Master is a milestone in Tamizh cinema's portrayals of the carceral system and the dire need for its reformation
Master looks into prisons, specifically the juvenile system, and gives us a glimpse of the nature of restorative justice.
Indian cinema and the Dalit identity: In Dhanush's 2019 film Asuran, the rise of a new national hero
Asuran is a story of a Dalit, Sivasamy (played by Dhanush), and his family. It is an unusual story in that it doesn’t succumb to violence or revenge, but rises about it.
Indian cinema and the Dalit identity: In Pariyerum Perumal, love is the only meaningful resistance in a caste-society
Coming out of our caste-mentality is a freedom, but most of us fear this freedom, especially those who benefit by it. Pariyerum Perumal provides us the courage to emerge from this fear.
Jyotika's Ponmagal Vandhal leaked online in HD by Tamilrockers ahead of premiere on Amazon Prime Video India
Ponmagal Vandhal, which sees Jyotika essaying the character of a lawyer, is the first mainstream Tamil film to have a direct OTT release.
Coronavirus Outbreak: Pon Magal Vandhal releases on OTT; TN theatre owners threaten to boycott Suriya, Jyothika's films
Initially slated to hit the screens on 27 March, Pon Magal Vandhal did not get released at the time owing to the coronavirus outbreak.
The trope of the 'Foreign Return' woman in Indian cinema, and why she's a character viewers love to hate
Some people believe the Foreign Return woman was a weird manifestation of everything that was thought to be wrong with the upper classes. Others believe she was symbolic of “them”. It was never clear who “they” were but one thing was certain — “they” were not “us”. There was one good thing about the Foreign Return woman though: it was deliciously easy to be judgmental about her. And that was something all of us could really enjoy.
How the character of the 'Foreign Return' woman in Indian cinema became a conduit for moral sermonising
In the various movies I have seen, there were different kinds of Foreign Return — there was the Hero Foreign Return, which was just awesome. There was the Villain Foreign Return, which was the worst thing ever. But something that was far, far worse than the villain being the Foreign Return was for a woman to be the Foreign Return.
In Aadai, Amala Paul breaks tropes usually seen in heroine-led film with her bold act
The highlight of Gorilla as hyped by the makers in the promotional campaign is Kong, the trained chimpanzee.
Vijay Sethupathi says the process of shifting between two characters is not as tedious as projected.
Kolaigaran is an intelligent investigative thriller, which will force the audiences to think.
It’s pointless to look for a point in Hippi.
While Prabhu Deva can still dance, Tamannaah's act in Devi 2 is mostly over the top.
Although NGK doesn't have the intensity of Pudhupettai or the repeat-worthy flair of 7G Rainbow Colony, Yuvan delivers an entertaining soundtrack.
The concept of the Nelson Venkatesh-directed Monster is interesting, featuring a convincing performance by SJ Suryah and a pesky rat
In 100, Atharvaa Murali plays a cop with ease and looks convincing. Yogi Babu, as his friend in the control room, provides some laughter.
K13: TamilRockers leaks high quality print of Arulnithi, Shraddha Srinath's thriller a day after its release
Arulnithi and Shraddha Srinath's Tamil thriller K13 is the latest victim of Tmailrockers, a piracy website which allows users to illegally download latest movies and TV shows.
K13 is a well made film which offers something different from the recent flood of inane commercial mass masala fare.
With Devarattam, M Muthaiah gives Gautham Karthik a chance to shed his urban lover boy image and become a mass rural action hero
Mehandi Circus works largely due to Sean Roldan’s haunting score and Shwetha Tripathi’s fabulous performance.