Samharam review: one house, one night, no payoff
Ram Prabha traps a houseful of killers under one roof for a single night, then lets a promising setup loop into tedium. Prajin stays watchable.
Indian cinema.
Films watched closely. Praise where it lands, push-back where it's earned — never the trade-press shrug.
Ram Prabha traps a houseful of killers under one roof for a single night, then lets a promising setup loop into tedium. Prajin stays watchable.
Paul George's ivory-smuggling actioner from the Marco stable looks great and hits hard, but its over-the-top gang wars never feel real enough to land. 2.5/5.
Subash K Raj's debut drops a middle-class karate family into John Wick territory. Arjun steps back, Preity Mukundhan takes over, and it mostly works. 3.5/5.
RJ Balaji builds a whole film around himself before Suriya walks in. The first half earns its patience; the second leans on spectacle. 3.5/5.
Room Boy review: Jagan Rayan's debut thriller rides a strong hook into a better second half, after a first half that tests patience.
An app that tells you who to love, when to break up, and how much your heartbreak is worth in insurance premiums. On paper, that's a Charlie Kaufman script. Vignesh Shivan's LIK makes it a rom-com instead, and the gamble mostly pays off.
Tamil cinema produces about two genuine children's films per decade. Maragatha Malai slots into that thin category with an unpretentious period fantasy that trusts its young audience more than most mainstream entertainers do.
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.