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 Fast Facts:
Shyam works for an ad agency. Jaya Re is in love with him. But he refuses her advances by telling her bluntly that he doesn't have any such feelings for her. He gets the same answer from his cousin Sneha whom he loves. Jaya Re decides to avenge her failed love. However, Shyam chooses to keep his love for his cousin alive and to continue pouring his love out for her even after she refuses him point blank. What happens in the end? She falls in love with him too, of course. Tamil cinema has seen such stories countless number of times. 'Poove Unakkaaga' and 'Rojakootam' indirectly belong to this category. In those films, the incidents narrate the story. In this film, Vasanth's approach stops with the dialogues alone. A story like this hasn't been dragged properly with a good screenplay. As a result, the movie, especially the first half of it, fumbles along and gives us the feeling that the story is drifting along aimlessly. 
This is why the Vasanth who is known for his realistic scenes, seems so
out of place. One has to search for his signature style here. The scenes
that were meant to be very engaging look absolutely drag. Here is a list
of some ridiculous annoyances.The definitions for PMK-DMK. Framing Shyam's underwear that he wore as a kid. Sneha tells Shyam that he shall get the girl of his dreams that day and gifts him a doll. Shyam knocks the bathroom door when Sneha is having her bath, to take a picture of her eyes (!), sister accompanied. Sneha faints when the extreme tip of her sari catches fire and Shyam lifts her in his arms and runs for safety. A director shouldn't frame such scenes even if he only half awake. However, Jaya Re lustfully hugs Shyam in a scene. He frees himself from her hold and says, 'now I realize that I love Raji (Sneha)'. Here, love is depicted realistically. Shyam plays a down-to-earth person. It's touching to see the way he continues to treat Sneha with all the love and affection even when she refuses his love. Sneha reflects the title of the film. So good she looks. Its surprising the way she had been stuffed up with glamour as much as possible throughout the film. As if the glamour in the song sequences were not enough, we have her opening the bathroom door twice in the middle of a bath. Jaya Re lives all alone in that palatial house. Nobody explains why. Vivek plays his usual self. This time too, he is the hero's friend. He indulges in Eve teasing, boozes and makes us laugh too. As an additional track, we have the story of 'Aha' Rajeev Krishna. He hangs himself to death when his love fails. The kind of concern Sneha has for him in the film makes one wonder if there's something between these two characters. 
The film has five music directors. The little bit of melody and
sweetness that the songs have is lost in the tasteless picturisation of
the songs. The 'yamini' song is a remake version of 'aval varuvaalaa'
and ' konjum naal poru thalaivaa'. When the tuneless 'poi sollalaam'
song plays on the screen everybody in the theatre is busy talking to
each other.The cinematography of 'Dil's Gopinath is the only point of consolation. Towards the end Sneha says, 'Even when I told him that I hate him, he tells me that he loves me. He is the one I want for my husband.' This is the scene in which her feelings for Shyam take a U turn. This scene should have been done so powerfully well, but… Instead, we have Shyam fighting with the by-standers for a full five minutes (Action sequence!), and in the climax, they decide to take revenge on him by poking a screwdriver in his back. These scenes seem more important to director Vasanth. The only good thing about the film is - we get to see Sneha looking gorgeous in some beautiful costumes. Alright. Director Vasanth had given us a definition of what a good screenplay should be like in films like 'Kaeladi Kanmani' and 'Aasai'. How could a director like him sink to Kindergarten levels in later films? Think Vasanth, think. For your own sake atleast. (Four out of your six previous films have flopped.)
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