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The biggest strength of Idhu Namma Aalu is its leads — Simbu and Nayanthara. It is canny stunt casting, and this is one of the few things that director Pandiraj has gotten right in this film. The audience know that they share a history, and Pandiraj uses this fact and tries to spin a romance around this. The actors play Siva (Simbu) and Myla (Nayanthara), who have grown up in a small town but have moved to Chennai for work. Siva's father (Jayaprakash) arranges for him to marry Myla, and he, too, falls in love when he sees her. But Myla knows that he was once in a relationship with her friend Priya (Andrea, whose only cue seems to have been: keep smiling). Will this make her reject him? The problem with Idhu Namma Aalu is that Pandiraj seems to have gotten content with his leads that he fails to create an engaging story around them. Every moment feels stretched beyond its welcome, and there are many scenes where we can sense that the director is trying too hard to make them seem cute (Simbu calling his dad 'buddy', the lovers calling each other as kuttima and ammu, which starts to grate after a point) and hep (every time a character dials someone, a dialler screen pops up on the side of the screen!). Scene after scene and dialogue after dialogue keep reminding us that we are seeing Simbu and Nayanthara on screen by referring to their once-upon-a-time relationship, and Simbu's quirks — his playboy image, his knack towards getting into controversies, and even his worship for Ajith. After a point we stop seeing them as Siva and Myla and so never really care for the characters. Of course, this approach works sometimes. Pandiraj can still write catchy dialogues, and his one-liners for Soori keep us cracking up now and then. He is also smart enough to make this much-delayed film seem current by using lines and songs from recent films like Theri and Vedalam in the background. And Simbu, too, gamely lets everyone take a dig at his real-life and tries to liven up things. But is that enough? There is a sudden conflict introduced in the end so that the movie can reach its climax and it is laughably bad even for a film that is this fluffy that we can only cringe at the lack of imagination. From once being considered as a promising new-age director, Pandiraj has turned into a filmmaker who so badly wants the audience to love his film that he has started to readily give them what they want, even if means doing something that is routine. But what is worrying is will he be able to change track or has he gone too far?
All-American couple who try to bridge the generation gap with their free-spirited son on a trip, frisky business and misunderstandings galore ensue, all funny, vibrant and charming.
After a fictitious marriage with a Russian emigrant, Cellisten Louka, a Czech man, must suddenly take responsibility for her son. However, it’s not long before the communication barrier is broken between the two new family members.
Loving but irresponsible dad Daniel Hillard, estranged from his exasperated spouse, is crushed by a court order allowing only weekly visits with his kids. When Daniel learns his ex needs a housekeeper, he gets the job - disguised as a British nanny. Soon he becomes not only his children's best pal but the kind of parent he should have been from the start.
Despite their social differences Luise, called Pünktchen, a girl from rich parentage befriends Anton, a boy who has to earn his own money in order to afford life for his sick mother and himself. Together they undergo different adventures, even preventing a theft in Pünktchens home
Luise, called Pünktchen, and Anton are closest of friends. Being the daughter of a wealthy surgeon, young Pünktchen lives in a great house. Her mother, who always travels through the world more for public relation reasons than for the social tasks she pretends to fulfill, is never available to her as a mother. Anton, son of a single and sick mother in financial trouble, does his best to help her out of it by working late. Pünktchen decides to help her only friend (as nobody else would anyway) and starts singing in public places. Trouble arises when Anton can't resist stealing a golden lighter and Pünktchen's secret life is discovered by her parents. Two troubled families finally can see the need for actions to be taken.
After the death of his mother, a young boy calls a radio station in an attempt to set his father up on a date. Talking about his father’s loneliness soon leads to a meeting with a young female journalist, who has flown to Seattle to write a story about the boy and his father.
Stefan and Kai run a thriving business: a home-grown cannabis trade disguised as a pizza delivery service. For now they just have to fight aphids.
A young man spurs romance and helps his friend and himself go through the struggles of their ordinary life in Denmark.
The star player of Icelands top football team causes a stir when he admits to being gay to his team mates and then goes on a journey to discover himself (with the help of the local press). He soon finds himself on the bench for most of his teams matches and decides to call it quits and join a small amateur team made up of men like himself - gay guys trying to play football in a straight world of Icelandic fishing culture machoism
Renowned oceanographer Steve Zissou has sworn vengeance upon the rare shark that devoured a member of his crew. In addition to his regular team, he is joined on his boat by Ned, a man who believes Zissou to be his father, and Jane, a journalist pregnant by a married man. They travel the sea, all too often running into pirates and, perhaps more traumatically, various figures from Zissou's past, including his estranged wife, Eleanor.