Reviews

Tamil cinema has offered noteworthy thrillers so far and they actually remain memorable for their slick execution and their deeply impactful moments. Ramkumar's Ratsasan stands among the best ones ever made in Tamil cinema. This 3-hour psycho-thriller starts with a very promising intro scene which reveals to us that the film will mainly depend on the mysterious murders that are happening in the city. Ramkumar introduces us right from the beginning to what we are going to experience in the film. The specialty of Ratsasan unlike the previous thrillers is that the director is sticking us with this suspense throughout the whole film. During this, we get to witness an aspirant filmmaker turning into a police officer, his family and his bonding with them, a teacher and a deaf and dumb child, another teacher who misuses his students, and an arrogant police officer who spoils everything. All these subplots are connected to the main plot of the film which revolves around the serial killings of young girls. Even with all these subplots, the film doesn't lose its pace because the director sets us that our only motivation as an audience is to watch Vishnu Vishal's journey to track down the notorious serial killer. Ratsasan is a very different commercial film because it has no dance numbers, no love tracks, no comedy tracks, and no unnecessary things that will ruin the film's pace. The film starts on a lighter tone when establishing the characters but after the interval, the film becomes as serious as it can be. The dark and gritty second half is well packed with twists and turns which serve as the film's main engagement factors. Speaking about the cast, they have all contributed to making this film as impactful as it should be for its strong content. Vishnu Vishal has one of his suitable characters and his performance as Arunkumar makes us want more from him. On the other side, we have Amala Paul, Munishkanth, Abhirami, Suzane George, and Kaali Venkat in the supporting roles scoring well in their given space. The real show-stealer of Ratsasan is Saravanan who plays the main antagonist roles: Christopher and Mary with so much hard work and dedication. We can clearly see on the screen that he has given his best through this film. Even with his minimal dialogues, Saravanan proves his capabilities as an actor taking the role seriously with excellent body language and appearance. Hats off Saravanan and Yasar (young Christopher)! Ratsasan works brilliantly for its adrenaline-rushing background score done by the promising Ghibran. There's no doubt that Ghibran is the heart and soul of Ratsasan. His brilliant background score brings us to the edge of our seats while giving us thrilling moments in the film. A round of applause for Ghibran! Technically, Ratsasan is a well-made thriller. The editing and the cinematography are simply outstanding. Ramkumar has delivered one of the finest films of Tamil cinema. The screenplay is well-written which is why Ratsasan is effective. The flashback portion is so hard-hitting and has a very subtle message that people should recognize. Ramkumar's work should be appreciated for the fact that he has brought a totally different film from his previous comedy Mundasupatti. It's so interesting to see a director who's capable of doing a full-fledged comedy film and an intense psychological thriller in a short span of time. Salute Ramkumar! Except for a few logical mistakes, Ratsasan is a well-researched film and Ramkumar has made sure that the film has a lasting impact through its edge-of-the-seat narrative. Overall, Ratsasan is A MUST-WATCH PSYCHO-THRILLER!

Tamil cinema has produced a couple of sports films in the past few decades. It's questionable whether these films did justice to the actual sport because most of our films are stick with the usual commercial formula which overshadows the use of the sport in the film. In fact, it only becomes a subplot like in M. Kumaran Son of Mahalakshmi and Ghilli. Pa. Ranjith's recent release Sarpatta Parambarai breaks all the stereotypical interpretations of sports in films and stands as a very unique sports drama ever made in Tamil cinema. Sarpatta Parambarai is all about boxing. Starting from its visually pleasing setup, the film is set in the 1970s. Pa. Ranjith doesn't use any conventional elements to make it a period film. He uses the characters to identify the period which proves his brilliant filmmaking skills. The biggest strength of Sarpatta Parambarai is the characters. None of the characters are perfect. They have all their own weaknesses and strengths which makes them relatable and connective with the audience. Each and every one of the cast has performed their role to the extent where they are irreplaceable by any other actors. They have all a scope to perform as well as to contribute to the main protagonist, Kabilan's journey. Arya's performance as Kabilan is very intense and realistic. He has portrayed the role with the heart and soul. He has dedicated himself to the film which can be seen through his physical transformation. This is by far one of the most defining characters that he had played ever since Naan Kadavul and Madrasapattinam. I can't speak about a particular scene to justify his exceptional performance because he has shouldered the whole film with his acting prowess. Another performance that blew my mind was the one of Pasupathy. There's no doubt to say that Pasupathy is the heart and soul of Sarpatta Parambarai. He plays his character with so much emotion, dignity, and love. The scenes that he appears in remain fresh because of his presence on screen and his performance. He is undoubtedly one of the best-supporting actors in Tamil cinema. On the other side, we have a unique performance from Dushara Vijayan who plays her role with such ease. She convinces us that she is the perfect match for the role with her beautiful performance. We have other prominent supporting actors like John Vijay, Kalaiyarasan, John Kokken, and Shabeer Kallarakkal who shined in their roles respectively. A special mention for Shabeer Kallarakkal's Dancing Rose character will definitely win your heart. Besides the extraordinary performances from the cast, we have a very strong technical team who made sure that Sarpatta Parambarai stays true to its genre and backdrop. From the cinematography to the editing, Sarpatta Parambarai shines in its own way. Santhosh Narayanan's background score gives life to the film. The emotional and cherishable moments are soulfully connected by his intense background score. Kudos to Neeye Olli and Vambula Thumbula. This sports drama envisions the pride of boxing and the honor of playing for the happiness of the people. Sarpatta Parambarai has a predictable story but it's the presentation that makes it overwhelming. Pa. Ranjith is known for presenting his films in a way that it connects with the audience. The emotions dealt with by the characters and their personal conflicts make us relate to them. The realism that Pa. Ranjith incorporates in this sports drama is the major element that brings to the world of Sarpatta. Unlike the usual sports films that we have seen in Tamil cinema, Sarpatta Parambarai is in a very different flavor because it deals deeply with a character's journey. There are no unnecessary subplots nor songs to slow down the pace of the film. It's actually true that the film is long and slow but after the climax, it's a worth watching experience. After making two films in a row with Rajinikanth, Pa. Ranjith seems to have worked in a film where he doesn't have the need to make it fit a star's image for the commercial viability. His previous films Madras and Kaala dealt with strong political ideologies and caste issues. In Kabali, he spoke boldly about the low-class people's life and their struggles to grow bigger in society. In contrast to these films, he presented only a few political traits this film to bring the feel of the 70s. For example, he used the pictures of notable political leaders of Tamil Nadu to connect the audience with the period of the film. This filmmaking style is unique compared to the other period films that we have seen so far. Pa. Ranjith proves once again that he is a filmmaker who has a vision and a goal to achieve. Through Sarpatta Parambarai, Pa. Ranjith presents the value of relationships: husband and wife, mother and son & teacher and student. He valorizes boxing by giving the sport value. It's not just a sport but an emotion. Overall, Pa. Ranjith's Sarpatta Parambarai is one of the well-made sports drama-packed up with excellent performances and a strong technical crew.

