Raatchasi: This well-intentioned Jyotika film is tedious and preachy

“Remember that last scene in Baasha when a defeated Mark Antony sees Manickam striding towards him, and can’t help but see flashes of Baasha, as he once knew him? As Jyotika, playing the role of Geetharani in Raatchasi, delivers supposedly rousing monologues and walks towards the camera, I found myself seeing flashes of Samuthirakani.”

Sindhubaadh: Some opening warmth gets waylaid in this half-hearted thriller

“The problem, rather ironically, is how good Arunkumar is with the everyday aspects of life. When you are as good with the localising, it’s hard to suddenly get your audience atop the mass bandwagon (unless it’s a Sethupathi, in which the villain and the conflicts are localised too).”

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.”

The Extraordinary Journey of the Fakir: An extraordinarily ordinary journey

“I think it’s fair to say we almost know exactly what to expect every time an international production begins to make a film with an Indian protagonist. Of course, he’s going to be from Mumbai, and he’s going to be poor (this film takes it a step further by making him narrate his story, in all its ‘wisdom and beauty’ to a fawning audience made up of four poor Indian boys about to be incarcerated).”