…too dialogue-heavy for an action thriller…

…an underwhelming film made for Rajinikanth, the politician

Sethupathi is one of those films with a second half so good that you are willing to forgive it its first-half flaws. Vijay Sethupathi, who we last saw playing a rowdy in Naanum Rowdy Dhaan, shows that he can be just as good playing a character on the other side of the law.

One wonders what these ideas could have been with better execution, with a bit of craft. There’s so much good material, so many interesting characters, so many funny ideas…but they remain mere ideas as we watch Uppu Karuvadu.

It’s rather surprising that Salman Khan, given his present form, has chosen to produce such an insincere film. What do you call a film even Salman Khan can’t save? Hero.

All is Well is the kind of film you want to show to that relative who assumes it’s easy to watch movies for a living.

…could still have an audience considering the lady sitting next to me was sobbing during the climax, but given how the three youngsters sitting in front of me were constantly on their phone, it is perhaps a story that would have been best left untold.

In one of the most spectacular-looking Hindi films in recent times, Kashyap transports us effortlessly to a different age and time.
Despite pacing issues, the tendency to overstate the obvious and an inconsequential Tommy gun shootout, the film stands true to an indie filmmaker’s idea of a blockbuster. The film is every cinematic cliché and so much more. It is every crime movie you have already seen but so much more.

With Vai Raja Vai, Aishwaryaa has gone unapologetically commercial and this time, her protagonist, Karthik (Gautham Karthik) suffers (or should I say gains?) from a Nostradamus-like power to predict. As I walk out of the theatre, I can’t help but feel that her second film too suffers from bipolar disorde

With its incoherent subplots and all its silly dialogues that would embarrass even David Dhawan’s dialogue writer, Ungli becomes a shadow of what it could have been.