Really, an engaging piece of cinema. But what was Taapsee Pannu – as an East Pakistani refugee rescued by Varma from the high seas — doing in the movie? Totally wasted after her performance in Pink. The rather poor dubbing is another minus point. But on the whole Ghazi is gripping.

Bhaskar affirms this with a rare power and simplicity — a yawning difference from the parts she played as a modern woman in the Tanu Weds Manu series. As is often believed in Bollywood, an actor must be able to let go his/her own self and sink into a character and she does.

Orange Mittai is a refreshing relief from the distressingly long and annoyingly loud and exaggerated Tamil works that one has been bombarded with in recent times. Biju Viswanath keeps his narrative — at least most of the times — tastefully understated.

A must watch for those fans of Kamal who have been waiting to see him as an actor — not just a star driven to stunts — and, of course, Gauthami, who would certainly rekindle memories of her great performances.

The only disappointment I had with the film was its rather cliched way of reaching the finale. We have seen an innumerable times the cocky interference by television channels, the corrupt politicians and the unethical practices of businessmen. Manikandan could have devised another climax in a movie which uses subtle ways to condemn ruthless consumerism and the brazenness of celebrities in promoting products.

Cumberbatch is a marvel to watch. The contrasts in him – comical when he is confronted with ordinary tasks like ordering food, and obsessive when it comes to work – are portrayed with powerful sensitivity. His inability to face the real world, the world outside his workplace, is almost heartrending. And Knightley is superb, a perfect match for Cumberbatch, demolishing the era’s demeaning view of a woman’s ability.