Top 9 Tamil Movies in 2023.
Former jailer Tiger Muthuvel Pandiyan (Rajinikanth) is now a family man. He shops for vegetables at the neighborhood market, makes YouTube videos with his grandson, and helps out around the house. Police officer Vasanth Ravi, the son of Muthuvel, disappears while trying to apprehend a group of idol thieves. When Muthuvel’s wife Ramya Krishnan learns of his passing, she places the responsibility for this catastrophe on his upstanding upbringing. Broken-hearted, Muthuvel sets out to exact revenge for his son’s passing.
The two hours and forty minutes take some time to come into its own. The pace takes more than forty minutes to increase. This Rajnikanth film lacks the cathartic experience that comes with a mass introduction scene, in contrast to all of his other films. At this point, it turns into a Nelson film. However, the second half’s mass scenes and interval block make up for it. Director Nelson, whose most recent feature film was Beast, comes back with his trademark style of filmmaking, which has a first half full of nuanced, dark humor. Actually, the entertaining banter between Rajinikanth and Yogi Babu salvages the first part. The tale gets off in the second half with a number of big scenes, particularly when it travels back in time to reveal a peek of Muthuvel’s past. However, the momentum soon wanes and the film ultimately leads to a dramatic, although somewhat dull, and unsatisfying finale.
The movie lacks logic, just like a number of previous Rajinikanth films. In Tamil, the native tongue, and for viewers who have seen Nelson’s other movies, the dark humor is a hit. However, as it isn’t for everyone, the gags might be mistranslated into other languages (the movie has been released in five).
Star value is increased with cameos by actors like Tamannaah Bhatia, Jackie Shroff, Mohanlal, Shivarajkumar, Sunil, and Kishore. Await the much-needed drama and intensity at the conclusion, starring Shivarajkumar and Mohanlal.
Rajnikanth is a superstar now, not a hero, and this movie portrays him as such. Nothing more than enough of whistle-worthy Rajini-ism is shown to fans. The spectator is left to infer that the father and son are very close, even though the father-son bond—which is really the story’s heart—is barely mentioned. There’s not a single instance of feeling between the two. Seeing a gifted actor like Ramya Krishnan in the movie with little to say or emotion is disheartening. Vasanth Ravi maintains the same expression the entire movie. Vinayakan’s bloodshot eyes make a striking display. The background music by composer Anirudh Ravichander enhances the movie; the songs, however, are merely mediocre.In the 1999 movie Padayappa, Neelambari, also known as Ramya Krishnan, informs Rajini, “Vayasanalum un style’um azhagum unna vittu pogala” (Even though you have aged, your style and charm has not left you), following an intensive display of power play. We can still confidently state the same thing about Rajini in jail after 24 years. But maybe that won’t be enough to keep this movie alive.Top 9 Tamil Movies in 2023 updated in this article.
Parthiban (Vijay) and his wife Sathya (Trisha) and their two children reside in a snow globe universe. His pristine environment begins to slightly fracture, allowing air to enter, and what happens next is a hurricane that smashes the entire world to pieces. Can Parthiban repair the flawless snow globe and save his family?
As a front for their illicit drug trade, brothers Anthony Das (Sanjay Dutt) and Harold Das (Arjun Sarja) operate a tobacco company. Anthony’s son, Leo (Vijay) is one of the most influential ground workers who assures smooth running of drugs from one spot to another. Leo is killed in the tobacco industry after a terrifying occurrence that results in flames. Twenty years later, the Das brothers discover Parthiban’s remarkable resemblance to Leo. The main question at hand is whether Leo really killed himself to become Parthiban, or if they are two distinct individuals who only happen to have similar appearances.
Even in a cast of many, Leo is a one-man show. In the film, Vijay is fantastic in both his roles as Parthiban and Leo. He leaves the spectator wondering till the very end as to whether he is a true Parthiban or just a Leo who has taken on the traits of a Parthiban. The sequences are expertly designed to keep viewers riveted to the displays until the very end. The scene before the climax is the best. Although the writing is a little erratic, Vijay’s charisma and acting make it a credible appearance. He’s gone above and beyond anything he ever could have imagined becoming an all-around “badass” Leo Das, moving past his casual, quirky, silly escapades. He is a great father and husband who is going through a difficult time inside but still checks out the bedroom window to make sure nothing bad is going to happen to him.
