Kanchana 3 Review "A Harmful Addition to Raghava Lawrence's Successful Franchise, Oviya Vedhika- Cinema Express

The Muni series has the largest number of films from a franchise in our sector. Raghava Lawrence has produced a film every four years since Muni was released in 2007. The series, a pioneer of the horror comedy genre that has been abused since, appears to have reached the public with the family audience, apparently there. This is largely due to his burlesque humor and his well-written paranormal sequences. The last offer of the franchise, Muni 4: Kanchana 3 however, takes all of this for granted and we end up with a mess.

Director: Raghava Lawrence

Distribution: Lawrence Raghava, Kovai Sarala, Devadarshini, Oviya, Vedhika

Let's start with the title. The first film called Muni while the second, entitled Muni 2: Kanchana is more successful. This would have forced the producers to call the third film, Muni 3: Kanchana 2: Ganga . I would not have been surprised if they had named the last installment, Muni 4: Kanchana 3: Ganga 2: . Fortunately, they went with Muni 4: Kanchana 3. If only this simplicity was also translated in this film.

The three previous films have always shown us, at first, a glimpse of the ghost. Muni showed us how the character of Rajkiran was killed, the second film showed how a piece of land is haunted, while the third shows how a house is taken over by spirits. What we get in this movie is a true introduction to the mbad hero for Raghava Lawrence. He is going to kill people while the loud and discordant music seems to knock down our hearing.

A big disappointment of this film is its flashback. The first three films were performed by Rajkiran, Sarath Kumar and Nithya Menen. But in the last installment, we get … Raghava Lawrence again. The flashback follows the hardships and tribulations of Kaali, a Rajini reference that even leads to a song of ketta paiyan saar intha Kaali & # 39; . This character seems to have been engraved with the real character of the actor and his acts of charity. These parts are deeply uninteresting.

The manner in which this film describes its three main female roles, to the exclusion of the one that appears in the back-and-forth sequences, is another disappointment exercise. For starters, there is no sound reason why we have them all (Oviya, Vedhika and Nikki Tamboli). All three of these heroines have nothing productive to do in the film and seem to define themselves by their lean appearance. Their job, it seems, is to woo Raghava (Raghava Lawrence), because, as dictated by the Tamil cinematographic traditions, this is what [mamaponnunga] does. Lawrence announces their arrival by calling them "numbers" for his parents. Shortly after, in a scene, he says: " Moonu perum onna vanthalum, ready to be ready " and this time he addresses his grandparents. As if that were not enough, even the ghost who, as you guessed it, seizes Raghava's body, again qualifies these women as "figures". We then get a scene in which he spanks each one of them. I would have liked to invent that. Also, remember the recurrent idea of ​​Raghava jumping on the hips of those nearby when he is scared by a ghost? All the films in this film have the privilege of wearing it.

The film is not interesting, even when the plot thickens. A random family believes that their daughter has serious stomach problems, even when the young woman does everything we saw in the movies Exorcist and runs the arms in the air as an animation movie character. The scene where the exorcists visit this particular ghost, the family would have lit candles throughout the house, even though no one asked and we know why – just because the ghost can appear and put out the candles in one go . These were one of the scenes that were unintentionally funny. The action sequences are bloody and are certainly not the kind that one could hope for in a movie meant for kids. If heroes hit henchmen from one end of the street to the other, it is a cliché, ghosts can apparently hit a person from an empty parking lot to a chasm. Speaking of which, the climactic fight takes place in a crematory setting that reminded me of Sakarnakatti's Chinnamma Chilakamma (19459005) (which was also performed by Vedhika) .