Ridden with far too many cliches and done-to-death scenes, the movie slips into a hotchpotch of theatrics, songs, dances and juvenile antics. A weak script does not help either a story which has little meat.

Tamil cinema has been talked about because of its ability to present novel themes, but Massu Engira Masilamani turns out to be a mishmash of movies that have been seen earlier. Suriya does appear plausible in some sequences, so does Nayanthara — but given such a storyline and script, they struggle to keep the film afloat.

Our Bond’s exploits are liberally punctuated (they have to, for this is India) by songs and dances that take place not on Chennai roads but in some of the most scenic spots on earth, making one wonder how much of the budget went into this dopey extravaganza. This is not all; there is so much of silliness and tomfoolery that Kakki Sattai begins to hang heavy on time.

The only high point of Shankar’s I (in Tamil) is Vikram’s enthralling performance, first as a rustic body builder and later as a disfigured hunchback.

Although, Lingaa arguably is one the better films of Rajinikanth in a long time, the actor remains a slave to his trademark mannerisms – which do not allow him to sink into the character.

Jigarthanda is a failed attempt at showing stylised brutality…