In this movie, Leo is deprived of a formidable, towering antagonist. Arjun Sarja matched Vijay’s intensity, but there isn’t much of the latter on screen.
Lokesh informs us at the beginning of the film that the scenario is based on David Cronenberg’s A History of Violence, setting the stage for an action-packed, violent cosmos. The majority of Lokesh’s previous LCU films, Kaithi and Vikram, were action flicks, albeit there was a brief interlude with a family in Vikram. But here, Lokesh concentrates on family dynamics and math, which disrupts the action-packed scene. One well-known Lokesh Kanagaraj film with noticeable star service effects is Leo. The enemies in the movie are presented in a visually striking setting, but they aren’t given much of a foundation to stand on. The film lacks a compelling clash between the protagonist and the adversaries at the finale, despite stars like Sanjay Dutt and Arjun Sarja. Best of all, this is half of Anirudh’s music. The movie maintains balance throughout, with a slow song in the first half and the much anticipated “Naa Ready Daan” in the second, which also establishes the mood. A tiny bit more BGM energy was needed for the action passages in the early half.
Lokesh has adorned a well-known, traditional, and tried-and-true “hero in exile” tale with imaginative, action-packed scenes. Even if the plot of the film becomes obvious within thirty minutes of walking into the theater, Lokesh excels in his “innovative violence and action sequences.” The much-anticipated Hyena sequence falls flat in the first half, but in the second, the ferocious beast returns for the ultimate act of retaliation.
Fortunately, Trisha plays more than just the perfect spouse here—she’s more than simply arm candy. Her role receives the appropriate level of attention. Despite receiving high praise for their performances, Sanjay Dutt, Arjun Sarja, Priya Anand, Gautam Vasudev Menon, and Mysskin’s are overshadowed by Leo Das, nicknamed Vijay.
Ponniyin Selvan: Part 2 by Mani Ratnam picks up where the previous part left off, with the plot of the novel being set in action with the tragic romance between .The preamble of PS2 depicts the romance between these two characters in their early years. The director, sparingly using dialogue, shows us the blossoming of love between a prince and an orphan girl, as well as the heartache that results from their separation due to circumstances beyond their control.
In reality, this doomed romance is what keeps the story’s intensity high until the very end and forces the characters to make choices that will affect the entire story. Even when he knows that an acceptance of an invitation to the Kadambur palace – a place where his own chieftains conspired against him – could be a folly, Karikalan is unable to turn it down. Princess Kundhavai (Trisha), his sister, is motivated in her acts by the mystery surrounding Nandhini’s ancestry. In the end, the youthful prince Arulmozhi Varman (Jayam Ravi) manages to repel the Pandiya rebels, who have vowed to eliminate Karikalan, whose infatuation resulted in the assassination of their monarch.
The movie keeps up the fast-paced narration from the second part of the movie until the intermission, moving more like a swashbuckler. We see the audacious attempts to kill Arulmozhi, who is recuperating in a monastery, as well as the valiant defenses mounted by Vandhiyathevan (Karthi). We get a sentimental moment when the siblings reunite, a stunning romance scene starring Vandhiyathevan and Kundhavai, and an exciting action sequence that takes place before the intermission (along with a rousing AR Rahman background score) and is a masterclass in capturing pandemonium while maintaining spatial clarity.
The second part of the film focuses mostly on Karikalan’s fate, and Mani Ratnam creates such a sense of dread and agony during the highly awaited scene between Karikalan and Nandhini that we momentarily forget about the other characters. In these scenes, which are mostly captured in close-ups by cinematographer Ravi Varman, Vikram and Aishwarya provide incredibly vulnerable and emotional performances that heighten the sensitivity of their characters.
