I felt very sorry for Keerthy Suresh, who’s stuck with a character whose motivations — at any given point — are: “Er, uh, it says so in the script.”
Ponmagal Vandhal isn’t about getting physically stronger to exact revenge, it is about regaining one’s mental strength to procure justice.
The director doesn’t trust his material. He doesn’t trust the audience enough to feel that this “issue” is enough, and doesn’t need to be cheaply sensationalised.
This is a film you’d think twice about watching even when theatres are safe, the wallet is full, popcorn nice and buttery and parking practically free.
The only point of interest is why Nayanthara was drawn to it. Perhaps it’s because the physical demands of the role force the actor to shed her usual icy-cool reserve…
We identify with these films because we identify with these conflicts. The film doesn’t offer many surprises, but it works because there’s grace, there’s a quiet dignity.
The web series on Zee5 makes interesting use of horror to spice up a thriller about the shocking commonness of paedophilia
Sooryavanshi, which got indefinitely postponed because of Covid-19, is a film about a few good men saving Mumbai from terrorists. Since we can’t see that, as a substitute, here’s another film about the city and terror – Mani Ratnam’s Bombay
This film by A Raajdheep is all about coincidences, a screenplay that’s too ambitious for its budget and laughable twists.
In this Vicky Donor remake, the old premise has been explored with a fresh pair of eyes, and with a very different sensibility.
Despite the film’s interesting idea for a two-hero subject, what we see is a watered-down version where the twists are predictable and the staging is flat-out amateurish.
The film slowly begins to resemble a newspaper, with each page containing one socially important story. But screenplays do not work that way. You need a thread. You need coherence.