Subash's action flick Chatriyan introduces the journey of an honest and ruthless police officer, Panneer Selvam. From the tragedy that Panneer Selvam witnesses in his childhood to his return as a police officer, the film presents the perfect graft of a common man turning into a strong hero. Vijayakanth portrays the role effortlessly, with his screen presence captivating the audience throughout the film. One of his main strengths is his brilliantly choreographed action sequences. Fitting well in his police uniform, Vijayakanth lives as Panneer Selvam in Chatriyan. Bhanupriya plays the female lead. She is bubbly, entertaining and adds color to the darkness of the film. Her light-hearted portions are fun to watch. The other supporting actors had at least one scene to leave their mark in the film. The most notable performances would be the guest appearance of Revathi and the fatherhood character of Vijayakumar. Both of them were enough strong to bring a turning point in the life of Panneer Selvam. Adding to this, the major reason for the strong heroism of Vijayakanth in the film is the memorable performance of Thilakan as the main antagonist. He shines in each and every scene that he appears in, and he carries well the role throughout the film. He is not the typical antagonist. Furthermore, he is a smart antagonist who is able to bring down the protagonist not by his fist but by his strong mind games. He plays with Panneer Selvam's weakness to defeat him and re-establish his reign. One of the major reasons why Chatriyan appeals well to the masses is because of the intense background score done by Ilayaraja. The main theme music that he scored for the protagonist Panneer Selvam is simply extraordinary. It adds a great level of energy, intensity, and heroism to the character. It works well for Vijayakanth's action hero image. Chatriyan might follow the same revenge template tailor-made for action heroes, but there's a certain uniqueness in the way the protagonist has been written. Panneer Selvam has two shades. He is a responsible father who cares for his kids while not caring much for the crimes happening in his surroundings. On the other side, he is a ruthless police officer who desires to punish the criminals while not counting much on his own life. Panneer Selvam might be a flawed police officer with his addiction to alcohol and his stubborn nature, but he is one of the most realistic and heroic police officer that we have seen in Tamil Cinema so far. Overall, Chatriyan is an interesting action flick tailor-made for Vijayakanth's action hero image.

After the remarkable success of Vishnuvardhan's Billa, Chakri Toleti embarks with the very first prequel of Tamil Cinema, Billa 2 which tells the story of a refugee turning into an undefeatable don David Billa. Just like its predecessor, this prequel is one of the technically well-made Tamil films. The cinematography, the editing, and the background score are the heart and soul of this action thriller. The beautiful locations are definitely interesting to watch on screen. Unfortunately, Billa 2's technical strength is overshadowed by the flaws in the writing and in the execution. Unlike the first film, Ajithkumar seems to be a bit older in Billa 2 which is slightly disappointing in a story that is set before the events of Billa. Except for Ajithkumar, none of the cast has a very prominent role in the film. The antagonists are not really effective, which makes Billa 2, an out-and-out Ajith show. Another big drawback is the screenplay. Even with its 2 hours of duration, the film is too slow, mainly because of the lower engagement factor. Except for Ajithkumar's screen presence, the film doesn't have any interesting plot twists or memorable moments which affect the film's watching experience. The story from a refugee to a very big don is interesting, but it lacks depth. Chakri Toleti adapted the film to Ajithkumar's larger-than-life star image, which unfortunately ruins the film's realism. Ajithkumar's David Billa role seems to be a man who defeats every single opponent single handled. Even the much anticipated big antagonists have left no match to his strengths. Despite the flaws, I appreciate the fact that Billa 2 doesn't follow the usual commercial template as we have seen in Billa. The film is rooted in the main story and doesn't have any unnecessary subplots including comedy tracks and romantic portions which is a major highlight of the film. Overall, Billa 2 is watchable for Ajith's terrific screen presence.

Dhanush & Mari Selvaraj unites for the first time in Karnan. Their previous works Asuran and Pariyerum Perumal were both impactful for their bold and strong content and the way that it has been delivered to the audience. With Karnan, they both step ahead by sincerely pulling off a deeply sensitive social issue on-screen. Well, Mari Selvaraj proves once again that he is a visual storyteller. He uses the brilliant village backdrop, costumes, natural lightings & characters to blend his vision in a well-constructed real world (Karnan's world). Karnan is realism. The film is really hard-hitting and each and every frame would be real. The beauty of the film lies in the visually pleasing cinematography. Mari Selvaraj tells his story with beautiful shots. The angles capture the emotion of each and every character. I would salute Mari Selvaraj for taking up such a serious social issue presenting it in a well-written film. Karnan's major strength is the writing, especially of the characters. Every character has a purpose and a scope to perform. After a remarkable performance in Asuran, Dhanush comes back, even more, stronger than Karnan, an angry young man who is in search of justice for his people. His performance can be easily categorized as one of his best. His intensity in his actions, his braveness in his attitude, and his pain in his eyes reflect the reality of an angry young man. Dhanush's performance is pure and intense especially in the climax which made the film outstanding and even more emotional. Lal's performance needs a standing ovation. I was mindblown by his natural and realistic performance which was the heart and the soul of the film. The rest of the casts including Yogi Babu were exceptionally great. They played a major part in building the so-called Karnan's world. Another major pillar of Karnan is Santhosh Narayanan. His songs are impactful and his background score is pulsating. In fact, his musical score helps the film to be more relatable to the audience. It makes us feel and emote for the characters in the film. Overall, Karnan is a very strong social issue-based film.

