Hello hello! Thank you for taking an interest in my work. In this page, you’ll see everything I’ve ever written. That might be a handful, so tread carefully. 🙂
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Joshua Imai Pol Kaakha review: A GVM film that lacks punch or passion
Gautham Vasudev Menon’s latest has got love, action, mystery and tension. Yet, none of it captures our emotion or imagination, independently or as a whole. In the end, it’s as tiresome as it’s tired.
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Leo review: Vijay’s emotionally weak action overload is held up by some crafty filmmaking
Vijay’s performance in emotional scenes evokes no reactions even as Lokesh Kanagaraj provides ample electrifying action scenes.
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Modern Love Chennai Review: Thiagarajan Kumararaja’s Anthology Wins on Several Counts
Modern Love Chennai raises the bar. It stays true to its writers’ and filmmakers’ imagination of Tamil cinema and serves films that are almost non-mainstream, yet perfectly palatable.
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Rudhran Movie Review: Bore, Gore and Imaginary CPR
Raghava Lawrence gives the audience a headache with his Kanchana hangover.
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Bakasuran Review: Mohan G Makes A Regressive Lecture Masquerading As A Bad Revenge Drama
Bakasuran is a message film, no doubt. The problem is that the message is victim-blaming, regressive and patriarchal.
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Run Baby Run Review: A Passable Thriller That Unravels Oddly
With none of the characters demanding any empathy from the audience, Run Baby Run’s only leverage is the whodunnit. That can only take the film so far.
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Varisu Review: A Templated Celebration Of The “Toxic” Family
Vamshi Paidipally makes a film that Vijay is perfect for — song, dance, fight and some snide antics. Sadly, that’s precisely what makes Varisu rather superficial and, therefore, ordinary.
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Ponniyin Selvan: Part One movie review — Grand spectacle that’s more enchanting than engrossing
Part One is more of a great first-half than it is a wholesome film. And, of course, that’s how it’s meant to be.
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Naane Varuvean movie review: Uncharacteristically straightforward Selvaraghavan film
Without the signature twistiness of Selvaraghavan’s oeuvre or a powerful performance by Dhanush, Naane Varuvean is bland.
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Natchathiram Nagargiradhu movie review: Pa Ranjith’s uneven vignettes of politics of love
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.
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Like Thiruchitrambalam, Dhanush’s Velai Illa Pattadhaari shows family’s role in individual’s self-discovery
The ordinary, drama-free, supportive family is a rarity in Tamil cinema — one that Velai Illa Pattadhaari does remarkably well.
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Tamilrockerz review: Story with potential beaten to death by clichés
It gets the absurdity and testosterone-heaviness of the film industry right. But as an investigation into an international crime syndicate, it offers nothing.
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Thiruchitrambalam movie review: Dhanush, Nithya Menen shoulder endearing story about love, loss, repentance, understanding
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.
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Viruman movie review: Intolerable drag with no redemption
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.
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Victims review: Pa Ranjith stands out in this otherwise mediocre anthology
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.
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Gulu Gulu movie review: Rathna Kumar films ode to cruelty of life with kindness
‘Gulu Gulu’ is the journey of Google (Santhanam), an orphan/refugee who can not resist helping people at even grave personal costs.
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Sai Pallavi’s Gargi sets the records straight 28 years after Revathy’s Priyanka
Gargi is Priyanka’s do-over. Gargi bears in mind all the mistakes that Priyanka made and resists them.
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Iravin Nizhal review: Self-indulgent and boring mess that can’t be saved by innovative set design and transitions
In its 90-minute runtime, Iravin Nizhal takes up the colossal responsibility of telling its protagonist’s story from life to death.