To be truthful, this emotional high has a significant effect on the climax parts since the events that transpire after a major character dies cannot compare to the tension and drama the story maintained up until that point. Additionally, they have a pretty somber tone considering how serious the events are; this is not something we typically connect with historical epics, particularly in this post-Baahubali era. In contrast to such movies, which centered around fantastical, larger-than-life characters, Mani Ratnam is more in line with the tone of Kalki’s writings, which are a fictionalized chronicle of historical figures with an emphasis on interpersonal drama. Even though the action takes place in a palace, the characters’ feelings inside its confines are what give the building its grandeur. Mani Ratnam appears to recognize this as well and chooses to include a battle sequence at the conclusion to offer audiences an instant adrenaline boost, but this part falls flat emotionally (despite the amazing visual effects) and doesn’t really leave us feeling elevated.
But the conclusion is the less spectacular part. Even in Kalki’s book, the ending is rather understated and has far too many twists. However, in this case, the authors (Mani Ratnam, Jeyamohan, and Kumaravel) logically give us a more satisfying twist, but they fall short of delivering a powerful speech when Arulmozhi comes to the conclusion and makes the ultimate sacrifice that elevates him to the title of this expansive epic.
Director Vamshi crafts a rather fascinating film about confused sons and fathers, feuding brothers, jealous rivals, worried mothers, lighthearted romance, upbeat melodies, and heroic moments all against the backdrop of a competitive corporate world. Vijay’s shining star performance, which turns everyday events into exciting episodes, drives all of this.
The protagonist of the tale is a business magnate named Rajendran (Sarath Kumar, who appears to have been instructed to continually appear dejected just because his character has a fatal ailment). Rajendran sets his own sons against one another in order to make sure he has the best successor. Though their father’s whims and fancies are faithfully followed by their first and second sons, Jai (Srikanth) and Ajay (Shaam), the third son, Vijay (Vijay), has other ideas about their father’s techniques and decides to stay away. And just as Rajendran discovers that he is running out of time, he sees his sons for what they truly are and chooses Vijay to succeed him. As a result, the other two go on the rampage and, worse, team up with his fierce adversary Jayaprakash (Prakash Raj). Can Vijay bring his now-split family back together and demonstrate that he is a worthy varisu?
Varisu does get off to a rocky start, with scenes that feel chilly and out of place in their surroundings. The scenes between Vijay and Jayasudha have the sterile feel of a TV commercial, and not even the mother sentiment seems strong enough. The connections we draw between these scenes and the rumored argument between the movie’s actor and his parents in real life are what keep us watching.
Nevertheless, the setup gives us the impression that we have stumbled into a Telugu adaptation of Chekka Chivantha Vaanam, only this time, the drama is set against a corporate setting rather than the backdrop of a criminal. Some scenes in the movie are rather dull, such as the early fallout sequence involving Vijay and Rajendran. Not even the interval is that exciting.
However, in the second half of the movie, Vamshi earns sixes and fours with the big moments that combine humor and bravery in equal measure. He also makes sure that nothing gets overly emotional by interspersing humor with the poignant times. When he feels like reaching for the tear ducts of his audience, he also doesn’t hold back. This movie is quite conscious of itself.
The plot revolves around family and relationships, and the movie is both old-fashioned yet woke enough to recognize that sometimes it’s best to make the most of what we have when it comes to family.
Errors include a somewhat too lighthearted romantic song (Rashmika is the arm candy here), and unimpressive antagonists. The antagonist’s lack of ability to pose a serious threat to the protagonist, even for an actor of Prakash Raj’s caliber, is indicative of the character’s poor writing. Maybe the director thought that the battle in which Vijay tried to win back his two brothers was sufficient. The passages’ overall prose is also quite generic, which decreases their emotional impact—particularly in the early half. The film’s pacing is also erratic, and Vamshi even throws in a few too many action scenes and pointless songs to make it seem longer than it is.
However, he more than makes up for it with his breakout performance. Vijay is in top form, throwing off one-liners that make us smile, trading comedic repartee with Yogi Babu (who is actually pretty funny, finally!), pulling off self-referential jokes (the scene in the boardroom is hilarious!), and projecting sincerity to make us connect with the poignant moments.
