(0.5 / 5) : Poor
Edho Seidhai Ennai feels like sliding downhill and into a volcano face-first.
Rohit Ramachandran Sat, 18 Aug 2012
Director Elvin, just like every other Kollywood film-maker, believes that the only way for a guy to successfully court a girl is to invade her privacy while being completely unaware of the fact that he's violating her basic human rights. The girl here, played by Liya, does nothing but, sigh and sulk in response to the guy (Shakthi) passing flirtatious remarks, tricking her into completing his homework, stealing her diamond ring and squeezing her hips. As she tries to yank out the undersized ring from his stubby finger, he moans, moving about his facial muscles in an ecstatic way- an obvious suggestion that she's giving him a hand job. Funny? Only if you are a retard. Seriously, I'm making a great effort here not to swear.
Welcome with open arms, another damned perpetrator of Kollywood redundancy. I should've realized that '1017 AD presents' was actually a warning of the film's stubborn antiquity. The characters are cardboard cut-outs, real duds. Elvin's only bargain is that his hero bears a slight physical resemblance to Vijay.
Elvin continually injects you with strong sedatives by cuing in dull music numbers. They work just about as much magic as a date rape drug. F**k, I don't remember ever being this bored; not even in class. Edho Seidhai Ennai feels like sliding downhill and into a volcano face-first. If only the slope was more slippery, you'd land earlier. This flick (and your breaking point) seems to take forever to reach its ruins.
This was a trying week. Out of the seven Tamil movies that released, two were pretty good while the other five were nothing short of being garbage. I came out of Edho Seidhai Ennai as a survivor of a shootout. I felt as if I had been struck by five bullets. Pani Thuli got me in the foot, Adhisaya Ulagam got me in the jugular, Naan got me in the forehead, Pandi Oli Perukki Nilayam got me you know where and Edho Seidhai Enna got me right in the heart.
Critic: Rohit Ramachandran
(0.5 / 5) : Poor