Sudhir Srinivasan

Chekka Chivantha Vaanam: An in-form Mani Ratnam hits this gangster film out of the park

“While people pump each other with bullets, Rahman’s music remains observant while being strangely detached. It’s a shrug of the narrator’s shoulder, at the unstoppable tragedy of it all.

Chekka Chivantha Vaanam is a shining example of song integration into story. Pay attention to how variations of Sevandhu Pochu Nenju get used in this film in bits and pieces. Or even better, how about Mazhai Kuruvi, which transforms from love to lament?”

Aan Devathai: An interesting premise that deserved more nuanced treatment

“Bank loans aren’t the problem; people who make horrible financial decisions are. Food delivery isn’t the issue; people who over-rely on them are. Nursery schools aren’t the problem; parents who make no time for children are. “

NOTA: This coming-of-age story doesn’t live up to its early promise

“It’s tempting to think of a Mudhalvan, whose protagonist too gets forced into the Chief Minister seat. And just as with that film, it’s important that you don’t really question the practicality of it all. These films are targeted at the impractical idealist, I suspect, resides in all of us.”

96: A beautiful idea, an efficient film

96 works beautifully in theory… in the head. Long-lost lovers fitting together again — like two pieces in a jigsaw puzzle — just for an evening, after more than a decade, is a dreamy idea. He’s Ram (Vijay Sethupathi), and she’s, no surprises, his Janaki (Trisha). He’s become a photographer, and sought refuge in the…

Saamy Square review: Saamy’s problems squared

“She also gets slapped about, and it all makes sense when you pay attention to a line she sings in the duet, Adhiroobaney: “Unai paarkumbothey bayam varum, needhaan aanin ilakkanam.” Suddenly, I understood why barely a few seconds after getting slapped by Ramasaamy, she smiles at him.”

Seemaraja: A dull, frustrating rural drama replete with overused ideas

“Seemaraja is also the sort of film in which a fat woman comes running and Imman utilises an elephant’s trumpeting as BGM in a bid to get us laughing. The scene’s as funny as a burning orphanage.”