In Thunivu’s second part, there are a few scenes that, if seen independently, could lead someone to believe the movie is from the Shankar stable. or using a Murugadoss AR. A sad flashback in the vein of Shankar elucidates the protagonist’s mission-driven motivations. The other is an entertaining scene where the villains who have been preying on an unsuspecting audience are brought to answer for their crimes on live television, while we also learn about the nefarious workings of a well-known industry.
However, H Vinoth doesn’t seem to think that his film’s central theme should be wrapped up in a larger, more traditional story that introduces the characters before focusing on the plot, in contrast to Shankar or Murugadoss. This movie launches into the story in the opening moments, leaving us in suspense as it shows us events as they happen in real time and presents us to the characters. And thus, we get straight to the bank heist that’s the film’s instigating episode.
When gangster Radha (Veera) and his men arrive at the bank to carry out their plan of robbery, they discover that Ajith Kumar, the mystery man, is already there and is more than willing to take over. The Commissioner (Samuthirakani), in charge of the police, discovers that there is something more evil at work when they are trying to apprehend the individual. What is this man chasing, and who is he?
The tempo of Thunivu is the first thing that strikes you. The scenes flow at such a rapid pace that at times we question whether editor Vijay Velukutty is playing them at a 1.5x speed. This does require some getting used to, just like Ghibran’s continuous background music does. Additionally, the production design is really cheesy for a big-budget movie.
In the meantime, Vinoth continues to jam as much information as possible into the screenplay throughout the writing of the movie. He provides us with a wealth of information about everything from how financial frauds operate to what happens to clients’ hard-earned money when they put it in a bank. Because the movie moves quickly, some of this even passes right over our heads. There are times when we beg the director to take his time so we can spend more time getting to know the characters and the problem. Not only are bankers the bad guys here, but law enforcement, the media, and politicians as well. However, the quick speed never allows us to understand how one depends on the other.
The film’s highlights are sequences in which the director allows his leading man, Ajith, to act more anti-heroically. The actor just takes over the scenes in the first half, putting on a fun, outrageous performance that makes the audience whistle. He even dances like Michael Jackson and makes clever jokes.
Manju Warrier, who plays the protagonist’s romantic partner but who the movie never bothers to clarify is a professional partnership as well, gets to do some stunts and has a great mass moment in one scene. Other than that, the job doesn’t offer her anything more.
Samuthirakani is one of the other actors who is still largely operational. The adversaries’ performances are primarily where the movie stumbles. Not even close to it, do any of them seem to pose a danger to Ajith’s character. The action choreography by Supreme Sundar also heavily strains the boundaries of realism, particularly with the several gun shots.
It is difficult to support the protagonist fully in the movie because it does not depict the financial industry’s activities and effects on the average person, even if it raises many pertinent concerns about them. We also start to question whether bravery alone can achieve glory when the movie deviates from logic and becomes a chase scene on the sea.
Cinematic tales of a simpleton rising to become society’s savior are always successful, particularly when they have the correct components. Even if Dhanush’s Vaathi appears to have been somewhat influenced by Hrithik Roshan’s Super 30, the movie’s main message is strong and stands up for a good cause, so it’s still rather acceptable.
Beginning in the present, Vaathi follows the trail of an enigmatic individual who is deciphered by a trio of students via an antiquated VCD tape. We learn that the individual is Bala (Dhanush), a former assistant math teacher who gets entangled in the turmoil of the 1990s school privatization movement. He is left on his own to establish his worth in a closed government school, with no help from the parents or teachers.
The core of the narrative centers on how, in spite of all obstacles, he manages to survive and use education to improve the lives of impoverished children.
Even while the pattern of a social reformer’s decline and rise is a universal recipe for success, the outcome entirely relies on how it is implemented. The majority of the requirements are met by director Venky Atluri to deliver a commercially successful picture. Despite its larger-than-life moments, Vaathi is not an exceptional picture; yet, it makes an effort to keep the audience’s attention with effective setup and payoffs.
Dhanush’s effortless acting and on-screen persona are Vaathi’s USPs. His creative idea-generating sequences for instructing the students are thought-provoking and entertaining. When he discusses social equality, a few of his talks are strong enough to have an ongoing effect. Playing Dhanush’s partner and a biology instructor, Samyuktha Menon appears new and has done a respectable job. While Ken Karunas has done an outstanding job, other kids also need recognition. Dhanush and Samyuktha have a good chemistry. It’s also fantastic that Venky didn’t go too far from the main plot by adding romance to such a somber subject.
