Hi everyone , This is a real interesting one .The much awaited movie Billa 2007 rocked the theatres on dec 14th with a grand opening with a houseful 226 shows .As usual Chennai witnessed a carnival on the eve of Thalai’s new movie release. 'Billa 2007', one of the mega films of the year, is released (December 14) with a grand opening.

Thala Ajith fan’s virtually made it to be a colourful carnival. Huge crowds were seen in front of the cine halls that screen the movie. Cut outs, banners, movie posters, and flags filled the surrounding areas. The celebrations of Billa 2007 remind one of the celebrations of Super star Rajinikanth’s release. It is important to note that Billa 2007 was a remake of Rajinikanth starrer block buster Billa (released in 1980)

Here is the list of award winners

1. Best - Film Bommarillu
2. Best - actor Mahesh Babu (Pokiri)
3. Best - Actress Genelia (Bommarillu)
4. Best - Director Puri Jagannadh (Pokiri)
5. Best - Producer KL Narayana (Rakhi)
6. Best- Villain Sai Kumar (Samanyudu)
7. Best- Dial gouges Paruchuri Brothers (Stalin)
8. Best - COMEDY Geetu Singh (Kithakithalu)
9. Best - Choreographer Amma Rajasekhar (Yogi)
10. Best - dance Mumaith Khan (Yogi)
11. Best - Supporting Actor Akash (Andala Ramudu)
12. Best - Supporting Actress Jhansi (Pellaindi Kaani)
13. Best - Lyricist Bhaskarabhatla (Bommarillu, Pokiri)
14. Best - Singer (Male) SP Bala Subramanyam (Sri Ramadasu)
15. Best- Singer (Female) Mamta Mohandas (Rakhi)
16. Best- J ournalist (Photo) Madhu (Eenadu, Sitara)
17. Best - PRO Pulagam Chinnarayana

Before this trauma, Clayton’s heart is already overburdened. Nursing an overbearing mother (Lena Olin), suppressed memories of his father’s death and a clandestine relationship with the sultry Samantha (Jessica Alba), he is relieved when a donor organ becomes available. The last-minute appearance of a substitute anesthesiologist, however, is not quite so encouraging.

Shot partly at Bellevue Hospital Center in Manhattan, “Awake” is filled with risible medical behavior (the sterility of the operating room is repeatedly compromised) and a horizontal Mr. Christensen screaming variations on “Oh no, I can feel that!” Made bearable solely by the impeccable Terrence Howard as Clay’s troubled surgeon, the movie is ultimately likely to alarm only those responsible for paying medical malpractice premiums.

The writer and director, Joby Harold, claims to have been inspired to write the film while suffering from a particularly painful kidney stone. Watching it may be for some a comparable experience.

It’s a gently concept, characterized by a script that falters only in the clinch, some agile if overly timid direction and a strong cast led by a superb Amy Adams. As Giselle, an otherworldly princess who falls to Earth (worse yet, Times Square), Ms. Adams proves to be an irresistibly watchable screen presence and a felicitous physical comedian, with a gestural performance and an emotional register that alternately bring to mind the madcap genius of Carole Lombard and Lucille Ball. Ms. Adams doesn’t just bring her cartoon-ish character to life: she fills Giselle’s pale cheeks with blood and feeling, turning a hazardously cute gimmick into a recognizable, very appealing human confusion of emotion and crinoline.

The once upon a time begins with the animated Giselle, a pastel creation with a pointy chin and trilling voice, merrily chattering with her furry and feathered woodland friends. Although she isn’t scrubbing down the front steps in rags and clogs, Giselle has clearly been conceived, more thematically than visually, along the same lines as classic Disney heroines like Snow White and Cinderella. She’s pretty, she’s perky, she’s flat (well, not entirely), and when she sings about her one true love, it isn’t long before he emerges on horseback, answering her call with a Stephen Schwartz and Alan Menken refrain of his own. Hi ho, hi ho, it’s off to the chapel they would go if not for his wicked, witchy stepmother.

