Very very predictable, including the post credit scene !!!

Self-important, over-dramatic, uninspired.

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

I'm not the eligible one to review this film, But this post is just about how I felt while and after watching the movie!!! As a general audience the first question that pops into your mind would be "Did you understand the film?", to answer that, this movie has a simple story with extra ordinary message sent through a brilliant screenplay and dialogues. The entire story of the movie has been revealed in trailer itself. The chemistry between K.B sir and Kamal Sir was outstanding, you will see a whole new M.S.Bhaskar in this movie. Kamal Sir's Scenes with Jayaram and Kamal Sir's son was so realistic, they had a perfect understanding between them. Urvasi Mam and Parvathi Nair have also done really good. The guy who played as Kamal sir's son cleanly nailed it. The visual effects in the movie could have been better. Ghibran's music was extremely good and cinematography was absolute. I wonder why few said that the dialogues were tough to understand, The lyrics of Iraniyan Naadagam was little tricky to understand otherwise the movie had normal thamizh and classical Tamil dialogues which everyone can easily understand. The Screenplay was so beautifully done, where the last 30 minutes of the first half seemed to be a bit of a drag, but that's what you can expect from a story like this, you'll understand it when you watch it. There will be many scenes which will give you goose bumps like the one when K.B sir says "No one can act like him, he is my student" As second half moved on to the climax I really wished that the movie never ended, but it has to. The movie is a mix of comedy and emotion throughout the climax, there are few scenes which gave me mixed emotions, I didn't know whether to cry or smile at the dialogues and humor. When I Imagined Kamal sir as ManuRanjan, I couldn't stop the tear rolling down from my eye. No one can replace him ever. Actor, Director, Writer, Singer, Dancer, Producer. A true legend. Guys all am saying is be proud that you have born in the same period and same country as Kamal Haasan sir did.

I wouldn't have reviewed this because it would be too small in front of Magnum Opus like Mr Kamal Hassan, Nasser,K. Balachander,Dr. K. Viswanath etc . The point I wanted to convey is we never get to see Yamini but feel so much for that invisible character and we feel want to see who that is for the entire time. The story was damn too good and the music by Ghibran was awesome especially the music called Letter to yamini. The movie I gave 9 because of the character portrayal by 2 ladies who made this movie too horrible to watch Pooja (was most terrible of all) and then Andrea. My god casting should choose better ladies to portray characters(especially strong characters) instead of these. I like Urvashi's character portrayal even though her I began hating her due to recent public appearances she made as drunkard (in Legislative assembly and during her divorce). It's unfortunate to see such talent go wasted with drinks and alcoholism.

Epic of a movie. Epitome of brilliance.But, But its a Flop.Can you believe it? People who really love cinema should watch this. I don't think any other actor would have done justice to the role he has portrayed. Frame to frame, the clarity, the emotions, eternity, the only actor who can quench my thirst. I don't think any one has the right to review this genius. But then, anyone can appreciate. Appreciate and celebrate our Ullaga Nayagan. As usual a commercial failure. But a cult classic in coming years. For this actor the list grows on. Hope he stops aging, so that i can watch his movie for my life time.

