Psycho: Some interesting subtext in a film that reeks of artificiality

“Given the lack of suspense over the killer’s identity, this horror film’s main draw then is to entertain you through thrills resulting from his pursuit. Can the visually challenged hero, Gautham (Udhayanidhi Stalin), do what the police aren’t able to? Can the damsel in distress, Dahini (Aditi Rao Hydari)—who doesn’t show the slightest effort to save herself—be saved by her ‘daredevil’ suitor?”

Pattas: Dhanush and Sneha strive to lift this wholly predictable film that lacks soaring highs

“The efficacy of such films is decided by the individual moments within, and whether or not the highs and the lows of the film impact you as they should. Remember when Devasena feels instinctively, in her bones, that her son is close? Remember what you felt as Baahubali runs to his mother in chains, his enemies behind him, as music and slow-mo visuals combined to deliver a classic mass moment? The problem with Pattas is that its highs don’t overwhelm you, its lows don’t shatter you.”

Darbar: An enthusiastic Rajinikanth propels this passable ‘bad cop’ film

“His Aaditya Arunasalam is a fairly hands-on cop, defined by his willingness to put himself in harm’s way first. But I suppose that’s because he’s a bit like Breaking Bad’s Walter White in a sense. He is not in danger; he is the danger. Notice that opening underwhelming introduction scene as he descends on rowdies from above, literally—this ‘god of commercial cinema’ armed with a trademark Murugadoss weapon (of which there’s a more inventive variety that comes later on in the film). Aaditya is shown to be revelling in these murders—that are shot like video game kills. He calls himself a “baaad cop” (a reference to Annamalai, of course). The newspapers, meanwhile, more accurately, call him a ‘mad cop’.”