Category: Firstpost

Thalaivi exaggerates events for dramatic effect so much so that if we made two-three more biopics like this, we would end up giving Jayalalithaa sainthood.

Laabam is mired by tiresome public speeches, awkward fights, dance numbers and television debates, none of which add any value to the story.

Chimbu Devan’s biggest success in Kasada Tabara is the people with who he populates his film. We understand his world, even feel like we belong in it.

All said and screamed, Boomika is a tepid film, which invokes neither fear nor feeling. We’re neither left with the satisfaction of being scared to our bone, nor do we leave purposefully towards being more sustainable.

The best part of Netrikann was how Nayanthara as Durga never loses her vulnerability. Every time there is a ‘mass’ moment for Nayanthara, it’s quickly followed by a grounding event for Durga.

The only thing going for Thittam Irandu is that it holds up the suspense until the final reveal. The final reveal, however, is a monstrous disappointment.

Pa Ranjith straddles his roles as a storyteller and an anthropologist with precision. This film certainly packs a punch.

Vaazhl falls especially flat when it suddenly takes itself seriously in the second half

The film cannot make up its mind between being an empathetic story about xenophobia or a mass gangsta film about a borderline psychopath.

Paramapadham Vilayattu’s plot and the politics is excruciatingly stale, making it barely watchable.

Mari Selvaraj takes a giant leap with Karnan, arguably more gut-wrenching and bold in its messaging than Pariyerum Perumal.

Against the backdrop of the upcoming assembly elections, Mandela is a film that will remind us of our priorities. It will encourage us to think about our rights as people and our power when we’re together.

Anbirkiniyal is a delightful story of a survivor, one which offers hope that with a little effort, all can be good in the world.

Without a strong moral core, Sulthan neither evokes empathy nor inspires respect for what the film’s protagonist stands for.

For a thriller, it offers no real thrills. For a comedy, the jokes don’t land. For a fantasy film, it is unimaginative. Overall, it’s barely watchable.

Nenjam Marappadhillai is a shallow, convenient sort of film, that can only excite those who are already entranced by the Selvaraghavan universe. For the rest of us, it is an exhausting mess.

Chakra is supposed to be the protagonist’s search for his father’s stolen Ashoka Chakra, but it ends up being the audience’s search for a single moment of cleverness or skill

Within the constraints of an urban, middle class, heterosexual romance, Kutty Story is an interesting mix of shorts

Director Suseenthiran doesn’t know where to take the film once he’s established the characters.

Bhoomi doesn’t give you a moment to breathe or even feel what just hit you.

Master is unfortunately the kind of film that concerns itself with too many things but can hardly focus on any of it beyond adorning the hero, Vijay.

If you aren’t instinctively drawn to the mystical world creates, R Madhavan’s Maara is a drag

The biggest success of Oru Pakka Kathai is the adamant normalcy with which it treats everything.