Many directors are right now in the trend of making sequels to many blockbusters released in Tamil. Hari's Singam franchise is definitely one of the most important sequels that have clicked among the masses. Adding to its success, Hari's Si3 is the third action flick of his popular cop franchise. Just like its previous versions, Si3 is a fast-paced action masala that again revolves around the super energetic Suriya as Durai Singam the powerful cop from Tamil Nadu. It must be noted that Suriya has kept the true essence of that character even after 7 years of the first Singam's release. The film follows from where it has ended in Singam 2. Hari has made sure that this film has an international appeal by adding an antagonist from Australia. Unfortunately, the film doesn't seem to be properly built in to get reach out globally. In fact, the film has the typical issues from its predecessor Singam 2 and it only seems to be a rehash of that version. We have a big cast who are left with no big scope in the film. Even, the muscularly strong antagonist is not a big threat to our Durai Singam because our hero wins over him in every single threatening moment. Soori's comedy sequences and Shruthi Hassan's scenes are quite similar to the ones of Santhanam and Hansika from Singam 2. They are not able to bring much-needed laughter which is quite disappointing. The lack of logic, the over glorifying scenes, and the superheroic action sequences are just things that are out of the world and Hari's typical style of filmmaking. The glittering effects that he uses to create the heroic effect seem to be overused throughout the film. The flaws in the writing are probably letting down the film's quality. The subplots, the unnecessary comedy tracks, and the not-so-challenging obstacles that Durai Singam faces don't keep the film engaging. Another biggest letdown would be the replacement of Devi Sri Prasad with Harris Jayaraj. Harris Jayaraj has his own style of composing tunes and Singam is probably not his fort. The songs and the background score are just average. The over-electrifying theme used for Suriya is too loud but it justifies his heroism. Despite the disappointing aspects, Si3 stays true to its genre, its initial core idea, and of course its protagonist Suriya. Well, Si3 is out and out a Suriya film. Like their previous collaborations, Hari proved that he can make a tailor-made action film for Suriya's larger-than-life star image. The way he has crafted his character makes us believe that Durai Singam is our very own superhero disguised as a police officer. Technically, Si3 is really grand in every single aspect including the cinematography and the setup. Overall, Si3 follows the same pattern as its predecessors but it's watchable for Suriya's power-packed performance.

After delivering some out-and-out comedies such as Idharkuthane Aasaipattai Balakumara and Junga, Gokul directs the Tamil remake of Helen titled "Anbirkiniyal". The film stars Keerthi Pandian, her father Arun Pandian, and Praveen Raja. Anbirkiniyal is around these three actors. The film describes their relationship, their basic characterization, and their love for each other. From the beginning, we get into the life of Anbirkiniyal and her day-to-day activities. Her character itself is beautifully crafted. As a person who hasn't seen the original film, I feel that her character makes us look at her throughout the whole film. She perfectly justifies her name "Anbirkiniyal". Keerthi Pandian had perfectly done justice to the role with her brightening look and satisfying performance. Her portion with her real-life father Arun Pandian who is seen in his comeback venture after a sabbatical is definitely beautiful and heart-warming. Arun Pandian and Praveen Raja played well their roles. The film starts off as a feel-good drama and turns in the pre-interval into a complete survival thriller which is the actual genre of the film. Anbirkiniyal might be the remake of a Malayalam film but Gokul has made sure to satisfy the Tamil audience with the incorporation of elements that could reach out among them. The film has a certain relatability. The emotional bonding between the characters and their personal conflicts are things that we can easily relate to it in real life. We are able to feel their emotions and their struggles which is a major pillar of the film. Even the small mouse plays a good role in the film. Anbirkiniyal and that mouse had a beautiful bonding which is heart-touching to watch. Unlike his previous films, Gokul seems to have worked in a film that has its equal shares of fun and thrills. There's nothing unnecessary in the film. Every scene and subplots have its justification in the film. The comic moments enlighten the screen while the darker and thrilling moments would make you impatiently wait for the climax. Technically, the film is quite satisfying and even, its minor issues with the logic can be simply avoided. Overall, Anbirkiniyal is a beautiful film to watch.

Tamil films have been enlightening issues that have been widely affecting the Tamil people. Starting from the typical political corruption to the importance of a vote, many films have spoken about the politics that surround a common man's life. Madonne Ashwin's Mandela can be termed as one of its kind and a film that has everything to grab your attention. Mandela speaks loudly about politics, caste issues, and the importance of a vote. The way that Madonne used to tell his story must be appreciated for its uniqueness and its strong vision on politics. This is definitely not a political film but instead, a strong comedy-drama. Madonne Ashwin blended the right ingredients to create a sort of perfect meal for the day. The comedies are really natural and super hilarious. Especially with Yogi Babu on board, there are no limitations for comedies. Mandela is undoubtedly the best film of Yogi Babu to date. He is the heart and soul of this film. Right from the beginning till the climax, his portrayal as the common man who struggles to find a place for himself in a society that rejects him for his identity and his caste reveals to us his true essence as an actor. Yogi Babu as Mandela is naive and innocent with the hope of achieving the dream of his father which is to build a big saloon in his village. The hurdles and the pains that he went throughout the film would be hard-hitting and enlights the typical issues that are in real society. Madonne Ashwin brought us the best performance of Yogi Babu. The way that he has crafted his role would be an eye-opener for many filmmakers on how to bring out a true performance from a widely known comedian aka an underrated actor. Mandela is the definition of how a film can be hilarious as well as remarkable for its social issues. This is not the typical Shankar film or A. R. Murugadoss film to keep you awake about the serious issues through countless strong dialogues and a portrayal of people suffering from corruption. Mandela is a film that doesn't need any of the above mentions. It's a film that realistically portrays the issues faced by a common man within the comedy genre. Madonne Ashwin creates some kind of relatability with the emotional and quite realistic narration. The film is real and pure. There are no special effects or unnecessary subplots. Mandela dives into its initial plot right from the word go. Madonne has made sure that the film's main strength lies in its writing. He has written memorable scenes with the environment itself being a character in the film. There are many valuable scenes that not only bring out the laughter needed but also make us think about it even after the end. Many scenes are well executed and their true value can be seen by the visually pleasing cinematography. Every character in the film has a scope and a unique identity which is probably why people can relate to it easily. It's worth saying that Mandela is definitely a memorable film in Tamil cinema. It's one of the few films that I had no issues with it. Overall, Mandela is a must-watch comedy-drama that would make you realize the social issues revolving around the society that we are all living in today.

