In this article I argue that Pa Ranjith’s filmography is never lacking in form, even if such complaints abound.
The first thing that strikes you about Mahendran's films is his precision with words and images.
I liked Kabali better the second time. Several scenes which felt odd and choppy the first time, felt a lot more coherent the second time around.
As I sat in the 1000-seats capacity Golden Mile theatre in Singapore on the midnight of 21st July, there were mixed feelings.
This film made me wonder about the death of idealistic characters in today’s cinema and the death of a certain kind of drama.