Why Vivekh’s Kannadasan is the real Dharala Prabhu

“Even Kannadasan thinks of himself as a ‘kevalamaanavan’, which finds a quick response from his assistant: “Correct sir.” Anger is a consequence of ego, and is it any wonder then that we hardly see Kannadasan lose his temper?”

The dreams of Game Over’s Swapna

“If any film really deserved to have people poring over minor details, it’s one like Game Over. It’s a shining example of what some of us have always shouted from the rooftops: Any film claiming to possess multiple layers must first work without them. The layers are flavours, not the food itself.”

Death and resurrection in the greatest 15 minutes of Selvaraghavan

“If you remember, it’s a film in which the woman, Anita, tolerates quite a bit. Kathir is ill-mannered and brutish, a quintessential Selvaraghavan central male character if you will. This one also ogles, misbehaves, abuses, stalks… He is pathetic. And she can’t seem to fend him off. Instead, like a germ, he ends up growing on her. He’s almost an infection, a flaw. He’s… human. She’s an epitome of patience, a giver. She’s… an angel, a goddess. He’s a sinner; she’s his saviour.”

A loveable monster

“The moving kindness at the heart of this film makes it an important film for children.”

The actor beneath the Superstar

“Almost every memorable mass film of Rajini’s has at least one scene in which his excellent performance has not been given its due, even if the scene itself is popular.”