The plot of Aranmanai 4 Movie :
A brother discovers that there is a sinister supernatural force at work when he attempts to learn the truth about the death of his estranged sister, who is thought to have committed suicide. Before it's too late, can he at least save his tiny niece?
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Aranmanai 4 Movie Review:
It is understandable that Sundar C has returned to this franchise once more to bolster his box office cred following the disaster that was Coffee With Kadhal, considering that Aranmanai 3 managed to earn a profit in spite of the unfavorable reviews. However, you have to give the director credit for creating a formula that is virtually impervious to criticism. Reviewers might easily pass off their analysis of this most recent installment by just copying the director's strategy and restating key points from their analyses of the prior movies. So let's get started!
Aranmanai 4 accomplishes its goals by sticking to the format established by the first movie, which was a rewriting of Aayiram Jenmangal's story. It is happy to coast along with the mindset that "people will see this movie no matter what." It features the tried-and-true essentials: attractive A-list actors who can appeal to young people (in this case, Tamannaah, who gets to turn up the drama to a level she's never seen before, and Raashi Khanna, who plays a part that occurs throughout the movie but barely has any significance),
a spiritual element that might appeal to the women (featuring a cameo by a former actress in the climactic song; here, we have two!), scary scenes that excite children without frightening them (they can peek at the scenes through their fingers without worrying about having nightmares), and family-friendly comedy (though the humour quotient keeps going down with each film; Yogi Babu and co are quite unfunny here).
The glitzy mansion, formless smoke figures, violent killings, kids who can sense or see ghosts, foolish comedians who get thrashed by them, godmen spitting out esoteric platitudes, melancholy flashbacks, cheesy special effects, and, of course, Sundar C in an avatar that combines detective skills with mass-market heroism, facing off against both ghosts and henchmen with the same unwavering expression.
This time, a woman attempting to shield her children from the spirit world after they were brutally slaughtered by a demonic creature serves as the storyline, or clothesline, on which the director hangs these clichés. This is baak, a monster from Assamese mythology that, although it is depicted in a manner akin to the ghosts in the previous films, may assume the form of the person it murders. Subtext is the last thing this movie should be concerned with, but in another movie, the wife dies trying to defend her children from the baak, who has assumed the shape of her husband. This may be interpreted as a remark on domestic abuse.
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