K -13 Tamil Movie Review

K -13 Tamil Movie Review

Cast-;

Arulnithi  ,Shraddha Srinath  ,Yogi Babu,‘Eruma Saani’ Vijay, etc.

Crew-;

Directer –  Barath Neelakantan,Producer –  ST Shankar ,Santha Priya,Writter –  Barath Neelakantan,Story –  Barath Neelakantan,Music – Sam C. S.,Cinematography – Aravind singh,Editer – Ruben,Production Company  –  SP Cinemas ,PRO – Suresh chandra and Rekha D’One. etc.

Story-;

“K 13” whodunit is being blocked from initial stratum made the delirious expectation extended in the climax.   “K 13” filled with a hallucinating consequence of scenes not manifest the sequels nor it has been worked for the in telligence climax beyond ordinary understanding. The debut director Barath Neelakantan dumped the scenes in a ro om till the intermission, which the audience needs some patience in the first half and even move like a snail made to tempt when will the guy move out from the room. The script connects with a couple of writers their life filled with tragedies by this concept the director has smartly links out suspense without any fightings sequel, dr eaming duet songs and emotional hasn’t supported in the script. The artists Arulnithi and Shraddha Srinath holds the screenplay on their shoulders.

In the Kollywood current trending is being horror drama, normally the directors would stuffs some comical ele ments to drag the audience. In this scenario thriller is the one more weapon to get success in front of the aud ience, which was used in this film. The flick “K 13” testing our patience with the slow phases. The struggling as sistant dir ector Mathiyalagan (Arulnithi), who had come out from the unconscious condition, he is tied up on a chair and ge tting stuck up by seeing the situation he was fixing up with shocked. In the same room a lady Malar (Shraddha Srinath) was cut off her wrist and the blood bleeds out like a stream, this situation made Mathiyala gan to agitate.

The scene fluctuates among Mathiyalagan and Malarvizhi, how they were interlinked. Both the writers face the hard situation in their lifetime, Malarvizhi’s writing pushes her in the tough times and she gives life for 10 years struggling Mathiyalagan’s dream to be fulfilled by her story.The title “K 13“ indicate about a woman’s dead body suspect in the flat. The drama based on the writers, which Malarvizhi writings created pathetic tragedy in her fri end’s life and in her own life, the screenplay doesn’t hold towards investigation or any other cops inquiries focused on Malarvizhi death as full fledged.Arulnithi chose for the decent scripts to get success in the films, “K 13” he had tried in a new concept in his career, the actress Shraddha Srinath has proven out the best perfo rma nce in the film “K 13“, Yogi Babu have not used him properly that his upcoming renown stuffed him for a seque nce. thrilled drama

Watch The Trailor-;

MovieReview-;

K-13, Barath Neelakantan’s film starring Arulnithi and Shraddha Srinath, wants to be a writer’s soliloquy. Mathi yazhagan, the character played by Arulnithi, is an aspiring filmmaker stuck for ideas. So is Shraddha’s Malarvizhi, a novelist. As artists who love their art — they talk repeatedly about their cinema mela kadhal and ezhutthin me la kadhal (love for cinema and love for writing) — they decide to go the extra mile for inspiration. The details of this endeavour form the film.As far as the premise goes, K-13 shows promise. The set-up is one of the best in rec ent Tamil thriller memory (or perhaps I’m just glad that there is no meet-cute-song-dance routine that wastes the first act of most Tamil films in general). The film unravels slowly, as a trapped and tied-up Mathiyazhagan re calls the events of the previous night.This part of the film happens almost entirely within four walls. Arulnithi does an immaculate job, acting just enough, never letting his ‘performance’ distract us from the story.

Sam CS, the film’s music director, shows similar restraint, his music lingering in the background, supporting the story when needed. The staging is also just right, never too claustrophobic, yet never letting us forget the bou ndaries, both literally and metaphorically. The interval block is a nice outside-in view of everything we’ve been seeing within a gloomy enclosure.When we return after the interval, the knots of mystery untie themselves one by one and unfortunately, a sense of doom sinks in. As we learn why each person is doing what they’re doing, the film’s sense of mystery and cleverness diminish significantly. The set-up that seemed fresh and engaging now pro ves itself inadequate, perhaps because the film has all along focused less on the characters and more on the sit uations to hold our interest.We hardly know Mathi or Malar enough to empathise with their actions. We haven’t seen them do or feel anything, just heard them talk.

They talk endlessly about “writer’s block”, their lack of ideas, inability to write, loneliness and her guilt, but har dly do we see them actually discuss any concrete ideas or even write. In fact, their conversations are so vapid, I longed for them to be over.What we know of Mathi is through the unimaginative scenes about his life as an as sistant director. Mathi’s room is filled with film posters, there’s even a scene about his love for The Shining, with a poster of Jack Nicholson to boot. His friends talk about his love for ‘serious cinema’ and we just have to take their word for it.Malar’s characterisation is worse. She seems to be living with and willing to die of guilt for so mething every single writer does in every one of their works — drawing from the real-life experiences of people around them. In the effort to keep up suspense and make Malar mysterious, Shraddha Srinath ends up looking distant and soulless.

Her acting itself is nothing to write home about.So, when we meet them, strictly going by what the film tells us, they are two people struggling to write, that’s all. Their reasons come across mostly as self-aggrandisation.And unfortunately, the movie itself suffers from this same problem. K-13 wants to be about many things. It wants to be a meta-film about filmmaking, but it doesn’t give any new insights into the lives of those in cinema: all we get are abandoned films, screaming directors and superstitious film producers. It has an angle about depression, but one that’s so flimsy and convenient, it hardly makes an impact. It wants to be about inspiration and fiction based on true stories, but it tells this meta message with a pinch too much of salt.

It wants to be a film about love for the arts, but it doesn’t show much love at all and ends up being about the ar tist’s love for oneself.It also wants to say the right things: There is a scene where Mathi leans over to kiss Malar. She pushes him away and he apologises. He says, “I’m sorry, I’m so high….” cuts himself short and says, “I’m sorry” with an air of completion to it. The film wants us to know that it thinks being drunk is no excuse for sexual hara ssment. Yet, it ends in a manner that shows this up as posturing.K-13 is interesting in parts. Some of its themes can even make for engaging conversations. But mostly, it comes across as a vacuous idea that desperately wants to seem like a deep thought.

This IS MY Personal Review So Please Go And Watch The Movie In Theaters Only

Written By- T.H.PRASAD -B4U-Ratting-3 /5