Gautham Vasudev Menon and Silambarasan reunite in Achcham Enbadhu Madamaiyada after their successful collaboration in Vinnaithaandi Varuvaayaa. Unlike their previous romantic drama, Achcham Enbadhu Madamaiyada is a much more action-oriented film. The film initially starts as a soft romantic drama and later, turns into a full-fledged action thriller with the focus on elevating Silambarasan's mass hero image. As usual, Gautham Menon had well-established the characters and their backstories without much entering into complicated flashbacks. Unfortunately, the story and the screenplay seem to be a little bit messed after the interval because of the confusing twists that happen after it. This is why the twists and turns don't work much in the film. Even the climax is pure let down because it lacks logic. The film is not to the Vinnaithaandi Varuvaaya standards. Gautham Menon seems to have blend in the romantic drama genre and the action thriller genre in the same film which is probably why the film doesn't work much. Even Manjima Mohan's backstory seems to be too stretched in the climax which is one of the reasons for keeping us away from the film. Even with these flaws, Achcham Enbadhu Madamaiyada is watchable for Simbu and Manjima's fresh pairing. They are both performing within their space and it's quite natural too. On the other side, A. R. Rahman had scored a much memorable and loveable album. His background score works much in the film's favor. Overall, this film is definitely not to the usual Gautham Menon standards but it is watchable for its kind.

Dennis Manjunath's Trip adds to the list of miserably attempted zombie comedy films. Since the Miruthan days, few filmmakers had tried their hands on this genre which doesn't work much. Trip is probably one of the films that try much to be engaging as well as gripping but the poor writing drags down the film. The interesting factor falls down since the starting point and we are confused with the happenings in the film. Yogi Babu and Karunakaran are trying much to save the film with their hilarious performance but unfortunately, the film misuses them. Their comedies are somewhat tiring and don't bring much laughter. The other supporting actors including Sunainaa are left with nothing to perform. They are all struggling to find a place where they can showcase their performance but the film allows only Yogi Babu and Karunakaran to do so. Overall, this is not the right trip to go on.

After the perfect action entertainer Ayan and the watchable Maattrraan, K. V. Anand returns as Suriya's director in Kaappaan. Once again, he makes a film that works for Suriya. Even with the back-to-back failures of his films, Suriya's energy level doesn't decrease much. He offers the same level of dedication that he would in any other film. He seems to be the perfect entertainer in this film. Kaappaan would probably remind me of Suriya's Ayan and Singam times but is this film up to that standard. Unfortunately, Kaappaan doesn't. The middling film works only for him. Even with the complete actor Mohanlal and the versatile Arya on board, the film doesn't seem to be much better because they don't have a strong role. K. V. Anand focused more on adding weight to Suriya's heroism and failing to create any impact with the supporting actors. The antagonist's role is a cliche one. He is not strong nor intense. While underwriting the characters, K. V. Anand fails to keep us engaged with the lack of interest in the writing. Kaappaan was intriguing at first but the less focus on the plot in the latter half is a big drawback. There are many unwanted scenes and not-so-useful comedy scenes that could have been easily cut down. The film has too many layers which disturb the overall pace of the film and it even spoils the message that it was intended to convey to the audience. The poor climax doesn't even justify the film at all. The predictability of the film is a major letdown. It's even more disappointing that Harris Jayaraj's background score is not even to the standards of his previous works. Overall, Kaappaan is only watchable for Suriya's performance.

Imagine a Shankar's vigilante film blended with strong humor. That's what Vignesh Shivan's Thaanaa Serndha Koottam offers. Being the remake of Special 26, the film is definitely intriguing with its elements that gather all types of audiences. Suriya looks charismatic and energetic as usual. His performance doesn't need any further explanation because it's quite satisfying. Apart from him, we have very strong supporting actors with each and everyone has an equal share of screen space. They are able to lift the film along with Suriya with their performances. The only criticism would be for Keerthy Suresh. She doesn't have a purposeful role and she is less impactful. Technically, Thaanaa Serndha Koottam sounds really loud and it's worth mentioning that the recreation of the 80s period was a major strength for the film. Anirudh's album and background score are really intense and delightful. Okay! It's time to talk about Vignesh Shivan. As a filmmaker, he proved his strengths through Naanum Rowdy Dhaan. One might notice that Vignesh Shivan has strength in transforming a supposed to be serious film into a complete comedy riot. In Thaanaa Serndha Koottam, we have a typical Shankar kind of social issue that is treated as hilarious as possible. That's why Thaanaa Serndha Koottam is a fresh new experience. The kind of efforts that he used to build the environment and the characters are probably not much in the screenplay. There are so many ups and downs in the screenplay that might distract our attention from the film. Every character in the film has a backstory which is the reason why the film doesn't keep us on track. Just like a Shankar film, the hero has a motive to justify his con act. This is mostly one of the aspects that we have seen in every vigilante or social issue-based film. Except for the comedy aspect, Thaanaa Serndha Koottam lacks emotional impacts and surprising elements. Even the twist, in the end, seems to be not so attention grabber because it becomes somehow predictable to the audience. Overall, this heist comedy is a fun watch.

