just two characters leading the show could be demanding but Lift makes no error.
The movie never depends on the patchy VFX ghost or jumpscares instead focuses on the fear and struggles of the characters. The lift also makes strong statements about corporate enslavement and how it treats its workers like commodities and disowns them.
Lift is a technically sound thriller with each department moving in sync within themselves. Tapas Nayak's exceptional sound design and Britto Michael's exhilarating score keep Lift high all the time. Kavin, the protagonist, has made a really impressive debut as a hero and leads the show with his wit and charm. Amritha who's on the average side struggles at parts.
Lift suffers largely in its final act due to its generic flashback portions that sadly don't serve any purpose. Better placement of it would've made more impact. Nonetheless Lift is a compelling watch and a perfect weekend choice.
Certain films grab our attention with their extremely gripping storyline but get drowned in poor execution. Chehre is one such addition to the long list of wasted opportunities. Touted to be a mystery thriller, this half-baked product never takes itself seriously at any point.
Karan, an Ad Agency executive takes shelter at an old man’s house in order to escape a heavy snowstorm but gets trapped in a serious game of crime and punishment. Chehre might look fascinating outside, with an instantly catchy one-liner the movie gives us chills only to get drained in the latter hour. Chehre stuns with its breath-taking visuals and the set pieces with each frame looking polished and appealing. But when it comes to writing this Rumi Jeffery directorial couldn’t live up to its full potential. What goes wrong in chehre is it tries too many things in its long set of events. At times it feels like a mystery film while the rest feels like a poorly staged courtroom drama. The premise and the build-up seem quite engrossing at first but as the tale moves forward Chehre loses its grip and fails big time.
For Emran Hashmi, Chehre is yet another cakewalk role that he does with ease. He looks flamboyant and makes no mistake in filling the film as the protagonist. But if not for Amitabh Bachchan Chehre would have died a long way back. His presence is a blessing and the veteran star does a commendable job as the mystery man. While the rest of the prominent names on the list are mere puppets with nothing helpful for this sinking narrative. The initial hour of the film holds you with its riveting set up but the post-interval narrative tends to be too pretentious and overlong, a bit of trimming would’ve done wonders. In the end, what's left is a long list of predictable sequences as the story leaves no element of surprise for us. Chehre might have tasted success a long time back sadly it doesn't have the scope in these times.
Chehre definitely has moments to enjoy but those scattered elements won't help this underwhelming thriller to stand on its own.
Wrath of Man is a revenge-based action thriller by acclaimed and innovative director Guy Ritchie. This contemporary movie tells the story of the cold and mysterious ‘H’ as he goes to work at a cash truck company that moves hundreds of millions of dollars around Los Angeles every week. H’s objective is unique and unanticipated but is only revealed incrementally, utilizing a suspenseful and carefully constructed nonlinear narrative to lay bare his true intentions. Shifting across timelines and various character’s perspectives, Wrath of Man builds to a thrilling, tragic, and inevitably bloody catharsis.
Simply saying we'd seen a lot of Hollywood and other foreign movies portraying the same cliche revenge story over a thousand times in screen. But what makes 'Wrath of Man' different from others is the narrative path chosen by Guy Ritchie to convey the story to audience.
Jason Statham's performance could be said as the soul of the movie,he simply nailed it. Other actors Scott Eastwood, Josh Harnett and Holt McCallany has done a descent job.
Action sequences in company of Cinematography and bgm also lived up to the mark. Jason Statham's bold portrayal of the character and Guy Ritchie's perspective of seeing things made this flick a good one.
We'd recommend this Guy Ritchie flick as a treat for action - thriller lovers.
