Nimir (lit. Arise) is an upcoming Indian Tamil-language comedy-drama film directed by Priyadarshan and starring Udhayanidhi Stalin, Namitha Pramod, and Parvatii Nair. It is a remake of the 2016 Malayalam-language film Maheshinte Prathikaaram, with changes made to the screenplay to suit the cultural and regional tastes of Tamil audiences. The film is scheduled to be released on 26 January 2018.
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Nimir Movie Cast and Crew details ,News, Complete Details
|Nimir Movie||Cast and Crew details ,News, Complete Details|
|Director of Nimir||Priyadarshan|
|Release date of Nimir||Januvary 26 2018|
|Hero of Nimir||Udhayanidhi Stalin|
|Heroine of Nimir||Namitha Pramod|
|Producer||Santhosh T. Kuruvilla|
B. Ajaneesh Loknath
|Cinematography||N. K. Ekambaram|
|Running time||163 minutes|
|Production Company||Moonshot Entertainment|
|Latest News about Nimir||Latest News|
Nimir Movie Review
The initial couple of scenes of Maheshinte Prathikaram and Nimir are the same on paper. We are acquainted with a couple of genuinely utilized shoes that are being cleaned fastidiously. While Mahesh (Fahadh Faasil who plays the lead in the first) just places it on the banks, a true to life minute is made around Udhaynidhi. Selvam (Udhay) lifts the match of shoes high over his head like a trophy in a signal that feels near triumph. After an unassuming presentation, Maheshinte Prathikaram gives us “Idukki” — a tune that is energetic and rich in culture. Here we get a similarly flavorsome “Poovuku”, that showers us in sentimentality from the towns we used to see on screen in the 80s. Be that as it may, the impact is somewhat defaced when the tune is halfway utilized as a move number. Likely the most business figure of speech ever, we have irregular ladies moving around the fields with exposed midsections. Nimir is a genuinely reliable redo that very fills its need aside from the circumstances it plays to the display.
There is nothing amiss with Nimir, yet the redo doesn’t exactly coordinate the honesty and viability of the first. A ‘cut of-life’ dramatization, what worked for me the most in Maheshinte was the microscopic shocks that were tossed our direction. Take the primary telephone call between the lead character and his better half. In Maheshinte, the call just fills in as an insignificant presentation of the part of the sweetheart. Notwithstanding, in Nimir, we get enough material to judge the character, that makes her later problem insufficient. We aren’t ‘told’ what happens, we simply become more acquainted with. With a boyish Udhay in focus, Nimir feels more like a ‘transitioning’ show (Even the title is suggestive of the same). The impact is intensified with the fleshed out connection amongst Selvam and his dad (Mahendran). Set up of his obscure single word pointers, we find longwinded solutions. Much the same as the ladies who move in the introduction melody, the arrival of Selvam’s ex toward the finish of the film is most likely Priyadharshan’s greatest shot to the display. What’s more, some way or another that worn out piece around the ‘scolding, commanding spouse’ appeared to in any case inspire rambunctious chuckling. Murmur.
The film’s visuals are amazing. The Thenkasi in Nimir helps to remember the great shading palette our towns characteristically have and Priyadharshan has benefited as much as possible from it. It likewise a return to a way of life that is presently relatively terminated — one where water bodies are merged purposes of human connection. Supporting to the visual style, the music is astonishing. Ronnie R Raphael (foundation score), Darbuka Siva and Ajaneesh Lokanath give some stupendous music. Nimir’s music and breezy sonic tones inhale bubbling into the pretty edges.
To total up, Nimir’s straightforward, laid-back story will undoubtedly influence you to reel in sentimentality in the event that you haven’t seen the first. For the individuals who have, expect a genuinely unwavering revamp that exceeds at focuses to fulfill the standard and you won’t be frustrated.