One thing quickly leads to another until Giselle tumbles down a well and lands in New York, her drawn figure suddenly made flesh. There, amid the bustling and hustling, she finds shelter with a guarded single father, Robert (Patrick Dempsey), and his motherless daughter, Morgan (Rachel Covey). Melodrama looms, mostly and somewhat unfairly because of another woman (Idina Menzel), but the director Kevin Lima keeps the tone light and playful while also scaling some charmingly dizzy heights with two musical numbers, one a rousing, complexly choreographed song and dance in Central Park with what looks like the entire Broadway dance corps, the other a brilliantly surrealistic number with Giselle and some urban critters. You may never look at a water bug the same way again.

In some ways the film never recovers from the anarchic joys of this particular musical number, which is so flat-out bizarre and grotesquely funny — and executed straight, without knowing smirks — that it threatens to send the story off the rails. Part of this number’s pleasure comes from the naughty thrill of watching a beloved, near-sacred film — in this case, “Snow White and the Seven Dwarfs,” Disney’s sublime first animated feature — gleefully turned upside down and inside out. The old Warner Brothers animators used to take rollicking aim at Disney on occasion, but it’s something else to watch Disney send up Disney, as it were, and do it with such sneaky, breezy irreverence. It’s “Snow White” as redone by John Waters.

It would be too much to expect Disney to wholly dismantle its own mythologies, thereby freeing young female hearts and minds from the curse of Prince Charming, so it’s no surprise that “Enchanted” trips up on its way to the finish. The windup disappoints, as does Susan Sarandon’s Queen Narissa, who enters in a bilious puff as if dressed for a fetish ball. The queen arrives blessedly late to a party that lasts a remarkably long time, in part because of the dunderheaded Prince Edward (an excellent James Marsden), a crafty fly in the ointment (the equally stellar Timothy Spall) and a computer-generated chipmunk called Pip (voiced by Mr. Lima and Jeff Bennett). I’d gladly tell you about Pip’s close call with crucifixion, but I don’t want to scare the children.

The DreamWorks Animation formula, exemplified in the mighty “Shrek” franchise (and imitated by would-be rivals at Sony and Fox), is to charm the children with cute creatures and slapstick action while jabbing at the grown-ups with soft, pseudosophisticated pop- cultural satire. “Bee Movie,” directed by Simon J. Smith and Steve Hickner and animated by several hundred industrious drones, pushes this strategy almost to the point of dispensing with the kid stuff altogether.

There are a few splendid cartoon set pieces — including a funny, thrilling bee’s-eye tour of New York, from Central Park flora to the surface of a tennis ball to the inside of a speeding car — that show off the latest computer animation techniques. But most of the film’s creative energy is verbal rather than visual, and semimature rather than strictly juvenile.

Which is hardly surprising. As everyone knows by now, the leading man (and one of the screenwriters and producers) is Jerry Seinfeld, whose sitcom, almost a decade off the network air, lives on in syndication and in the endless recycling of memorable one-liners by a certain type of pathetic Gen-Xer. (Not me, though. I’m the complete opposite of every film critic you’ve ever met. I’m the master of my domain.)

Mr. Seinfeld provides the voice and attitude for Barry B. Benson, a young bee who has reached the stage in his accelerated bug lifestyle when he must choose a career. The hive where he lives is a highly regimented place, where the bees, conditioned by 27 million years of evolution, work without a break in the same job for their whole lives. Visually, this world resembles a sweet, sunny, corporate version of Fritz Lang’s “Metropolis.”

Barry’s nerdy pal, Adam (Matthew Broderick), accepts his drone future as part of the natural order of things, but Barry is a maverick, an individualist yearning to break out of the conformist world of the social insects.