At one point in Uttama Villain, K. Balanchander quips that he would not make a movie about a man suffering from a terminal brain cancer. "It would be such a cliché!". It is a meta-commentary on Uttama Villain - which is about the last hurrah of a matinée idol, which needs an interesting mind like Kamal Hassan's to make this cliché work.Kamal Hassan plays Manoranjan, a super star who acts in commercial potboilers, the kind of films that drive his adulating wife and his skeptic son crazy for entirely different reasons. The film opens to other adulating fans, and a song with an intentionally bad choreography where Kamal Hassan hams it way too up. When Manoranjan realises that he does not have much time left, he leaves his stardom and the baggage that came with that, to join forces with Margadarsi (played by K. Balachander to whom this film is dedicated), to make the kind of film he wanted to act as a budding actor. It is at this point the meta commentary is made, and is followed by a heartwarming performance, and the effect is amplified by Balachander's recent passing, as he grieves for his disciple's impending demise.The movie premier and the launch party provide a platform for most of the peripheral characters (but by no means minor) to come together. To Ramesh Aravind's credit he keeps a tighter watch. One of the most fascinating things about the writing is not how the characters steer the story forward, but how they seem to shape Uttama Villain's narrative form, seemingly without the director's aid."Uttama Villain" the historical comedy film that Margadarsi and Manoranjan make works mostly well, delivering laughs by deftly recycling Tamil proverbs and idioms ("Pudhu katthi kuthuthu", "Mudivurai illa Kaaviyamnaan"). The inner film is almost a "Imsai Arasan 23am Pulikesi", relying on a happy-go-lucky hero, a laughably lecherous villain and a heroine with a sexy midriff. Kamal, Nasser, Pooja Kumar ham it up to extremely verbose (at times funny and thought provoking) semi-classical Tamil lyrics. The movie making in the inner "Uttama Villain" itself is extremely primitive, and if you listened to songs before watching the movie, you are bound to be disappointed. But it fits within the picture of what the outer "Uttama Villain" wants to achieve, and manages to keep you distracted from the realities of Manoranjan's life.Quite contrastingly, the outer "Uttama Villain" is full of neat performances. Early on, M.S. Bhaskar's character reacts on his belated finding of Manoranjan's illness with a sense of betrayal, considering it as an act of retaliation to his own earlier betrayal. This is a rare moment in the outer "Uttama Villain", when a character loudly vocalizes his feelings. It begins with a hint of self awareness, which seems to progressively collapse under the weight of his sorrow. The next scene where he visits Kamal, is well thought and well executed. Bhaskar betrays a slight sense of guilt, when he reads the lines in the letter that indict him. The staging helps the characters to perform to each other, without overwhelming the audience with their feelings. Many a time, the film tips toes around this territory, and mostly manages to maintain a mood that is sombre but not tear jerking. It also helps that we don't know Yamini (whose name is the best of the movie's word plays), and are not deeply invested in her. But interestingly, M. S. Bhaskar pales into insignificance after this scene. The explanation comes much later, when Manoranjan points to Manonmani (Parvathi Menon who holds herself against Kamal Hassan in another well executed scene, when she first meets Manoranjan), her picture in a sort of a family tree, of people that mean something to him. That's what the outer "Uttama Villain" is about, how Manoranjan makes peace with those that matter to him, and vice versa.What makes "Uttama Villain" interesting is how it derives from the film within the film. If Uttaman tricks King Mutharasan, by claiming to possess immortality, Manoranjan derives some personal mileage from his impending death. He manages to soften ties with his mentor, gets to read Yamini's letter, endears himself to his daughter born out of a wedlock, and his son. It is the awareness of his mortality that allows these characters to overcome their hard feelings against Manoranjan.The "Iraniyan Kadhai" does not only provide the perfect platform that deals with immortality, it is also an early Indian example of that story telling technique the patrons of ancient Greek theater despised. If Kamal dropped hints in "Dasavatharam" about the impeding dues ex machina, he does it more discreetly here. It is a delight to find an example closer to home, as Mutharasan tears down a stage property to emerge out as Narasimhan, but only to be outwitted! At other places, Uttaman rues the absence of a rationalist in his village, who would have explained how he survived the snake bite, dares to invoke that pun on Lord Vishnu's name and pokes at "Arya Bhattars", and largely manages to get away with it.And another interesting thing about "Uttama Villain" is that film's recursive structure is deftly hidden, and only surfaces due to the necessities of the characters, as opposed to "Inception" where the structure served as a metaphor. The inner "Uttama Villain" comes about because Manoranjan needs to make one final movie. The "Iraniyan Kadhai" comes about because, within the inner "Uttama Villain", Mutharasan wants to attain immortality. Chants of Mrityunjaya (The Immortal?) are peppered throughout the soundtrack, (which itself is excellent and probably Gibran's best since his debut) and appears within each story. If the difference is passage of time separated the levels in "Inception", it is the sophistication of the medium that distinguishes the levels in "Uttama Villain". When "Iraniyan Kadhai" ends with a twist ending, it provides ... Full version of this review can be read at http://arun-rathakrishnan.blogspot.com/2015/05/uttama-villain.html)