Romeo

Super feel good movie. With a new epic scene give feel good movie Vijay Antony I like his performance very much must need to watch all couples need to watch best bonded brother sister movie Vijay Antony comeback may be this movie gives the feel which have every watch the movie did a option to the movie can be the latest and need to review as good Super feel good movie. With a new epic scene give feel good movie Vijay Antony I like his performance very much must need to watch all couples need to watch best bonded brother sister movie Vijay Antony comeback may be this movie gives the feel which have every watch the movie did a option to the movie can be the latest and need to review as good.

You heard me right, it is "Rab Ne Bana Di Jodi" - Lite. You wont get fooled if you watched "Rab Ne Bana Di Jodi". Their is a tamil touch but its a 90 percent copy. So chill and watch if you need a time pass. I would call it a "one time watch" for sure. The characters are also from the same catagories, One unexpected marriage between two people (Simple hero and heroin with a dream), hero being mature handles the immature heroine and does all stuffs to move her and finally it all pays off (so it is "Rab Ne Bana Di Jodi" - Tamil), Looking forward to a better movie from Antony bro and team. Better luck next time guys.

I was misled by the poster; expected that this movie would be a comedic journey of husband and wife. But Romeo was a film within a film which is too filmy to be true.

The intentions of the crew and director is not wrong. They wanted to give a movie which empowers the relationship between a married couple the strength of positivity as good words. But they forgot that life is not just that and contains many more emotions, feelings and actions.

Yogi Babu and VTV Ganesh delivered their usuals. Mirnalini Ravi performed well. The songs were average. A good kuthu/rap song could have been fitted well. Would have been a great comeback of his mid-2000s like chartbuster songs.

The protagonist is portrayed as the quintessential "nice guy," a character archetype often romanticized yet critically flawed. He is profoundly in love with his newly-wedded wife, who remains emotionally detached and indifferent. Her decision to marry him is driven solely by a desire to escape an oppressive family situation, rendering her oblivious to the genuine affection and devotion he offers. Despite her cold demeanor, the protagonist remains undeterred, embodying the trope of the ever-patient and endlessly accommodating "nice guy."

The film painstakingly details the protagonist's attempts to win his wife's love, showcasing his willingness to cater to her every whim and desire. From lavish gifts to thoughtful gestures, he indirectly fulfills her wishes, operating under the naive belief that his persistence and kindness will eventually be rewarded with her affection. This relentless pursuit raises a central question: Will she ever come to realize her mistake in not loving and accepting such a "nice" man?

While the film tries to present a heartfelt narrative, it is fundamentally undermined by its troubling premise. The storyline appears to emanate from an antiquated and problematic mindset, one that perpetuates the notion that a woman's love can be earned through persistent kindness and material provision. This perspective aligns uncomfortably with the "incel" ideology, which posits that women owe affection to men who deem themselves deserving based on their perceived niceness.

The film sporadically delivers moments of humor, attempting to lighten the mood and distract from its core issues. However, these comedic interludes are insufficient to overshadow the film's fundamentally flawed narrative. The humor, though occasionally effective, cannot mask the underlying message that feels both outdated and pitiable.

Moreover, the character development is shallow and one-dimensional. The protagonist's unwavering devotion and the wife's unyielding indifference lack depth and complexity. Their interactions feel repetitive and predictable, further detracting from the film's emotional impact. The wife's character, in particular, is portrayed with a lack of nuance, reducing her to a mere object of desire rather than a fully realized individual with her own motivations and feelings.

The film's direction and cinematography, while competent, do little to elevate the material. The visuals are adequate, but they fail to bring any significant innovation or creativity to the storytelling. The soundtrack, too, is unremarkable, providing a serviceable but ultimately forgettable backdrop to the unfolding drama.

In conclusion, this is a film that struggles under the weight of its own misguided narrative. It attempts to tell a story of unrequited love and devotion but ultimately falls short by adhering to a problematic and outdated perspective. The moments of humor and competent technical execution cannot redeem the film from its core issues, leaving viewers more exasperated than entertained. It serves as a reminder that the "nice guy" trope, while often romanticized, is deeply flawed and reflective of a broader societal issue that needs to be critically examined rather than perpetuated.

This movie centers around the relationship between a husband and wife. The husband attempts to win back his wife's love, who was pressured into marriage by her father. Despite some missteps, the movie is generally enjoyable, even though the humor falls flat. I wonder if I'm the only one who feels this way.

On a more emotional note, the movie brings out the protagonist's grief over his deceased daughter through Janani (the main character's sister). I was touched by the scene where he describes holding her hand tightly and never letting go, fearing she was lost in a riot between two groups that attacked their bus. His attempt to find solace by imagining her alive and happy somewhere in the world is a powerful portrayal of grief.