Tharkuri

Pa Ranjith stages a meticulously detailed, diverse and sharp contemplation on the socio-politics of love. As a whole, the film doesn’t quite add up.

For a rom-com, Thiruchitrambalam has too much family in it, perhaps that’s how we love in the Tamil nation. To the film’s credit, it is handled exceptionally well.

To compensate for the utter lack of entertainment, Muthaiya fills the film with pointless songs and physics-defying fights — there is nothing new or engrossing in that either.

Pa Ranjith’s Dhammam stands out, like a probing short story, wholesome in itself. Even as the interpretations of victimhood are somewhat fresh, the other films settle for the ordinary.

‘Gulu Gulu’ is the journey of Google (Santhanam), an orphan/refugee who can not resist helping people at even grave personal costs.

In its 90-minute runtime, Iravin Nizhal takes up the colossal responsibility of telling its protagonist’s story from life to death.

Gargi is the story of the eponymous protagonist, who fights the system to save her father from a child rape case that she believes he’s wrongly accused in.

Nambi Vilaivu ends up being an uninsightful, simplistic and superficial telling of the life of a complex figure. It’s not just hagiographic, it’s blinded by its association. It’s a shame that it’s not even that entertaining.

GK Viknesh’s O2 has noble ambition and interesting ideas. On screen, it needed a little more human instinct.

The most important idea in Veetla Vishesham, is that tough choices are only as tough as you make it.

A dark world of expensive drugs, covered in the blood of hundreds of good, bad and evil men with purpose, alongside a skilled house help, a hapless mother and a naive girlfriend.