Tamil

In her latest film, Minmini, Halitha Shameem poses an intriguing question: How much guilt is too much? The film delves into how individuals cope with guilt and remorse, offering a glimpse into the lives of Praveena (Esther Anil) and Sabari (Pravin Kishore), who each approach sorrow in their own distinct ways. Praveena and Sabari cross […]

In this Nithilan Swaminathan directorial, a man named Maharaja (Vijay Sethupathi) files a police complaint because the ‘Lakshmi’ in his house goes missing. When he arrives at the police station, he encounters a thief in custody named Police. “Maharaja,” the film, is filled with such droll contradictions. The narrative revolves around the lives of two

The film Garuden opens with Minister Thangapandi (R.V. Udayakumar) eyeing a valuable tract of land owned by the Kombaiammam Temple. In the heart of Kombai, we are introduced to Aadhi (Sasikumar) and Karuna (Unni Mukundan), childhood friends with an unbreakable bond, and Sokkan (Soori), a devoted servant to Karuna’s family. Sokkan, an orphan who once

In the bustling narrative of “Star,” we’re swiftly introduced to a young Kalai, whose frustrations with life are palpable in his tiny universe, revolving around cinema and family. In a moment that encapsulates his predicament, he arrives late for his school drama recital, missing not just the event but also Bharathiyar’s iconic mustache, a significant

In Tamil movies, it’s rare to find films for kids that really touch your heart. But when one does come along, like Kamalakannan’s “Kurangu Pedal,” it’s special. This movie is all about the bond between a father and son, set in the 80s, a time of innocence. The story starts with a group of boys

In light of Aranmanai 3’s financial success despite critical backlash, it’s unsurprising to see Sundar C revisiting the franchise to bolster his box office reputation post the stumble of Coffee With Kadhal. Yet, one must acknowledge the director’s knack for crafting a formula that seems impervious to critique. Critics merely need to echo past reviews,

In Hari’s latest film, “Rathnam,” Priya Bhavani Shankar’s character, Mallika, delivers a thought-provoking line: “There is no definition for good and bad.” Initially puzzling, this statement gains clarity as the film progresses, emphasizing perspective’s role in shaping moral judgments. Perspective remains a central theme, illustrated through various narrative threads. Violence punctuates the storyline, initially shocking