Director: Gautham Vasudev Menon It all starts with Karthik struggling with writer's block. As his mind longs for Jessi's presence, his hand dials her number, hoping she would bring him out of this abyss. What should have followed is an epilogue to the original film or a prelude to a sequel. However, what I saw was a procedural event. To begin with, the writer's block was treated at surface level without any heft. Just because you write heroine intro scene as her brushing her teeth (Raja Rani) you cannot lose hope in life and take drastic decisions. Once the phone conversation begins, it goes into confession mode listing out every detail the audience needs to know about the life of this couple in the past 10 years. It is of course interlaced with the GVM must-haves such as self-deprecating humour, throwbacks to his successful films, and Mani Ratnam; all in now-intolerable staccato. When I took a step back, recounting events in the form of confessions inherently is a highly
Director: Thyagaraja Kumararaja While watching Super Deluxe, amongst the countless thoughts swirling my head, one thought occupied my mind predominantly. It wasn't the seamless performance of Vijay Sethupathi or that of Fahad Fazil. It wasn't the demonic performance of Budds, who makes me ponder through his no holds bar, yet subtle performance in this film, whether this is how Kamal would have performed Red Chitti in Enthiran. It wasn't the wacky directions and unexpected/ unexplored characters the movie was showcasing. The question was more fundamental: it was about the pacing of the film. Every scene in the film is painstakingly slow. By slow, what I mean is that after the crux of the information and emotion is conveyed, the scene goes on and on. The worst one was the Myskkin's stoned revelation scene. Is it fear or apprehension which led TK to decide this pace for the movie? For unknown reasons (at least unknown to me), a marvelous debut by TK didn't mi