Divya: A Familiar Story Saved by Its Unflinching Climax
Honour killing as a subject has been explored repeatedly in k'town, and Divya joins that queue with its heart in the right place but not enough craft to distinguish itself.
Indian cinema.
Films watched closely. Praise where it lands, push-back where it's earned — never the trade-press shrug.
Honour killing as a subject has been explored repeatedly in k'town, and Divya joins that queue with its heart in the right place but not enough craft to distinguish itself.
A gangster, four cops, and a dead son walk into a murder mystery. That's essentially Police Family, a film that runs on a simple but effective engine: who actually killed Vinoth?
Setting an entire horror film inside one apartment complex is a gamble that pays off only if the writing keeps finding new corners to explore. 99/66 manages this in stretches, using the confined space and the mystery between two numbered flats to build a watchable, if uneven, thriller.
Anomie opens like it has something to prove, and for a good stretch, it does. Debutant Riyas Marath builds a serial killer procedural with genuine visual ambition, the kind of film where every frame feels storyboarded down to the last shadow.
Writing, directing, producing, and starring in your own film takes guts. Paul Raj clearly has no shortage of that. Yaarra Antha Paiyan Nanthan Antha Paiyan is the kind of project where one man's conviction carries everything, for better and worse.
There's a version of this film that opens with a cop slamming a table and swearing to catch the killer. This one opens with paperwork, doubt, and a body count that keeps climbing. That restraint defines Second Case of Seetharam, a procedural set in the misty Malenadu hills where the tension comes from process, not spectacle.
Set a crime thriller in Neyveli's lignite country and you've already got atmosphere for free. Arivaan uses that setting well, even if the investigation at its center takes too long to justify the patience it demands.
The first half of Love Share Subscribe (LSS) writes a cheque the second half can't cash. What starts as a passable college romance between a studious guy and a wealthy North Indian eventually wanders into Kashi and forgets why it went there.
Arjun Sarja has called Seetha Payanam a gift to his daughter, and the film does feel like one: made with affection, wrapped with care, not entirely sure who else it's for.
Most love triangles pit two people against each other. Dream Girl replaces the third wheel with a dream, and that odd choice is what gives M.R. Bharathi's film its identity.
Two broke strangers end up sharing a Chennai apartment, and the film doesn't once wag a finger at them. That small refusal to moralize is what makes Ashwin Chandrasekar's Couple Friendly work.
Tracking down an old school crush to confess what you never said sounds like either the most romantic idea in the world or a restraining order waiting to happen. With Love splits the difference.