Carmeni Selvam is poor on twists, and is burdened by predictability. With a template premise and a screenplay that is just adequate, the film’s strength lies in its performances. While Samuthirakani is riveting as usual, Lakshmipriyaa steals the show with her measured performance as Shanthi. She reminds us that no matter how much 'selvam' (money) we earn, we all need 'shanthi' (peace) in life (a clever wordplay by the filmmaker). While Abhinaya and Gautham Vasudev Menon do the needful, they’re underused in the film, for their roles are more of extended cameos. Special mention to child artist Karan Chakaravarthi, who is captivating as Balu, the son of Shanthi and Selvam. In no way is Carmeni Selvam perfect. For some, it could come across as preachy. For some, it could be predictable. For some others, it could also be problematic for showing the life of poverty with glimmering hope. Nonetheless, it is a tale that makes us remember that too much wealth often whispers promises and screams consequences.
But after a fun-filled ride witnessing romance on rotational duty, Double Occupancy culminates at a rather desolate ending, which leaves us disheartened at best and dissatisfied at worst. The best parts of the film are when it embraces the impossible and trusts us to keep up. It is smart enough not to overexplain and entertaining enough to keep us from asking too many questions. But by the time the credits roll, what remains isn’t confusion about the rules of the universe but a lingering feeling that the world deserved a more fulfilling checkout. At the end of the day, Double Occupancy may not stick the landing, but for most of its runtime, it makes the impossible feel comfortably lived in.
Ultimately, Oh Butterfly is less interested in the spectacle of its twists than in the quiet weight of the choices that lead to them. Through Lakshmipriyaa Chandramouli's Ranjani, Vijay Ranganathan tells us how sometimes we tell ourselves fragile stories to live with our guilt, with our ego allowing us to believe that we indeed have the ability to affect something. It may circle its ideas a little too insistently at times, but when the dust settles, the film leaves behind a lingering thought, much like the one it begins with, about whether our lives are shaped by fate or by the smallest, almost invisible decisions we make along the way.
Unfortunately, this tonal mismatch robs the story of both its emotional payoff and comedic value, leaving the romance neither funny nor moving. If an average commercial film asks us to suspend disbelief, Chennai City Gangsters demands we hand it over at gunpoint. The ragtag team of thieves—Split Soosai (Anandraj), Memory Das (Rajendiran), Kudi Kumar (Sunil), and Damar Lal (John Vijay)—are shown to have been betrayed by a friend who lured them into a bank job only to turn them in for goodwill. Later, Pandi learns that their time in prison has left them with physical and mental scars, supposedly making them unfit for another heist. Cue the melancholic music, nudging us to feel sorry for them. But while betrayal stings, the men who suffer it are not exactly saints. The logic or morality of it all is not something that the film bothers to make a blueprint of.
Is Gentlewoman without flaws? No. Does it tread the fine line of justifying problematic relationships? Perhaps. But does it ignite conversation and introspection about the women in our lives, or even ourselves? Undoubtedly, yes. The film acts as a chilling reminder that women are conditioned to go over and above their comfort zone to cater to the men in their lives, but that men often do not even do the bare minimum. If Gentlewoman proves anything, it’s that being gentle is a choice, not a prerequisite. And in a world that still expects women to be gentle while excusing men, this film makes a strong case for rewriting the phrase to 'Gentlewomen and not-so-gentlemen'.
While these issues are noteworthy, the biggest elephant in the room is undoubtedly the cast’s performances. Pugazh comes across as repetitive in his attempt to stand out by playing a disabled character, and when he tries to show “bravery,” it only worsens. Shirine feels like a fish out of water; she neither fits into the setting nor delivers her lines convincingly. The performances of the supporting cast, particularly the forest officials, further weaken the film’s impact. The idea behind the film is efficient: to promote environmental conservation and to highlight that animals are often more trustworthy and innocent than humans. Unfortunately, the film’s execution falls short of achieving this goal. It could have easily ended about 30 minutes earlier, but instead, it stretches on, showing an adult tiger, its role in saving a village, a court case, and much more. Towards the end, even the legal system feels lightly mocked. When the film finally concludes and the credits roll, you’re left reflecting on how the experience might have been more engaging in a different setting—perhaps a quiet afternoon at the zoo.
With this writing nuance taking the film up to a crescendo, Nesippaya falls back to underwhelming territory as it misses out on one key area. After their breakup, Arjun and Diya go about their lives in Chennai and Portugal, respectively, and seem to have moved on without any regrets. Yet, the minute Arjun sees Diya in trouble, he makes an impulsive decision to go to her, leaving his future and career at stake. While Arjun is described as a spontaneous person throughout the film, the fact that they didn’t contact each other for two years makes it difficult for us to accept how much they still care for each other. Such writing issues cause an emotional disconnect, which makes it difficult for us to root for the couple.
Usually, that would work against a film; the emotional tug-of-war often leaves audiences unanchored, unable to fully connect with what the film wants them to feel. But here, those jarring shifts are wielded smartly. Right after an intense father-son confrontation, brimming with monologues that tug at the heart, we get a completely unexpected and utterly hilarious dance routine from the three men of the family. It throws you off, yes, but in the best way. Similarly, just before a cleverly placed callback to Simran’s dancing nostalgia, there’s an understated romantic beat—one of the better-written scenes in recent times—that serves no grand purpose in the larger narrative yet leaves you with a gentle warmth. Tourist Family swings between grief and serendipity, pathos and harmless, mindless humour, and in doing so, Abishan and his cast manage to walk a tightrope with remarkable ease.
Trending Movie Review: When a film is titled Trending and its protagonists are influencers, it has two clear routes to take. One, it walks the didactic path, delivering a cautionary tale about the perils of social media. Or two, it turns into a thriller, throwing its leads into dangerous territory and pulling us to the edge of our seats. Trending, starring Kalaiyarasan and Priyalaya, attempts to strike a balance between both these worlds. Unfortunately, it fails to engage, thanks to a complete lack of logic and an overstretched runtime.
Jayabhuvaneshwari B of Cinema Express rated one point five out of five and wrote that "When the film neared its climax, I wondered if it would have made better sense to release it during or immediately after the pandemic"
Jayabhuvaneshwari B of Cinema Express who gave 1.5 out of 5 stars and stated "But when these films keep going back to age-old tropes and predictable plotlines, we can't help but wonder, "Haven't these 'high school filmmakers' learned their lessons yet?"
Jayabhuvaneshwari B. of Cinema Express rate 3 out of 5 and noted that "After all, the title itself translates to "seeking a good name," and the film's team are pretty much at the receiving end of one".
Jayabhuvaneshwari B of Cinema Express rated two out of five stars and wrote "Once Upon a Time in Madras feels like a loaded chamber with no real firepower.
Jayabhuvaneshwari B of Cinema Express rated 2/5 stars and wrote "Raghu Thatha boasts strong performances but falters in its inconsistent narrative and underdeveloped ideologies, leaving the audience confused and unsatisfied despite promising moments".
