Caught Ghajini’s re-release. Average print quality and audio experience (like with Indian too), but since many of us didn’t know each other in 2005, may as well say a few things about this film. So, here's a thread that nobody asked. The film hasn’t exactly aged gracefully. The flaws feel a lot more pronounced now. Like the superficial handling of his amnesia. Occasionally, you see Nayanthara manipulating him, but largely, the memory-loss-revenge angle seems thoroughly underwritten. I’m so glad that the double-action villain idea was scrapped in the Hindi remake because it brings nothing to this story. I wasn’t sure what was going on with that whole boxing match scene (between the twillains) just before the climax.

LOOONG Thread on #Salaar.
__

The film is an admirable example of someone going all out in what they believe in, and usually, when that happens, it’s hard not to be persuaded. For that reason, and many more, I found myself largely enjoying the film, and in a way that didn’t even happen for me with the KGF films (as blasphemous as it may be to say that). The film is full of wonderfully entertaining touches drawn from Prashanth’s understanding of heroism. I loved that a young Deva doesn’t electrocute the wrestler directly; the electricity has to go through him. And this results in physical scarring that reminds you of what he's capable of every time you see him. I loved that the film subverts the idea of ‘mother sentiment’. When a mother asks a son for a promise, heroes usually submit. But here, Deva walks away to his friend and makes him a promise instead.

#LoveToday: A thread.

I really enjoyed the film. It bursts with incredible energy. Music, editing, momentum… It's among the funniest films this year as well. That stretch in which Insta messages to the girl are compiled as a trippy video, is such wonderful visual imagination. The film just keeps pushing forward relentlessly, until it takes a serious, emotional turn towards the end (that is genuinely heartfelt). To make such an energetic film that spans more than 150' with the seemingly feeble idea of a couple swapping phones is serious achievement.

So, #Vikram. Hmm.

First things first. It’s encouraging to see so many top actors unite for a director’s vision that spans across films and tries to unite them in enterprising, novel ways. On first glance, the vision doesn't seem as diluted here, as in, say, Master. I enjoyed the mystery surrounding Kamal’s character and liked the audacity to hold off on revealing him for so long as they do. These portions allow Fahadh Faasil to shine, and it helps that the brief forays into his relationship with Gayathri feel well-written too.

I assume you're all doing the Kaithi homework too. Had almost forgotten how good Kaithi is. It does good by so many of its characters, and without ever losing momentum.
When homework is this good, no complaints really.

Here are my quick responses to the #NavarasaFilms.

1. Karunai (Bejoy Nambiar): Revathy, particularly, and VJS deliver a masterclass on how performances can elevate a story.

2. Haasyam (Priyadarshan): Yogi Babu gets familiar doses of body-shaming in a film that is mirthless. 3. Arpudham (Karthick Naren): Nolan influences abound, but not necessarily in a good way, in this story that feels like a flawed pseudo-science lecture.

4. Bibhatsam (Vasanthsai): Easily my favourite of this anthology, this sensitive, dark film stars a terrific Delhi Ganesh.

When you are a man, there's not much to be said after you watch a film like #TheGreatIndianKitchen. You watch, you process, and hopefully, you react.
It is important to try to not get defensive; instead, to just try and be more aware, more sensitive. There's a shot that pans across couple portraits across generations. Such shots typically communicate love and nostalgia, but in this ingenious film, it really brings out decades of tragedy and oppression. Each photo felt like the equivalent of an animal hunter and his trophy.