After experimenting with his space film Tik Tik Tik, Sakthi Soundar Rajan steps into Teddy, a medical thriller starring Arya, Sayeesha, and a teddy bear. Well, just like his previous films, Sakthi Soundar Rajan presents us a different concept that hasn't been experimented with in Tamil cinema before. The idea of a teddy coming to life is pretty much interesting and innovative but the execution seems to be a letdown. We are offered many logical loopholes and a not-so-engaging screenplay. From the beginning till the end, Teddy doesn't offer any exciting or thrilling moments. Yes, we have a teddy who can talk, dance, fight and be like a human being but is that enough for a film. Except for the teddy, we don't have anything else to get from the film. We have Arya who is shown as a super-intelligent lonely guy. He is a typical Tamil superhero who is able to solve any problems or find any clues in a fraction of seconds. Unfortunately, his role seems to be flat and doesn't even stand as stronger as the talkative teddy bear. Magizh Thirumeni who plays the main antagonist uses his rough voice to create the menacing antagonist feel but his role doesn't let him be an antagonist. He has very limited screen time and not much scope in the overall narrative. Sakthi Soundar Rajan seems to struggle to identify a proper genre for Teddy. The film starts as a comedy entertainer but just after the interval, it becomes a complete action thriller which slightly confuses the real purpose of the film. Teddy seems to be a better comedy film than an action thriller because the true essence and entertainment of the film were only present in those portions. Teddy reminds me of Naaigal Jakkirathai which was also the director's film. It has the same pattern and a quite similar storyline. A lonely guy's life is changed by a teddy bear. The only thing that differentiates both films would be the teddy bear instead of the dog. The VFX in Teddy is simply satisfying for the limited budget of the film. On the musical front, D. Imman has offered an average album and a not-so-great background score. I personally really loved the song "En Iniya Thanimaye". Thanks to Sid Sriram's beautiful voice. Despite the flaws in Teddy, Sakthi Soundar Rajan has made a film that can satisfy the kids. The idea would definitely reach out well among the kids because they would love to see a teddy who can entertain them. Overall, Teddy is watchable for the entertaining teddy bear.

During the 2000s, Suriya was one of the most successful actors turned stars. His growth over the years was phenomenal. After the box office successes of his action entertainers Ayan and Singam, he is seen reuniting with his Ghajini director A.R.Murugadoss in 7 Aum Arivu. Unlike their previous action thriller, 7 Aum Arivu focuses more on a social issue-based in India. The grand presentation and execution of the film make it a pan-Indian scale film in Tamil. After Enthiran, this is most likely the biggest film in Tamil Cinema. 7 Aum Arivu is a film that speaks volumes for its social issue. People who watch this film in 2020 and in the later years would get the relatability to feel because of the COVID19 pandemic effects. A.R.Murugadoss who is well-known for making well-packed commercial entertainers has made a film that stands tall for its brilliant concept. Unfortunately, the film fails to stay true to its content mainly because of the flaws and the middling screenplay. The lack of focus on the main plot during the first half lets down the film's intensity and severely affects the engagement factors. In fact, the whole portion between Suriya and Shruti Hassan where the former falls in love with the latter is a total misplace in the film. It drags down the film's pace and doesn't add anything interesting in the overall film. Contrary to that portion, the beginning sequence of Bodhi Dharman is definitely interesting and engaging. It must be called the best part of the film. Suriya's portrayal as the martial artist Bodhi Dharman was brilliant and he fit in well in that role. The presentation of that particular portion creates excitement for the rest of the film which is let down by A.R.Murugadoss's writing. The usual commercial treatment after the Bodhi Dharman sequence messed up the complete message and the concept that they were going to convey to the audience. Despite the flaws, 7 Aum Arivu is definitely enjoyable because of the interesting concept that they have dealt in. Suriya, the main lead rules the screen as usual with his charismatic performance. Unfortunately, he doesn't have much to score as Aravind because he doesn't have much scope in the narrative. Harris Jayaraj presents us a strong background score which adds the much-needed intensity to the film. Speaking about A.R.Murugadoss, he has written a less powerful protagonist who shows strength only in the climax. The supporting characters including the female lead are left with not much scope in the film. Even with the usual commercial entertainer treatment, he shows his capacity as a filmmaker by making the film intriguing. The overall film looks well executed except for some of the CGI sequences. Overall, 7 Aum Arivu is a decent attempt from a very promising team.

After their successful collaboration in Billa, Vishnuvardhan reunites again with Ajith in Arrambam. Unlike their first film, they are working on an original script which is again a stylish action entertainer. Vishnuvardhan uses the same elements that worked in Billa on a much grand scale. Arrambam looks fresh visually and it's a tailor-made mass film for Ajith. Just like their previous film, he is the one who lifts the film. He is stylish, manly, and definitely strong. He is captivating the audience with his subtle acting. Vishnuvardhan has properly fit in Ajith in this action flick by using his trademark styles on board. The slow-motion walk, the way he wears his cooling glasses, and his less-spoken nature are well added in the film. Besides Ajith, we have Arya, Nayanthara, and Taapsee playing the supporting roles. They don't have much scope in this film which is a major downfall in the film. Arrambam derives from the very old vigilante/revenge/action film and even the flashback looks a bit like reinvented Shankar film. Vishnuvardhan who usually has a unique style to drive his films falls in this one while taking the usual revenge path. The engagement falls down after the flashback because the scenes become really predictable. Despite the flaws, Vishnuvardhan had definitely made a watchable entertainer for Ajith's hardcore fans. The lack of relatability would distance them from the film but still, Vishnuvardhan has his way to convince them with the quality of the presentation. Speaking about Yuvan Shankar Raja, he has delivered a considerably listenable album and a pulsating background score. Arrambam's theme music might not be loud as Billa and Mankatha but it's still energetic. Overall, Vishnuvardhan's Arrambam is a stylish action entertainer for Ajith fans.

