“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?”
Category: Film Reviews
Vaanam Kottattum Movie Review: A moving premise, a not-so-satisfying film
“The Bose Kalai (Sarathkumar) family is a horrible one to be in if you are a woman. Chandra, it seems, has made her disgruntled peace with it. She knows her husband won’t consult her before unleashing violence that will haunt the family for decades. She realises that her son won’t consult her either before engaging in assault and going to jail.”
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.”
Sillu Karupatti Movie Review: A sweet anthology
“Halitha Shameem’s second film is the equivalent of a pat on your shoulder, and someone saying, “There, there. As long as there’s love in the world, you will be fine.””
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’.”