Haseen Dillruba The film is produced by Colour Yellow Productions and is directed by Vinil Mathew who previously helmed Hasee Toh Phasee (2014). Starring Vikrant Massey, Taapsee Pannu and Harshvardhan Rane, the film tells the story of Rani ( Pannu) a woman whose heart longs to live like the words captured in the novels of her favourite crime writer, Dinesh Pandit. It all begins with the scene of a fire that leaves her husband Rishu (Massey) dead, and slowly a murder mystery unfolds. We get to see the story of how the pair met and we are shown the development of their topsy-turvy arranged marriage. The couple struggles to find happiness and when Rishu's cousin Neel ( Rane) arrives, the romance turns into a love triangle. Will Rani get lost in the chaos of her real-life novel or will she find innocence? The story, screenplay and dialogues by Kanika Dhillon make the whodunit a unique one that's never too easy to guess. Even avid fans of mysteries will be left second-guessing their suspects as the story unfolds, and the climax is simply mind-blowing. After her experiences of penning films like Kedarnath (2018) and Guilty (2020) in recent years, Dhillon does a very well-rounded job on this one. Despite the initially slow pace, where I feel the screenplay and editing could have been crisper, it was towards the interval mark and beyond where there was absolutely no stopping this one. The lines between real and mystical, life and novel, and heart and head are completely blurred in the best ways possible. This is courtesy of the excellent cinematography from Jaya Krishna Gummadi and the direction from Vinil Mathew. The soundtrack also deserves a special mention. There has been a dearth of good film music this year, and Amit Trivedi does very well to compose a well-balanced album that suits every frame to perfection. The background score was very easy on the ear and the vocals on all the tracks were magnificent. Finally, I am going to come to the performances. We all know that Taapsee can level up a film all by herself, and her screen time here shows just that, yet again. I was very much reminded of her performances in Badla (2019) and Thappad (2020) when I watched this one, but not because of similarities, more so because of her continued excellence in script choices. Seeing her opposite two of the brightest male stars in the industry only made this experience even better. Vikrant Massey has proved time and again what a versatile performer he is. There aren't many actors that I can say I have followed from their first appearances up until their current ones, but I'm really proud to have watched Vikrant grow as an actor right from his television days. He excels here once again. Harshvardhan Rane has been someone I've waited to see more of since I watched him in Sanam Teri Kasam (2016), and he does really well, too. His entrance scenes really lift the film and his chemistry with Taapsee made for some good viewing. The Verdict: This one is intriguing. It gets psychological and ultimately it's romantic. Haseen Dillruba will keep you hooked with perfect performances, a stellar soundtrack, some deep dialogues and a very creative climax. Worth a watch for sure! The film begins streaming globally on Netflix this afternoon.
It's not an easy take to mix two complex genres and create equally entertaining output. The latest outing from Prithviraj titled Cold Case is a mixed bag with less intriguing moments.
An unidentified skull is found on a lake and ACP Satyajith who's in charge of investigation starts to unwrap the mystery. We are also introduced to Medha, a TV reporter who is trying to solve a personal disturbance. Cold Case is a hybrid genre focusing equally on thrills and scares. Debutante Thanu Balank has managed to pull off an intriguing mystery thriller which engages us only in parts.
Cold Case suffers from heavy spoon-feeding and artificiality. Few threads are left untied and the makers don't exploit its full potential. The sluggish pace in the latter hour slows down this template horror thriller. The final reveal wasn't much exciting and lack of WOW moments spoils the fun but the director has packed the film with few genuinely spooky elements to send chills down your spine. Cold Case had an interesting premise in hand but the formulaic investigative elements weighed down the whole event. Prithviraj is fit and makes an earnest performance, while Aditi Balan in her limited screen space leaves an impression. Happy to see late Anil Nedumangad in a full-fledged character though his dubbing sucks.
Cold Case is a muddled affair and the director seems confused whether to treat it as a horror movie or thriller. It could've been a far better product with a better treatment. Amidst great expectations Cold Case ends up as a dish that is served cold.
'Ameera' is a film directed by Riyaz Mohammad, starring Meenakshi in the lead role. Produced by Anil Kumar under the banner of GWK Entertainments Team and December Mist, the film was released on OTT through First Show. Amira, one of the films that overcame covid's threat, says about the challenges and problems faced by the children of an intercast couple.
The main characters in the story are Amin and Ameera who get on a bus with their grandmother from Uttar Pradesh to a hilly village in Kerala. Amin and Amira are the children of Ahmed Qureshi and his wife who were killed in the UP riots. After the death of her parents, her grandmother returned home with the children to find their old home. Abdullah/Abdukka, a local and friendly man, comes to the rescue as they enter a new place with many mysteries.
Abdukka and his wife Jameela, who lost their only son and runs a stationery shop for a living felt an inextricable bond for Amira and Amin and they take on the responsibilities of the children from their grandmother and request them to live in their house.
But in the days that followed, Abduqa's surroundings sought to shed the light of sectarianism to both his and the children's life
and so on..
The film deals with a number of social issues.
Actors Ramesh Kottayam and Meenakshi did well with their characters and we can expect more valuable films from the director Muhammad Riyas in the future.
A writer is one who creates another world with his pen and paper. But we aren't aware of the pain they go through to create such fantasy worlds. Ani IV Sasi's Maya talks about Ashok, a film writer who is struggling to create a commercial story for his next film and the ways he creates different sets of stories to reach his final destination. Some stories don't have a long runtime or elaborate set works. Maya works beautifully in its short runtime, this 11 minute short story is full of life and tracks the hardship faced by a writer. Ashok Selvan easily transforms into the character and the way he enacts various situations is a treat. Priya Anand as the mysterious Maya makes an impressive appearance. It's the dialogues that keeps a film alive and I really loved the dialogues and the way Ashok presented it. Music by Ron Ethan Yohann and Visuals by Divakar Mani keeps the short lively and makes it more charming. On the whole Maya is a simple, sweet and adorable story from the makers of Ninnila Ninnila.
