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).”

Maari 2: Sai Pallavi and some spirited dialogues struggle to keep this sequel afloat

“My most favourite Dhanush moment in this film is when he swishes his finger, and just as he’s about to say, “Senjuruven”, checks himself and says something else instead — something more endearing that takes into account the changed man that he is.”

Vada Chennai: A gritty, even if rushed, gangster drama with unforgettable stretches

“In the other murder sequence, you have two novices undergoing a rite of passage of sorts. The event is the equivalent of two young lion cubs hunting a weary hyena. It’s fascinating to see as they, full of vigour and inventiveness, wake up to what they can actually do. It’s a sequence Santosh Narayanan’s music stands out in.”

Don-u don-u don-u

“You have to wonder when we went from being repulsed by these outlaws to rooting for them. When indeed did our filmmakers begin to conceive a don as a cool leader, his violent tendencies, like in Maari, supposedly an amusing extension of his proclivity for mischief.”

Cracking Kolaveri

“So, why did an entire generation get hooked to it? Well, that’s a question I suspect both Anirudh and Dhanush are tired of trying to answer, and perhaps trying to figure out too.”