Janani K

It’s always heartwarming to see your yesteryear stars, who once made you fall in love with cinema, still continue to give you movies that not only achieve commercial success but are also backed by powerful content. 2025 has been phenomenal for Malayalam superstar Mohanlal, who gifted ‘L2: Empuraan’ - a film that took on right-wing politics - and followed it up with ‘Thudarum’, a delicious thriller based on a father-son duo. ‘Hridayapoorvam’ is his third release of the year and a potential hat-trick. But has it struck gold? Let’s find out! Sandeep Balakrishnan (Mohanlal) is a heart transplant survivor living in Kerala, where he runs a cloud kitchen. Months after his recovery, Haritha (Malavika Mohanan), daughter of his heart donor (Colonel Ravi), arrives in Kerala to invite him for her engagement in Pune. Chaos strikes, the engagement gets called off and Sandeep along with his attender Jerry (Sangeeth Prathap) are forced to stay at Haritha’s home.

A police officer on suspension. A serial killer is on the loose. A murder that hits home. A personal tragedy that blinds the police. All these plot points could set the foundation of a gripping crime thriller, if done well. Director Sabarish Nanda’s ‘Indra’ has all of it, yet the film only reaches for the low-hanging fruit, so much so that the makers seem content with the bare minimum. Indra (Vasanth Ravi) struggles with alcoholism. His addiction and rage get him suspended, and he even leads to the loss of his eyesight. He and his wife Kayal (Mehreen Pirzada) are facing marital troubles. However, the loss of eyesight brings them closer as they wait for a transplant. During this time, Kayal is murdered at home while Indra sleeps in another room. The pattern of the killing points to a serial killer.

Women-led films don’t always have to be about a woman being belittled by everyone around her, only to later rise as someone who rides bikes in the Himalayas. A women-led film can also be about learning and unlearning - discovering that the world beyond their cocoon presents opportunities. How to make use of this vast world of opportunities is up to each individual. But the important underlying message is that they have a choice. A choice that lets them spread their wings and fly, or simply feel the freedom of having options. That is what director Praveen Kandregula’s ‘Paradha’ is all about. Subbu (Anupama Parameswaran) belongs to the fictional village named Padathi, where women, who have hit puberty, have to wear a veil till they die. This superstitious belief is told to the villagers as the story and curse of the deity, Jwalamma. If the paradha (veil) is taken off, wilfully or unintentionally, the woman has to face death. Hold on! A ritual followed by death.

2025 has been an unusual year for spectacle films (barring a few, of course), not just in Kollywood, but across the industry. ‘Coolie’, one of the most hyped films of 2025, with an amazing ensemble cast, was marketed as what could be the next big outing this year. It had every single ingredient to make it the next pan-India biggie. Director with an impeccable record - check. Rajinikanth - check. A diverse star cast. Check. The film spans multiple timelines and locations. Rajasekhar’s (Sathyaraj) death leaves his elder daughter Preethi (Shruti Haasan), and her two sisters struggling. His long-time friend Deva (Rajinikanth), who runs a mansion house, comes to pay his last respects, but Preethi lashes out and asks him to get out. Days later, Deva finds out that there is more to Rajasekhar’s death than meets the eye.

A film that hinges on brotherhood and a man’s/woman’s larger purpose in life has to get one aspect right. And, it’s not the scale or the music. It’s the emotion. You need to connect and resonate with the characters on-screen to feel their pain and joy. However mediocre the story might be, if the emotion connects, the film lands! Director Gowtam Tinnanuri’s ‘Kingdom’ promised to be a story of brotherhood, a spy thriller and a lot more. Has it cracked the magic formula? Let’s find out! ‘Kingdom’ begins in the 1920s, with a tribe called Divi fighting against the British. The tribe fails in the fight with the hope that a saviour will arrive to put off their worries. 70 years later, we see Suri (Vijay Deverakonda), a constable searching for his elder brother Siva (Satyadev). Siva fled after killing their abusive father and ran away from home. His attempts to find Siva land him in a covert mission.

Almost half an hour into director Pandiraaj’s ‘Thalaivan Thalaivii’, Nithya Menen’s Perarasi receives a phone call from her husband Aagasaveeran (Vijay Sethupathi). Her phone displays his name as ‘Kirukku Payya’, which loosely translates to ‘mad or crazy man’. This name is not just perfect for Aagasveeran, but for every single person in the world of director Pandiraaj’s ‘Thalaivan Thalaivii’. Set in Madurai, ‘Thalaivan Thalaivii’ begins with Perarasi, along with her parents, performing a tonsuring ritual at a temple for her daughter, but without her husband Aagasaveeran. The couple has been living separately for three months, and we soon learn that Perarasi is seeking a divorce. As their families get involved, and after hundreds of ear-splitting arguments, it becomes clear that Aagasveeran and Perarasi are two crazy, indecisive people who are stuck with each other.

‘Maareesan’ brings together Tamil comedy legend Vadivelu and brilliant performer Fahadh Faasil for the second time after ‘Maamannan’. While the two have their individual strengths, they are terrific performers. Give them any role, their eyes are enough to pull them off. Director Sudheesh Sankar’s ‘Maareesan’ is a comedy thriller, a genre that could either be effective or a total misfire. Dayalan (Fahadh Faasil) is a thief who is just out of the infamous Palayamkottai prison. In his words, certain houses talk to him and call him, so he could rob them. Soon after his return, he finds Velayudham Pillai’s (Vadivelu) house calling him. He breaks into the house to steal, but only to find Velayudham chained to his bed.

Telugu film C/O Kancharapalem, backed by Praveena Paruchuri, is one of my all-time favourite films. Directed by Venkatesh Maha and presented by Rana Daggubati, the film was fresh, innovative, profound, and exhilarating. All at once. With ‘Kothapallilo Okappudu’, Praveena Paruchuri makes her debut as a filmmaker, with Rana backing her once again. The trailer hinted at a quirky satire and a social commentary wrapped in humour. Ramakrishna (Manoj Chandra) works under loan shark Appanna (Ravindra Vijay), who sexualises women at the drop of a hat. Ramakrishna is smitten by his school love Savitri (Monika), who is the granddaughter of Reddy (Benerjee). Benerjee and Appanna are at odds with each other, driven by ego, caste, and privilege. Yet, both are vying to become the dominant force in the village.