Vijay and Prabhu Deva collaborate for the first time in the action entertainer Pokkiri which is the remake of the Mahesh Babu starrer Pokiri. This film looks pretty much like a festival kind film which serves as a perfect star vehicle for Vijay to expand his larger-than-life image by satisfying his hardcore fans. Just like his previous films, Vijay is again an entertainer, and more than performing, he is giving to the audience what they need from him. He proves once again that he is an all-rounder when it comes to action entertainers. While having such a big cast, Pokkiri works only for Vijay because the film sticks around him. We can't see the other actors shine in the film because they don't have much scope in this entertainer. Even the comic villain Prakash Raj is left with nothing more than getting beat by Vijay at the end. Pokkiri feels somewhat too large with its not-so-realistic action sequences and its flat narrative. There's nothing much exciting in the film except Vijay. The film becomes quite predictable and even the pre-climax plot twist is just a well-known aspect of the film that we have seen much in the past decades. The illogical scenes are pulling down the film's quality and it does disconnect the audience from the world that the film exists. There are many subplots in the film. We have a subplot for Vijay and Asin, Mukesh Tiwari and Asin, Prakash Raj and Napoleon and it goes on. This is somewhat an issue for this film because instead of driving into the main conflict the film deviates into unnecessary aspects that does pretty much nothing for the film. Until the scene where Nassar reveals the twist, we are just left with a rollercoaster which might be watchable but not memorable. It becomes inevitable to believe that Pokkiri has nothing much to offer to the audience. You can only retain the punch lines that Vijay continuously throws to his enemies and that's all. After Perarasu and Ramana, Prabhu Deva is the newly appointed director who takes on the usual Vijay template. This film might be a remake but it's still the ordinary Vijay film that you watched probably before with a different cast and crew but with the same Vijay. Overall, Pokkiri is watchable for Vijay the entertainer.

Tamil cinema has seen so many stars glorifying films so far and Shankar's Sivaji is one among them. Well, we must call it Rajini's Sivaji because this film is strictly celebrating Rajini's larger-than-life star image. After Chandramukhi, he gets a perfect tribute film fitting perfectly to what his fans expect from him. He is so energetic and powerful even at this age which is remarkable. His screen presence is the one thing that shines brightly in this film. He is carrying himself really well in this action entertainer which is a treat for the hardcore Rajini fans. Except for him, Sivaji isn't enough strong as a film not even an interesting film. It only works for Rajini because it's a star vehicle and not a film that we watch for the well-written characters or strong content. Sivaji is a Rajini film. Shankar has collected as many references as possible to create memorable mass moments to celebrate Rajini on screen. He has made a notch higher from Rajini's usual entertainers by over glorifying him in the film. Shankar as usual presented the film as grandeur as possible by forgetting science, logic, and reality in the film. The lack of strong characters and the many old scenes drags down the film's engagement factor because it becomes too predictable after a certain time. We have a not-so-effective antagonist who only gives scope for Rajini to shine as a larger-than-life hero. Obviously, when it comes to a Rajini film, it's common that the antagonist is not equally strong as him except in Baashha and in Padayappa. One of the biggest drawbacks in Sivaji is the runtime. A 3 hours film becomes too hard to watch when there's nothing interesting and engaging in the narrative. More than giving something fresh, we get a hero glorification in every scene which becomes tiring at some point. For example, instead of making laughter relief for the audience, Vivek is only glorifying Rajini in every scene. Shankar is usually known for portraying vigilantes as superheroes in his social issue-based entertainers and that's what he did in Sivaji. Here he is speaking about the poor people not getting what they need for their life. There's even a strong dialogue: Rich get richer, poor get poorer. Even with so many social messages in the film, nothing is effective or believable because the film is only portrayed as a tribute to Rajini the superstar. The biggest problem with Sivaji is that there's nothing to retain because the film is too large and totally out of the world. We have so many illogical fight scenes and not so memorable scenes which work only for their magic. Despite the flaws, Sivaji is still enjoyable and worth watching. Shankar might disappoint with his lack of focus on the writing but he still does what he does well as usual. Overall, Sivaji is a larger-than-life action entertainer which works for Rajini's screen presence and Shankar's presentation.

Vikram is one of the most versatile actors in Tamil Cinema. His dedication and his hard work went to a whole new level in Shankar's "I". The romantic action thriller has been among the most anticipated films because it's Vikram and Shankar's reunion after their successful collaboration in the action thriller Anniyan. Just like their previous work, "I" depends again on Vikram's versatile performance. He is the heart and soul of this film. He holds us tight with his different looks, mannerisms, and his body language which works brilliantly on screen. He shows two different variations of voice modulation as Lingesan the bodybuilder and Lingesan the hunchback which is clearly Vikram's hard work. The way that he carries his character throughout the film helps us get along with him in the journey. After Vikram, "I" stands a grandeur film for its technical work and A.R.Rahman's musical score. Except for their work, "I" fails hardly to create any impact because of its weak screenplay. Shankar has added in so many subplots and flashbacks which slows down the overall pace of the film. The main flashback is intercut with Vikram's revenge-taking scenes which creates confusion while watching. We can simply call it incoherent because the film deviates from story to story. Every character has unnecessary backstories which lack serious impact in the main plot. Shankar seems to have focused more on the presentation rather than its writing because the film lacks depth. It's the same old revenge drama that is covered up with colorful cinematography and visual effects. Usually, Shankar films have something get from it. For example, Gentleman, Indian, and Anniyan had a strong social message to get while Nanban and Boys were strictly for youths. Unfortunately, "I" is nothing more than a simple revenge story elevated by Shankar's creative touches and Vikram's heart-touching performance. Speaking about the runtime, the slow screenplay reduces the engagement factor of the film. We don't get any exciting moments or interesting plot points. Maybe the visually pleasing song sequences are breathtaking times for the audience. Other than that, Shankar left us with some scenes that I don't want to comment on it. Overall, "I" is only watchable for Vikram's performance and Shankar's larger-than-life visuals.