However, the author should have steered clear of a few purportedly humorous scenes in the first half, as they failed to make the audience laugh. Additionally, rather than introducing the struggles between the good and bad forces after the interval, he could have done so a little earlier. Additionally, it would have been fantastic if a few battle scenes had been cut. The main character may have responded to such circumstances with a little more cunning and effectiveness, making a bigger impression.
Even though he doesn’t look very scary, Samuthurakani plays a standard villain with limited scenes that truly showcase his evilness. The movie is technically sound, and GV Prakash’s soundtrack enhances the experience. The introduction moments are perfectly set up by the song ‘Adi Aathi’ and the famed composer’s background score, which helps to intensify specific emotions.
7. Mark Antony
It’s encouraging to see how, as we have been seeing for some time now, local filmmakers are continually attempting to go deeper into the time-travel genre. The main protagonists in the majority of these stories put themselves in danger by attempting to use the time machine to alter history. The main characters in Mark Antony by Aadhik Ravichandran act similarly, yet the storytelling, direction, staging, acting, and wild retro graphics make this production unique.
We meet scientist Chiranjeevi (Selvaraghavan) in the opening scene. He creates a phone that allows people to travel back in time. Anyone with access to it can phone and converse with persons who have passed away. Twenty years later, in 1995, we meet Jackie (SJ Suryah), a vicious gangster who is eager to exact revenge for the passing of his close buddy Antony, and Mark (Vishal), the late mobster Antony’s son. Mark becomes a mechanic as a career, but Jackie’s son Madhan Pandy (SJ Suryah) aspires to be a gangster.
Mark thinks his mother’s passing was caused by his father, Antony. But when he finds a time machine in his garage, everything changes in his life. When Mark has the chance to speak with individuals connected to his father’s background, he discovers that Antony is not who he had thought him to be. He discovers details about his father as well as numerous other incidents that were long-kept secret.
Will Mark be able to reverse certain past events and, in spite of all the obstacles, bring his father back to life?
Against all logic, Mark Antony might be a good fit for someone looking for two and a half hours of nonstop entertainment. While Adhik’s storytelling approach is helpful, SJ Suryah’s unique acting is what keeps us interested the entire time. The audience is in for a surprise, for example, in the moment where SJ Suryah’s kid tries to contact him in the future. It’s a lot of fun. Adhik uses all of his talents in the visual presentation and the skillful staging of pivotal action sequences, even though the plot is unremarkable and adheres to the standard format of a gangster drama.
The characters and the loud background score help the director create the ideal atmosphere for this peculiar sci-fi drama from the very beginning. Even if there are moments when we want to grab a remote and turn down the music, there are other situations that simply wouldn’t function without GV Prakash’s assistance. It’s a very good idea to have the late actress Silk Smita return for a very important sequence.
Towards the end, there’s a tumultuous climax, and it’s worth noting Antony’s return.
When it comes to acting, Vishal is just as talented as SJ Suryah, and their joint sequences are a pleasure to see. Despite having less screen time, Ritu Varma, who plays Mark’s girlfriend, has lived up to expectations.
Though it’s not a particularly good movie, Mark Antony is a refreshing entertainment that lives up to expectations.
Similar to his first picture, Mandela, Madonne Ashwin skillfully blends comedy and social commentary in Maaveeran, a pretty ordinary plot that is elevated by its fantasy element.
The government’s gentrification initiative at the start of the movie forces the residents of a slum, including the main character Sathya (Sivakarthikeyan), to migrate into apartments. They quickly discover that the apartment was poorly constructed. At the slightest pressure, door handles come off, paint peels off the walls, and cracks form.
However, Sathya is the type of cartoonist who tells his mother Saritha, who is always ready to voice her disapproval, to “adjust panni vaazha kathukanum”. In an odd turn of events, Sathya hears the voice of his cartoon strip’s main character, a fearless warrior, telling him to do as he pleases and defend the people. And minister MN Jeyakodi (Mysskin), whose corruption is to blame for the subpar construction of the apartment, ends up being enraged with Sathya.
