Anegan, on the whole, is a complex story told simplistically. Had the complexity been retained, and had the masala spoon been of a lesser size, it would have made for a great film. For now though, it will have to satisfy itself with being a hit film.

A rushed climax, a problematic organ trafficking angle, a repeated plot device, a predictable ending… and yet Yennai Arindhaal comes as a breath of fresh air, especially at a time when big-budget films haven’t quite lived up to their hype. There’s just that one melisaana kodu that stops it from being terrific.

There’s no message here, just like how the main characters are friends for no particular reason. As the film asks before displaying its title card: Who needs a reason to be friends? Director Karthik G. Krish, however, understands that while friendship may not need reasons, humour definitely does. And there’s plenty of that in the film.

Ra also shows good production values (especially in its VFX), and that’s more than you can say about many other small films that have released recently. The flaws are mainly in the writing.

However, despite these inspirations, there are quite a few genuinely enjoyable moments in the first half of the film, one in which it hasn’t yet stepped into hero-has-to-rescue-heroine territory.

As you walk out, you can’t but wonder if the director, after noting all the laughter at the end, rues his decision not to have made a full-fledged comedy.

Poojai, despite not being Hari’s best, could still be successful in the B and C centres, and affirm his bankability. The writing is generally not well thought out though. It seems almost like groups of imperfect scenes were put together in the hope that they’d somehow come together to form a riveting, entertaining whole. Poojai then is a refutation of Aristotle’s adage that states that the whole is greater than the sum of its parts.