The biggest landmark film of Indian Cinema has a sequel and guess what? The budget of the standalone sequel itself is the highest for an Indian film. Yes, I'm speaking about Shankar's 2.0. After the remarkable success of Enthiran, the expectation for this particular sequel was raised since the climax was an open-ended one giving hopes for it. After almost 8 years, 2.0 comes as a much volumic film with a higher level of visual graphics. The film is visually a great experience for the audience with the well-done CGI. The film surpassed the Indian standards and is definitely worth calling it a benchmark film in Indian Cinema. More than a film, 2.0 is an experience of watching Shankar's brilliant concept on screen. The way that he had conceived the idea and presented it visually is extraordinary. Shankar's films have always something to convey to society. There's a certain sense of responsibility in his films and it's also present in 2.0. Unfortunately, despite the gigantic value of the product, this Shankar film is not as strong as his previous Enthiran. The main reason for that is the writing. Well, in Enthiran, the entertainment factor played a huge part in enhancing the film's watching experience. There were romance, comedy, revenge, action, and much more things going on in the film which was really engaging but in 2.0, it's a severe drawback. Unlike the prequel, 2.0 focuses only on the visual presentation than the writing. The story is a typical revenge drama that letdowns the film. It has the shades of Shankar's previous vigilante films which is a serious lack of originality in the treatment. The screenplay writing fails to keep the audience engaged because, after a certain point, the film doesn't offer any interesting elements except the high-quality CGI. There are no memorable moments in the film because of the lack of impact that it gives to the audience. The stadium fight was an exciting moment but it is ruined by the not-so-interesting writing. The social message has a strong importance in the film but it's not much effective because of the lack of connectivity with the audience. The presentation overshadows the story and the in-depth message. Even the climax doesn't work much because it seems to be a little bit rushed and not so impactful. 2.0 becomes watchable with Rajini's epic performance on screen. The level of energy at his age is really unbelievable and he is the one who impresses us much in this film. Beyond the visual presentation and Shankar's concept, 2.0 works only for Rajini's screen presence. His dual roles are once again a treat for the audience and his surprising role at the end is a must-watch. After Rajini, we have Akshay Kumar who plays the main antagonist of the film. He has delivered a memorable performance and his hard work can be seen throughout the film. Amy Jackson has a very minimal role and she does it decently. One of the biggest pillars of Enthiran was the background score and the album. Unfortunately, 2.0 doesn't have many songs and its background score is not as effective as it was for Enthiran. Shankar proves once again that he is the Indian James Cameroon with the quality of the product speaking much for him. It's great to see such a creative mind bringing the Indian cinema a notch higher. Overall, 2.0 is majestic for its unbelievable visual presentation.

Vishnuvardhan's Billa is the remake of the yesteryear blockbuster Billa which starred Rajini in the lead role. The yesteryear version was made as a stylish gangster film and just like that version, Vishnuvardhan made the film a notch higher by making it abroad. The film is touted to be the most stylish film ever made in Tamil Cinema at the time of the release. Billa seems to be a well-packaged action thriller and the quality of the film is another factor to pull the audience to watch the film. In this version, we have Ajith playing the dual roles effortlessly with his stylish mannerisms. It's right to say that Billa is the right film at the right time of his career. Ajith needed a strong film to revive his career after a strike of failures and Billa seems to be the film that has the perfect elements to work for his larger-than-life star image. Ajith shows so much versatility with his acting prowess in the two roles showing remarkable distinctions. If David Billa is stylish then as Velu, he is an entertainer. I simply loved the scenes which feature Ajith and Prabhu in the latter half after David Billa's death. Billa has a strong star cast and each and every one of them has at least something to do. Nayanthara has a backstory whereas Namitha is Billa's girlfriend. Rahman plays a pivotal role while Prabhu is another strong supporting actor in the film. Well, speaking about Nayanthara, she has taken a bold decision in acting in this film which doesn't have the conventional love track but instead a much different purpose. Nayanthara hasn't done a role that is out of her comfort zone until Billa happened. On the other side, Prabhu shines pretty much with his given role. Billa becomes much more special for its brilliant cinematography by Nirav Shah and the evergreen musical score by Yuvan Shankar Raja. Developing more on the musical side, Yuvan Shankar Raja's background score is a major pillar of strength in this stylish action film. As a filmmaker, Vishnuvardhan has perfectly made the film while giving the right importance to the original content and presenting it on a much grand scale. Vishnuvardhan doesn't rely much on the usual commercial format despite having some of the trademark elements to create the momentum for Ajith's star image. It's true that Billa is a film that celebrates a star because the film depends on his larger-than-life image. Vishnuvardhan has played a huge part in transforming Ajith in this film. Well, compared to his previous films, Ajith looked way more stylish and smart in this film and Vishnuvardhan has made it tailor-made for Ajith which works big time. Another important factor in Billa is that there are fewer dialogues and much more actions which keep the film engaged and tighter. Despite being a strong film, Billa doesn't have connectivity with the audience because the Hollywood style treatment distances them from the film. The climax seems to be rushed a bit which could have been much better. Overall, Billa is definitely one of the most stylish films ever made in Tamil Cinema.

Shankar's Gentleman and Indian has created a separate fan following for the vigilante-type action films in which Saravana Subbiah's Citizen is also added. This vigilante action film speaks loud about a strong social issue. It follows the same path as Shankar's vigilante films. The originality in this film is the way that Saravana Subbiah has treated the screenplay. Citizen is a very much different Ajith film. It features him in dual roles where he has to sport 9 different getups for one role which created a big buzz for the film. Saravana Subbiah has built a perfect action film in which there is much more importance for the content than the entertainment factor. More than the content, the film works brilliantly for Ajith. He is the one man who lifts the film with his dedicated performance. He fits well in the two roles and shows his versatility with his performance. We can easily call this film one of his best performances. The flashback sequence is a major pillar of the film. It is a well-made sequence and a must-watch for the presentation. After Ajith's performance, Citizen shines for its content only. Saravana Subbiah made sure to stick around the idea for the whole film but unfortunately, he fails on several occasions. The comedy sequence featuring Vasundhara Das is a huge letdown because it feels misplaced in the film and we don't need it in such a serious film. It actually ruins the overall seriousness that we had for the film. Another major letdown in this venture is the pace. Citizen is approximately a 3 hours film. Honestly, it would have been much grippier if we cut down the unnecessary scenes in the first half. The logic factor hits really hard in Citizen. We have some logical mistakes that bring down the quality of the film. The CGI is really poor. It seems rushed a bit and could have been made much better. Saravana Subbiah has made a strong film that shows his ability to pull off a unique and interesting idea within the conventional commercial template. Overall, Citizen is an interesting vigilante film.

