Overall, the core concept of ‘Raangi’ could have made for an enthralling and morally conflicting drama. Instead, Saravanan botches the delivery and presents a sloppy shell of a great film.

‘Varisu’ is mostly successful in what it wants to be: a wave of nostalgia for Vijay fans and a safe ‘masala’ film. It can be enjoyed with the family, and Vijay has certainly played his cards well to ensure Pongal success. 

Ajith Kumar teams up with H. Vinoth once again following their moderate success with ‘Nerkonda Parvai’ and moderate failure with ‘Valimai.’ Now, the duo return with their take on the heist film, ‘Thunivu.’

‘Laththi’ is a prime example of a decent concept ruined by terrible execution. There were many factors which were haphazardly completed, which needed more time, care and attention for the potentially adequate thriller ‘Laththi’ could have been.

Conventionally speaking, ‘Connect’ may be one of the most successful horror films in the Tamil film industry - which is a very low bar to step over.

Overall, ‘Naai Sekar Returns’ is an underwhelming effort and not the re-entry into Tamil cinema a comedic legend like Vadivelu deserves.

Baba is a strange yet singular film, which reveals a lot about its writer. It is an unmissable film for a Rajini fan. Unfortunately, the re-release has toned down the aspects which make the film unique.

Vijay Sethupathi films tend to be a 50:50 deal for me. He is either a part of some of the best Tamil films in recent history or run-of-the-mill, unoriginal template masala films. Unfortunately, DSP falls in the latter category.

Life is a tragedy seen in closeup, but a comedy in long-shot. Ranganathan is aware of this, and the switches between comedy and tragedy are executed masterfully.

Horror, much like most other genres, elicits laughter when it fails. Failed comedy, on the other hand, leaves the viewer horrified. This was my experience of watching Anudeep KV’s Sivakarthikeyan starrer ‘Prince.’ 

Having seen the teaser for PS Mithran’s latest release ‘Sardar’, I had braced myself  for a repeat viewing of ‘Cobra’ released earlier this Summer. The film’s star Karthi appears in multiple disguises and costumes - which was also Cobra’s primary marketing point - and I was overcome with flashbacks to rolling my eyes and sighing with the Vikram starrer. Thankfully, ‘Sardar’ is a better feature in almost every aspect. 

‘PS1’ is a screen adaptation of the Kalki Krishnamurthy epic serialised from 1950 to 1954, following the rise of the golden age of the Chozha dynasty in the 10th century AD – touted as the greatest empire in Indian history. We witness the events unfold following a prophecy told once a comet appears in the sky. The Chozha rulers are warned of the spilling of Chozha blood, which sets off a plot of treachery, treason and double crossing. The film travels with Vallavaraiyan Vanthiyathevan, portrayed excellently by Karthi, a trusted friend of the heir to the throne, Vikram’s Aditha Karikalan, who assumes the role of a messenger. Vanthiyathevan is the glue holding together the multiple concurrent stories in ‘PS1’, and the casting decision for the part was crucial for the success of the film. Karthi breezes through this role, playing the part as if it had been written with him in mind.

Less than a month after watching a film about an immoral set of twins in ‘Cobra’, Selvaraghavan’s ‘Naane Varuvean’ is released. Thankfully, this film is much better. 

It has been a decade since Pa Ranjith debuted with his film ‘Attakathi’, a seemingly simple rom-com following the life of a hopeless romantic. Since then, Pa Ranjith has been one of a handful of directors responsible for revolutionising Tamil cinema and subverting the discourse surrounding caste, with his groundbreaking films ‘Madras’, ‘Kabali’ and ‘Kaala’. Last year’s ‘Sarpatta Parambarai’ garnered much acclaim despite being released on streaming services during the COVID-19 pandemic. Ranjith seems to have come full circle with his latest release ‘Natchathiram Nagargirathu’, as he returns to the subject of love. Through this, we witness the extent of his development as a filmmaker. The politics of love were hidden in the background of ‘Attakathi’, whereas in ‘NN’, Ranjith brings all the guts and glory of love to the forefront.