He may also remind some viewers of Benjamin Braddock, the alliteratively named hero of “The Graduate,” a film that “Bee Movie” cites in a few amusing scenes. Not that Barry has an affair with a middle-aged mama bee (all bees are children of the queen, a biological fact the film notes only in passing). Instead he flies even farther from the nest, so to speak, falling in love with an actual human being, a Manhattan florist named Vanessa who speaks in the irresistibly sweet voice of Renée Zellweger.

When you stop to think about it, the prospect of romance between a bee and a person raises some potentially awkward, not to say physiologically outlandish, questions. But of course you’re not supposed to think about it. The moral of the story — one of them, anyway — is that we and the bees are interdependent and that we should respect their hard work.

This lesson is satirically driven home in a courtroom plot that erupts just as the love story starts to get sticky. When Barry discovers that honey is sold in supermarkets, and that it is harvested from captive bees held in smoky, shoddy fake hives, he sues the human race, going after some of its notorious bee abusers. These include Ray Liotta, who sells his own brand of honey, and Sting, whose name is obviously offensive to bees. (Both celebrities make cameo voice appearances, as does Larry King, playing a character called Bee Larry King. It’s funnier than it sounds. Or maybe it’s exactly as funny as it sounds.)

Even when playing an animated bee, Mr. Seinfeld does not demonstrate great emotional range. His comfort zone as a performer ranges from peeved to perplexed to moderately psyched, with occasional bursts of obvious exaggeration to indicate that he is at least aware that more intense states of feeling exist. But his detachment works in the movie’s favor by defusing its sentimental impulses.

Perhaps because of its star’s background in stand-up comedy, “Bee Movie” makes overt a conceit that is usually left implicit in animal-kingdom cartoons, namely that species is the cartoon version of ethnicity. Barry and his tribe are not just bees. They identify as “Beeish” — I’m sure “Benson” was something else back in the old country — and worry about their children dating wasps. On his travels Barry meets a mosquito who speaks in the voice of Chris Rock and who refers to his despised and misunderstood brethren as “bloods.”

These riffs on identity politics, a durable if sometimes risky source of humor in American pop culture, give “Bee Movie” an extra fillip of comic vitality — the hint of a sting, if you will, in an otherwise soft and fuzzy entertainment.

Very rarely we come across realistic portrayals in Tamil cinema. Some filmmakers do deal with various shades of life but more often than not they indulge in diluting the reality in their pursuit to ensure commercial success. Some directors, however, achieved the rare combination of undiluted reality meeting with commercial success. Debutant director Vettrimaran’s ‘Polladhavan’ has all potential to become one such attempt.

The movie opens with a gruesome fight involving Dhanush. The movie revolves around a clash between a person belonging to mafia and an innocent lower middle class boy. The narrative moves on in a non linier manner with the two narrating the story from their respective angles. No, please don’t get it wrong. It is not Akira Kurosawa’s Roshoman like narrative where in you get different perceptions on a single event. In ‘Polladhavan’, the narration is shared by two characters.

Prabhu (Dhanush) who has just now brutally attacked three thugs with a sword comes out of the building and rests his wounded body on his beloved bike. He is now heading towards meeting his praise catch that is Ravi (Danial Balaji), the younger brother of all powerful mafia leader of North Chennai Selvam (Kishor Kumar). He recalls, for a moment, what that bike has brought to him before moving ahead for his hunt.

The flash back shows the happy-go-lucky boy longing for a Pulsar bike. It goes to show the life in a North Chennai street where life is quite difference from that of South Chennai. The boys are playing carom board on the street. Prabhu is sharing the pain of his failure to get what he loves most - a bike and a girl.

The narration shows the status of Prabhu’s family. The father is the breadwinner of the lower middle class family and the boy, a jobless graduate, is roaming around without responsibility. When caught red-handed for stealing pittance from his father for booze with his friends, Dhanush questions his father’s responsibility towards his upbringing.

The father feels humiliated and reacts sharply by arranging 70,000 rupees through his hard earned savings. He gives the money to his son and asks him to do something on his own.

The boy immediately gets one of wishes fulfilled. He gets a bike. His family is stunned. But Prabhu is determined to get a job, and fortunately he gets one with the help of his bike. He joins as a loan officer in a bank.