Thirupaachi was already an outdated action film. Guess what? Perarasu is reuniting with Vijay in Sivakasi. Well, I would say that Sivakasi is just a replication of Thirupaachi with a whole new cast and some changes in the story. It looks straight like another Vijay film in which heroism is the main interest factor. There's nothing original nor creative that brings down the interest of the audience. Sivakasi is filled with Vijay moments. We have him taking the full space and entertain the audience. His effortless performance is always a delight for his hardcore fans. There are moments for the family audience but other than the film is just a one-time watch. While having a strong star cast, Sivakasi is left without any strong supporting actors. Prakash Raj is collaborating with Vijay after Ghilli and unfortunately, their combination doesn't work much in this one because Prakash Raj has a role that is overshadowed by Vijay's hero glorification scenes. Comparing to Thirupaachi where I had at least one scene to cherish, I didn't get anything impressive or memorable in Sivakasi. The only thing that I get repeatedly is the same Vijay with a different name and background. Other than that, he is the same mass entertainer that we saw in Thirumalai and Thirupaachi. Overall, this mass action entertainer depends only on Vijay.

After enjoying a sensational success with Ghilli, Vijay takes the route as a complete action hero in Thirupaachi. He is throwing punch lines, smashing the bad guys and he is an ordinary hero who turns into a superhero in this action masala. It's an ordinary action film that we have seen decades back. The same old brother-sister sentiment and the well-known superhero who fights the bad guys to bring enlightenment to society. Perarasu's Thirupaachi doesn't have anything to catch the audience's attention. It doesn't have any elements to make it a worth-action masala. He focused mainly on constructing a star-vehicle to glorify Vijay's larger-than-life star image. Due to this fact, he fails to build strong supporting characters and challenging antagonists which gives us a lack of interest. I personally loved the scene where Vijay meets Pasupathi and acts like an innocent. It's quite a proper mass scene. The writing in Thirupaachi is similar to those of vintage K.S.Ravikumar films where the hero is the one who dominates over the antagonists. Except for Vijay, Thirupaachi is not effective and not really interesting. The lack of originality hits the engagement factor really hard because the film becomes too predictable. In fact, this film can be a one-time watch only for Vijay because he is the one entertaining us throughout this action masala. Overall, Thirupaachi is a film for all the Vijay fans.

Imagine if we had a robot who can emote just like an ordinary human being. Well, it's the actual concept of Shankar's Enthiran. The brilliance of this filmmaker lies behind the grandeur scale of the film. Shankar proves once again his capabilities by pulling up a different and unique concept. He is definitely a gem in Tamil Cinema because the way he presented the film would be a benchmark for the upcoming filmmakers. The song's picturization and the epic climax are just Shankar's creativity burst. This magnum opus is a creator's unique vision that can't be recreated by anyone. Despite the visual grandness of Enthiran, the writing remains the same just like the typical Shankar films. The first half is proper entertainment. We have comedies, fight scenes, emotional scenes, and of course, character's establishment. After the interval, the film starts to become much more interesting with Rajini's performance playing a huge part in lifting the film's quality. At first, Rajini plays Vaseegaran, the scientist, and Chitti, the robot. As Vaseegaran, Rajini is different. He has portrayed the role within the realism of the character without incorporating any kind of his style but one thing can be said for it. Rajini is still stylish in that role. As Chitti, he has two different shades. The good Chitti who comes in the first half is just like a newborn baby. He is really innocent and fresh to watch on screen. The bad Chitti who comes in the latter half is the main interesting factor of Enthiran. Well, Rajini has already played negative roles effortlessly and in Enthiran, he shines brilliantly. The Blacksheep scene in the climax is a major pillar of the film. At some point, it's true that Enthiran is a perfect Rajini film because it tends to celebrate Rajini's acting ability as well as his larger-than-life star image. On the musical front, Oscar winner A.R.Rahman has made a brilliant album and his background scores are epic. Rathnavelu's cinematography is a visual treat for the audience. Thanks to the CGI! The film looks beautiful and entertaining especially the climax. The train fight scene is very well choreographed. Enthiran is definitely a Shankar product because it has his trademark style of filmmaking. The excessive use of CGI, the grandeur picturization of the songs, and the creative concept are making Enthiran a unique watching experience. There are flaws in the film but he made sure to hide them with his impeccable creativity. We can't expect logic in this film because it works only for its magic. Overall, Shankar's Enthiran is a pride for Indian Cinema.

Balaji Mohan's Maari 2 is the official sequel of Maari which was only a watchable entertainer. The sequel seems to be equally watchable but might be a disappointment for those who enjoyed the light-hearted moment in the first film. Maari 2 is a much more commercial entertainer with the typical masala format. There are mass moments, emotional scenes, and comedy scenes. The film has its equal share of entertainment but seems to fall from the route that is supposed to go. It fails to stay in the Maari's world which might be disappointing. The first half is definitely entertaining but it doesn't focus on the initial premise. It starts with the usual mass introduction but has trouble finding a way to enter into the conflict. It's only after the interval that we can understand the purpose of the sequel but still it doesn't seem to work. The latter half is too much melodramatic. We have many ordinary and well-known emotional scenes that don't feel like being in the right film. It disconnects us from the Maari's world. Even though Maari wasn't a great film, it at least had a uniqueness that we can remember from the film but in the sequel, it seems to be a strong missing factor. Dhanush has reprised the role with the same energy level that he had in the prequel but after the interval, he misses the magic that he had initially. Sai Pallavi's role is definitely something that we use to see in commercial films but the way he did it was convincing. Tovino Thomas has played the antagonist with a menacing attitude. He is much better than Vijay Yesudhas who played the baddie in the first film. Other than these actors, we have several supporting actors who are left with a limited space to perform. Yuvan Shankar Raja's album and background score work but it's not as effective as it was with Anirudh's composition. Overall, Maari 2 could have been a better sequel.