Madraskaaran Movie Review: A predictable collision course
Madraskaaran Movie Review: Critics Rating: 2.0 stars, click to give your rating/review,Despite competent performances — Shane Nigam and Kalaiyarasan do their level best to rise above the
Critic's Rating: 2.0/5
Madraskaaran Movie Synopsis:
Madraskaaran Movie Review: There’s something infuriatingly predictable about a film that stakes its entire premise on not one but two “accidental” collisions. Madraskaaran seizes on this well-worn Kollywood obsession — turning minor fender-benders into full-scale Greek tragedies — but never quite justifies the ensuing chaos. Shane Nigam makes his Tamil debut as Sathya, a man so prone to improbable incidents, one half-expects an errant banana peel to send him tumbling next. The first mishap is an innocuous bump into a parked two-wheeler, which balloons into a road-rage saga involving Durai Singam (Kalaiyarasan) and his men. The second — fated, of course — finds Sathya knocking down a pregnant woman (Aishwarya Dutta) who happens to be Singam’s wife. No points for guessing the shrieking melodrama that follows.
Before we can catch our breath, the narrative shifts to shouting matches, violent brawls, a mob-led courtroom, and the sudden disappearance of Sathya’s bride, Meera (Niharika Konidela). One might think the screenplay has bigger ambitions — perhaps a commentary on power, corruption, or the fragility of justice — but all we get is an avalanche of crocodile tears and random fits of outrage. Sathya is unhelpfully bland, a cardboard box protagonist with no discernible vocation or personality trait. Even his father’s passing triggers a baffling outpouring of grief where none had been established before. It’s as if the screenplay belatedly remembered it wanted to be a family drama.
The supporting characters fare little better: rowdies bray and threaten, hospital staff prattle ominously, and friends chime in for the occasional brawl. The background score crashes in like a bulldozer, often at odds with the scene’s supposed mood. Director Vaali Mohan Das appears so taken with these overwrought set pieces that he forgets to stitch them into a cohesive whole. Consequently, a few plot threads introduced in the second half flounder without resolution or relevance. You catch glimpses of a richer film lurking beneath the chaos — brief moments that suggest what might have been had the narrative spent more time developing character arcs.
Despite competent performances — Shane Nigam and Kalaiyarasan do their level best to rise above the din — Madraskaaran can’t overcome the weight of its own contrivances. By the end, you’re left wondering why it took so many fights and tear-stained close-ups to say so very little.
Written By: Abhinav Subramanian
Madraskaaran Movie Review: There’s something infuriatingly predictable about a film that stakes its entire premise on not one but two “accidental” collisions. Madraskaaran seizes on this well-worn Kollywood obsession — turning minor fender-benders into full-scale Greek tragedies — but never quite justifies the ensuing chaos. Shane Nigam makes his Tamil debut as Sathya, a man so prone to improbable incidents, one half-expects an errant banana peel to send him tumbling next. The first mishap is an innocuous bump into a parked two-wheeler, which balloons into a road-rage saga involving Durai Singam (Kalaiyarasan) and his men. The second — fated, of course — finds Sathya knocking down a pregnant woman (Aishwarya Dutta) who happens to be Singam’s wife. No points for guessing the shrieking melodrama that follows.
Before we can catch our breath, the narrative shifts to shouting matches, violent brawls, a mob-led courtroom, and the sudden disappearance of Sathya’s bride, Meera (Niharika Konidela). One might think the screenplay has bigger ambitions — perhaps a commentary on power, corruption, or the fragility of justice — but all we get is an avalanche of crocodile tears and random fits of outrage. Sathya is unhelpfully bland, a cardboard box protagonist with no discernible vocation or personality trait. Even his father’s passing triggers a baffling outpouring of grief where none had been established before. It’s as if the screenplay belatedly remembered it wanted to be a family drama.
The supporting characters fare little better: rowdies bray and threaten, hospital staff prattle ominously, and friends chime in for the occasional brawl. The background score crashes in like a bulldozer, often at odds with the scene’s supposed mood. Director Vaali Mohan Das appears so taken with these overwrought set pieces that he forgets to stitch them into a cohesive whole. Consequently, a few plot threads introduced in the second half flounder without resolution or relevance. You catch glimpses of a richer film lurking beneath the chaos — brief moments that suggest what might have been had the narrative spent more time developing character arcs.
Despite competent performances — Shane Nigam and Kalaiyarasan do their level best to rise above the din — Madraskaaran can’t overcome the weight of its own contrivances. By the end, you’re left wondering why it took so many fights and tear-stained close-ups to say so very little.
Written By: Abhinav Subramanian
