Meaghamann could have used a more charismatic hero, but it helps that Siva is a grade-A brooder, not given to effusive displays of emotion. Anupama Kumar compensates somewhat as a cop given to declarations like “The game is getting deadlier.” Indeed, the director actually makes us believe that Siva is in danger. Given the general invincibility of the hero in our cinema, this is no mean accomplishment — a stretch involving enemies closing in on Siva is particularly well done.

…it’s harder to forgive the near-complete lack of entertainment, save for a late-in-the-day action sequence where Rajinikanth jumps on a motorbike and does what we pay to see Rajinikanth do. The theatre erupted at this point – out of sheer relief, it seemed to me, at finally having something worth cheering about.

There is no denying Vasanthabalan’s desire to make “good cinema,” but like his other films, Kaaviya Thalaivan makes us give him an A for effort, even as we rummage down the alphabet when it comes to aspects of the execution.

Watching something like this is punishment enough without making it seem like a two-and-a-half hour underwear commercial.

Less Bradbury than Bharathiraja, but that’s part of the charm…

Forget coherence or plausibility, but the action’s not bad…

Could have used more tension, but well-written and keeps us guessing…

A lot of flab, but some solid masala moments…

A good thriller towards the end, after much wasted time.

Films like Jigarthanda, targeted at Twittery youth, fight a mighty fight to bridge that divide, striving to make commercially viable entertainment with truckloads of auteurist artistry. If nothing else, you have to respect the man on the unicycle.