His other passion – to woo a girl (Divya Spandana) he meets in the bus stand for more than two years – too gets fulfilled. Prabhu is the happiest person on the earth. He has got a bike, got a girlfriend, and a decent job.

Everything gets terribly disturbed when everything seems to be well. There is another world beneath the surface. There is a mafia gang that deals with drug trafficking and various other anti social activities. Selvam is the leader of the all powerful gang.

The gang has its own complications. The younger brother Ravi of the leader is not happy with the way he is treated. He is full of jealous and anger on a gangster named ‘Out’ (Bhavan), who is the trusted lieutenant of Selvam. The leader is not supporting his brother doubting his talent. Ravi’s grudge against his brother and out grows stronger day by day.

Prabhu has a tryst with underworld when his bike gets stolen in a spot where a brutal murder takes place. Dhanush is shattered. He wants his bike back at any cost. Unfortunately, he gets to lock horns with the underworld criminals in his pursuit to find his bike. He gets into dangerous zone but his blind passion towards his bike pushes him forward. This put his and his family’s life in danger. His love is in danger. The inner conflict within the underworld makes his condition worse. He is in for trouble. Big trouble indeed.

Does he get back his bike and love? Could he save is family from the brutal gang?

Director Vettrimaran has come out with an engrossing and realistic experience on celluloid. Making films based on the lives of underworld is not new but making it with amazing reality is. Though the movie resembles Selvaraghavan’s ‘Puduppettai’, it maintains its individuality by sticking to a well crafted script and stylish execution.

Director and his team have done their home work neatly. They have captured the dialects, mannerisms, and life style of the underworld mafia group with precision. The film has also unearthed some hitherto unexplored areas like bike theft network. He has also illustrated the functions of a modern banking network well.

The characterization too is worth mentioning. Especially the character of Selvam. The nuances of father-son relationship too have been portrayed well. Well done Vettrimaran!

R. Velraj, the cameraman, deserves special mention. He has worked wonders in capturing the gruesome reality of the underworld. The lighting in various time spaces is wonderful. The picturisation of climax fight is outstanding.

As far as the script is concerned, the compactness is marred by two songs. One is the marriage song and another one is the item song. The love track too is weak.

Portraying an innocent, turning into a warrior is a cakewalk for Dhanush. He has done it in the past and does it here with amazing ease. He has credibly depicted the transformation within the character.

Daniel Balaji, Bhavan, and Kishor Kumar have brought the underworld with all its colors and shades with astonishing perfection. They all have lived up to the expectations of the director and have added credibility to the reality f the movie.

Though Divya doesn’t get any scope to act, she looks pretty and adds glamour to the fare. Her pleasant looks serve as balancing factor to the otherwise gruesome movie.

Karunas has rendered a commendable performance as an auto rickshaw driver, who helps Dhanush in his endeavors. His dialogue delivery and expressions are amazing. Santhanam, as usual, plays the friend of the hero and gives comical relief.

Murali and Bhanupriya as Dhanush’s parents have done their parts well. They together flawlessly portray a lower middle class family.

Young music director G.V. Prakash has done wonders. The songs, which are already rocking, are well picturised. The remix version of ‘Engeyum Eppothum’ stands out. One wonders how SPB has maintained the sweetness of his voice for so many years. Yogi B, the sensational Malaysian singer is a revelation. ‘Minnalgaley’ sung by Karthik and Bombay Jayashree is a soothing melody. The background score adds value to the entire proceedings.

The bottomline: ‘Polladavan’ is a clear winner with its reality, style, and performances. Though the violence, in some places, does make it a gruesome experience, the brutality reflected in the narrative has been justified by the script, as it attempts to show the life of ruthless underworld. Here the rules are different and so is the reality. The A certified film is strongly recommended for those who have stomach to digest some hard reality and gore violence. After all, we have seen more violence on some U certified movies as well.