In Tamil cinema, when a film with a new theme becomes a hit, we immediately see a string of movies with a similar theme making it to screens. But S.J.Suryah's hit Vaali was left alone, probably because no other director was willing to tackle the controversial subject. But our filmmakers seem to have become bolder and in quick succession, we've had 2 movies dealing with misplaced, obsessive love with incestuous undertones. Luckily Uyir, though it doesn't come close to Vaali's standards, is more entertaining than the recent Kalaaba Kaadhalan.

Sundar(Srikanth), who has just finished his studies abroad, is staying with his brother and his sister-in-law(Sangeetha) as he looks for a job. He runs into Anandi(Samrutha), who works for a suicide-prevention organization and love slowly blossoms between the two. Sundar looks upon his sister-in-law as his mother but her feelings towards him are anything but maternal.

Unlike Kalaaba Kaadhalan, Uyir is not confused about Sangeetha's character. She is clearly a villain and we are expected to hate her and not sympathize with her. Whatever her motivation and reasoning for wanting to make Srikanth her own (one of her questions to Srikanth actually puts forth a strong argument for what she wants), the way she goes about it is wrong. The movie clearly identifies the characters we should root for and the ones we should dislike. So it works better than Kalaaba Kaadhalan as a thriller. We are suitably disgusted by Sangeetha's plans and wish that she fails.

The movie is entertaining as long as Srikanth is oblivious of Sangeetha's intentions towards him. We know what her plans are and a flashback, where she expresses her frustrations openly and sharply, shows us her intentions clearly. But as far as Srikanth is concerned, she loves him like a child and its only the people around who look at their relationship with suspicion. So we have a devious and cunning woman who plans her moves carefully and has pulled the wool over everyone's eyes and that is always the most delicious kind of villain.

But this phase doesn't last too long. The director fails to realize that the movie is fun only when we know but Srikanth doesn't, Sangeetha's true nature. So Saami gives her character psychotic overtones and both her plans and her actions(like at the theater) become more overt. The fact that she still has an effective pawn in her game adds some interest but the film turns into a regular thriller without the wolf-in-sheep-clothes character that had captured our interest so far.

Srikanth once again plays a role that is more of a supporting role. He slips to the background whenever Sangeetha is around since she is obviously the more interesting character. But he comes into his own towards the end and his lecture to Samrutha in the climax is convincing. Samrutha earns our sympathy but doesn't stand out much in her debut. Sangeetha is the star of the show in the author-backed role. She earns our dislike as she manipulates everyone around her and it turns to revulsion as her acts become more psychotic. She expresses her need and yearning very well and is never over-the-top. Joshua Sridhar, in his second film as music director after Kaadhal, once again comes up with some catchy tunes. Udhadum Udhadum... is the pick of the lot with its fast tune and spirited singing. Aanum Pennum... is melodious though it reminds one of a number from Rahman's Uyire.