The last two days is a film that tells the story of the disappearance of three young men. As a part of this case an officer begins to investigate the case.
The hero of this film is Deepak Parompal, his performance was good, but it seems a bit of unstable character, although he did a great job.
The other important characters were Murali Gopi, Major Ravi, Adhiti Ravi, Nandhan Unni, Dharmajan Bholgty, they also done their part perfectly.
It was a good story, the crime in it was never seen before, but the way of presentation was not that impactful.
Apart from the lazy story telling and making The Last Two Day is a decent thriller movie, could have been better.!
The film goes back by a few years, to 1997, to narrate how Karnan became his people's hero, how oppression can be insidious, and how the bureaucracy stands by the side of the oppressor and even takes part in the oppression.
The plot revolves around Podiyankulam, a poor village of people belonging to the oppressed communities which is refused a bus stop. Their powerful men (obviously of the dominant caste) of their neighboring village, Melur, use this as a means to keep them dependant on them. Matters come to a head when Karnan, an angry, young man from Podiyankulam, who is waiting to be selected in the army, decides to take things into his own hands. A bus is trashed, prompting the cops, led by the egoistic officer Kannapiran (Natty), to retaliate.
Review:-
A bold, intrepid & sublime film that rightly uses the metaphorical way of storytelling to portray the core content with ecstatic beauty as the film is based on some real events that took place in Tamil Nadu. Mari Selvarajdeserves special applause for portraying such a vivid screenplay effortlessly, but still lacks the outright punch that the director had in his previous outing 'Pariyerum Perumal' which felt much more grounded. But still, Karnan is all high on many aspects with Dhanush being the subtle pillar of the film with his riveting performance & Santhosh Narayanan's Score taking the front seat.
The film lies two issues - cybercrime and joblessness.(released on Zee5 :-May 15)
The jobless ones are not the ones involved in cybercrime here. On the contrary, they are the ones aiding the cyber cell of the Kerala Police to track down suspects. Vinayadasan (Lukman) and Antony (Balu Varghese) have been unsuccessfully on the look out for jobs, after completing their engineering course. Out of sheer interest, they try tracing the origins of the pirated copy of a popular Malayalam film. They realise that the police have made wrong conclusions in the case, a fact which they point out to the cyber cell. Reluctantly, the police follow the lead provided by the duo.
Impressed by their enthusiasm and knowledge of the cyber world, the cyber cell rope them in as temporary staff. The film is structured as a series of cyber crimes and the police's efforts at tracking them down, almost as a mini-series with a few independent episodes. Almost all of these stories have been inspired from various incidents of cyber crime reported from across the country in the past decade. The script does manage to maintain the tension in each of these separate episodes, although some of these cases are solved thanks to some convenient, easy coincidences.
Review:-
Refreshing, relentless and distinctive film with a screenplay that deprives from the formulaic structure of conventional story telling that easefully weaves 3 stories in an unconventional way, breaking the general norms of regular 'Thriller' genre films.
Director Tharun Moorthy deserves all the appreciation for making this film an engaging watch from the opening to closing shot without any speed blocks or struggle.
The malayalam movie ‘Sameer’, which got the attention of the audience by combining the dreams and worries of the Gulf exile, is on the run from 07.05.21. The film tells the life story of Sameer, a young man who came to a tomato orchard in Al Ain from a village in Kerala in the last quarter of the 90’s in search of work. movie was released on 3 Jan, 2020 in theatres. The movie is directed by Rasheed Parakkal and featured Mamukoya, Anand Roshan, Anagha Sajeev and Irshad as lead characters.
The film is based on the director’s novel, Tomato Grower’s Dreams which . Anagha Sajeev and Chinchu Sunny are the heroines. The film also stars Irshad, Mamukoya, Pradeep Balan, Vinod Kovur, Venu Machad, Nina Kurup, Manju Patros, Indira, Gopika and Jiji.
Anand roshan has handled the lead role as sameer very successfully and showed a remarkable performance throughout the movie.other lead actors like mamukoya, anagha sajeev and irshad also given their best performances which maintained the movie to be more comic, romantic and thrilling till the end.eventhough some of the viewers often felt the story similar to famous novel aadujeevitham,but as what we felt was sameer is entirely a different story from aadujeevitham.
As the director said on an interview, sameer was a real life story based on the struggles Of exile in the Gulf, infact he was also an exile in gulf once.
so, its an absolute treat for the binge watchers all over the world
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