Tharkuri

In the hands of any other actor in Tamil cinema today, Don would have been a painfully mediocre film. In Sivakarthikeyan’s hands, it’s a forgivably mediocre one

Arun Matheswaran’s writing is not flimsy, but it is not enough to rise beyond the film’s visual mastery

As a shower thought, Kaathuvaakula Rendu Kaadhal is a fantastic idea. But Vignesh Shivan doesn’t show the skill or inclination to expand on that idea in any interesting way.

K.G.F: Chapter 2 is loyal to its prequel, its genre, its narrative and its purpose. If you can buy into it and survive till the end, the climax is cathartic

AnbAriv’s action choreography, Manoj Paramahamsa’s cinematography, Anirudh’s background score and Jani’s dance choreography uphold a film that Nelson’s writing doesn’t

If you can look past the repetitive scenes, melodrama, useless love track and the lecturing climax, Taanakkaran is an interesting film about the police force

Manmadha Leelai is an unsatisfying quickie, especially if you’re a woman in the audience. Even if the pain isn’t unbearable, the effort to sit through it is most certainly not worth it.

Director Mathi Maran makes an interesting debut with Selfie, a film that is worthy of appreciation more for what it tries to do than what it achieves

We would be kinder to the cluelessness of the film, if only it didn’t scream “watch me, I’m so clever” at every chance it got.

Suriya feels miscast as Kannabiran — too stiff to be goofy, too upright to be shady, too clear-headed to be vulnerable — a role perhaps more suitable for Karthi

Every frame, scene, dialogue, event, song, dance feels like an awkward performance put up for an Instagram audience, in an effort to stage ‘authenticity.’

H Vinoth relies too much on Dilip Subbarayan’s stunt choreography, who for his part stages some enjoyable sequences.

How do you know that a film is too taken by its own message? There’ll be a Gautham Menon voiceover to explain it to us

M Manikandan writes and films it more like a poem of multiple verses than as a screenplay in three acts

At two hours and forty two minutes, Mahaan is a self-indulgent and vacuous film. At its best, it’s tiresome. At its worst, it’s an abomination.

This Darbuka Siva film is proof that there is a limit to nostalgic value too.

Given the nature of emotions it explores, Putham Pudhu Kaalai Vidhyaadhaa is easy to relate to. But, it offers no more satisfaction than a Twitter conversation with a stranger.

A premise so flimsy, writing so unimaginative, filmmaking so tiresome, Naai Sekar is dog poop on the screen.

The film can’t decide if it wants to be an investigative thriller or an emotional drama — it makes a combination of the two that fails on both counts.

In an industry that gave us Kaala, Karnan, Asuran and the like, Vasanthabalan’s film feels trite. Like an idea gone to screen too soon.

Without a persistent voice to balance the testosterone overdose, Bachelor is vacuous at best, and downright boring at its worst

Maanaadu is entertaining not because the two leads are smart, but because they are ridiculously ordinary.

The film is unwatchable, so hopefully, the impact it would have on public consciousness will be minimal.

This attempt to be unlike your regular quick-wit and ‘counters’ Santhanam film, suffers precisely because of it.