Can this cowardly cartoonist discover his inner superhero and prevent an impending tragedy for his people?
Even though Maaveeran initially seems like a formulaic commercial entertainer, Madonne Ashwin reassures us that we are in the capable hands of a filmmaker who is bringing his unique style to well-known material. Consider the scene where the slum people relocate to the freshly constructed apartment after abandoning the land they had lived on for a long time. This director maintains everything under wraps while making sure we grasp the emotional weight of this decision, when most directors would have tried to exploit the emotional part of this moment.
His incisive and humorous social commentary is interspersed throughout the first part. Yogi Babu, who portrays a laborer employed to perform repairs on the building, is expertly used by him. The protagonist, a Tamil laborer, discovers that migrant laborers from North India are replacing him in his position since they are less expensive and don’t challenge their bosses’ directives.
The fantasy aspect does bear some resemblance to what we have seen in previous movies such as Tughlaq Durbar, and Madonne Ashwin pays homage to that by having Vijay Sethupathi, who starred in that movie, voice the cartoon that Sathya draws.
The film’s momentum falters in the second half after picking up speed in the first, filled with humorous moments that occasionally made us smile. The picture kind of transforms into hero service with long action sequences that get boring after a while, and the laughs start to dribble. In addition, the character of the antagonist is weakened after much development. It is clear that the director wishes to create comparisons between the antagonist and the protagonist. While the antagonist has an invisible voice controlling his activities, the protagonist has a voice that literally directs him in the form of Suneel Varma, a boyhood buddy! On paper, this notion appears intriguing, but it doesn’t work all that well on screen. The climax’s effort at rescue also seems rushed.
Maamannan by Mari Selvaraj opens with shots cutting between two violent incidents. One of these features Rathnavelu (Fahadh Faasil), a politician from a dominant caste who passed away, as the scion, putting down his beloved dog after it lost a race. The son of MLA Maamannan (Vadivelu), a member of the oppressed caste, Adiveeran (Udhayanidhi Stalin), a martial arts instructor, starts a fight between two of his students. Through this, the filmmaker demonstrates the distinction between acts of violence directed at the weak and acts of resistance against oppression. The latter practically reiterates the point made by the filmmaker in his earlier picture, Karnan: there are instances when the only way to fight oppression is via agitation.
However, Maamannan actually pays homage to the optimism of the director’s first feature, Pariyerum Perumal. The goal of the movie is to demonstrate to us that by believing in our democratic system, change is achievable.
Similar to Karnan, the fight starts off tiny when Sunil Reddy, Rathnavelu’s money-minded brother who is in charge of several educational establishments, targets Leela (Keerthy Suresh) and her college pals who are running a coaching session. Their friend from college, Adiveeran, owns a martial arts school, and he has allowed them to use his facilities. Adiveeran retaliates after the institute is ransacked, which involves Rathnavelu and Maamannan and escalates into a bigger struggle for dominance, status, and power.
Everything we have come to expect from a Mari Selvaraj film is present in the first half of Maamannan: intense scenes of oppression in the form of violence against defenseless men and animals, lingering guilt, a sweet romantic track, inhuman villainy, and heroic defiance that inspires cheers and whistles. We are not let down by the director’s skillful portrayal of them. The actors are also excellent. Vadivelu feels so real and never once comes across as the comedian we have watched for all these years.
The dramatic effect of the movie is lessened when he expands the story’s scope to a bigger framework. The oppressor, who wants to maintain the status quo, and the oppressed, who think a democratic victory will solve their issues and their brethren’s, engage in a political power struggle in the second part. However, these sections lack impact and even start to veer into social fantasy territory. Rathnavelu changes from being a figure to be feared to someone who is just as uncertain of his status as the two men he is pursuing. Adiveeran’s acts start to resemble those of a normal commercial cinema hero, while Maamannan’s pacifism starts to look like political naiveté. And with his third picture, Mari Selvaraj becomes another filmmaker whose dreams overcame them.