Mango Idiots (2025)

18/10/2025

Bison (2025), Blends emotion and violence.

Bison Kaalamaadan marks a coming-of-age moment for Dhruv Vikram as an actor. You can’t leave the theatre without admiring the commitment and hard work he has invested in this film. Still, it remains unmistakably a Mari Selvaraj work—one that revolves around his familiar yet powerful theme of caste-based oppression. His storytelling brilliance continues to shine, though this time the intensity and violence may feel overwhelming. It’s a film that parents might hesitate to take their children to. Mangoidiots gives it a Ripe.

Set in a Tamil Nadu village of the 1990s, the film follows Kittan, a young man from an oppressed community who grows up surrounded by injustice and hardship. Kabaddi is his passion and identity. Against immense odds, he earns his place in the Indian National Team for the Asian Games. The narrative captures the brutal and emotional struggles he endures on that path.

What makes Bison stand out is Dhruv’s complete physical and emotional transformation. His fitness and body language are remarkable, radiating stamina and power in every frame. His action sequences feel authentic and fierce. It’s a performance that would make his father, Vikram, proud. Where Dhruv can evolve further is in expressing gentler emotions—romance, affection, and vulnerability—to complement the intensity he already commands naturally.

Next to Dhruv, Pasupathy is the soul of the film. His portrayal of Kittan’s father is deeply moving. He embodies a man who loves his son dearly but carries the awareness of the violence and discrimination that define their surroundings. He is pragmatic, neither rigid nor fearful. The scene where he watches Kittan’s local kabaddi match, after initially refusing permission, stands out—his gradual change in expression captures pride, fear, and acceptance beautifully.

Rajisha Vijayan as Raji, Kittan’s sister, is outstanding. She is not only a sister but also a mother-like presence—firm, caring, and forward-thinking. Her affection is not bound by conservatism; she fully supports her brother’s dreams, including his love for an older woman. Her character brings emotional warmth and realism to the film. Anupama Parameswaran as Rani, the older love interest, fits her role well, though her limited screen time prevents her from leaving a stronger mark. Amir and Lal deliver credible performances as the local strongmen.

Several moments genuinely moved me. I shed tears when Kittan fails to make the national team and again when his father pleads with a police officer to spare his son’s future. Mari Selvaraj remains one of the few Tamil filmmakers capable of evoking such raw emotion from an audience. That said, given his immense talent, it would be interesting to see him explore other time periods or genres. His recurring focus on caste and political oppression has great purpose, but setting these stories only in the past risks turning them into historical cycles rather than living reflections. History and injustice must be told, yet doing so repeatedly in a single frame of time can blur the fine line between remembrance and unintentional glorification. Mari continues to walk that line carefully, but a new context could enrich his storytelling even more.

The music and background score by Nivas K. Prasanna support the emotional tone of the film and sustain its energy, though none of the songs linger strongly once you leave the theatre. Something fresher or more distinct might have elevated the musical experience. The film’s streaming partner is Netflix.

In the end, Bison Kaalamaadan is a sports drama told through the lens of caste struggle and social violence. It’s powerful, emotional, and intense. Watch it for its honest performances and moving story—but be prepared for the brutality it does not shy away from showing.

17/10/2025

Dude (2025), starring Pradeep Ranganathan and Mamitha Baiju, is a regular romantic comedy—the kind that Pradeep has now become synonymous with. It’s a mash-up of familiar themes: friendship turning into love, learning to respect the choices of your love, and breakups. The premise is slightly absurd, yet director Keerthiswaran manages to deliver a balanced mix that works as an entertaining film. Mangoidiots gives it a Ripe.

The story opens with Agan (Pradeep) storming into a marriage reception and creating chaos after approaching the bride, who happens to be his former lover. This sets the tone for the kind of film we’re about to watch. Soon, we see his cousin Kural (Mamitha Baiju) getting him released from the police station. Kural is the daughter of a powerful Tamil Nadu state minister, played by R Sarathkumar. When Kural confesses her love to Agan, he initially rejects her. By the time he realises his feelings, she has moved on, leading to a chain of comic and dramatic moments. The screenplay is peppered with unexpected turns that keep the film mostly engaging.

The pairing of Pradeep and Mamitha works well. Their chemistry is balanced—any more and the film might have risked turning awkward. Both deliver convincing performances. Thankfully, Pradeep avoids his usual cigarette act and sticks to chocolates this time. He has toned down his Dhanush-inspired mannerisms but still slips into Rajini imitations now and then. It’s high time he develops a unique on-screen style of his own, which he’s certainly capable of. I watched the film at Chennai’s Casino theatre, where the youthful crowd cheered enthusiastically for him.

Mamitha Baiju looks lovely and is perfect for the role. She shines equally in emotional and playful scenes. R Sarathkumar is outstanding as always—convincing as both a doting father and a powerful community leader. He shines in the climax scene. Hridhu Haroon, as Paari, does a neat job too.

Music by Sai Abhyankkar adds energy to the film. The 139-minute runtime feels fine, though trimming about fifteen minutes could have made it crisper. The film’s streaming partner is Netflix.

Overall, Dude is a youthful entertainer with the right mix of humour, emotion, and drama.

02/10/2025

Idli Kadai (2025), familiar but satisfying

Idli Kadai (2025), starring and directed by Dhanush, delivers exactly what the title suggests. It begins and ends with a small idli eatery in a Tamil Nadu village. The plot is familiar, yet the film works because of its single focus and fine direction. Mangoidiots gives it a Ripe for stirring the emotions.

Rajkiran and Geetha Kailsam play Sivanesan and Kasturi, the couple running a roadside idli shop loved by the whole community for their soft idlis and tasty sambar. Their son Murugan (Dhanush) learns cooking from his father but dreams of making it big abroad. He flies to Bangkok, where he faces resistance from Ashwin, his boss’s son, who dislikes him from day one. The story follows whether Murugan marries his boss’s daughter there or returns to his roots in the village.

Casting has been a strength here. Rajkiran and Geetha were perfect for their roles. Arun Vijay impressed as the antagonist, his convincing performance lifting an otherwise thin screenplay. Nithya Menen, though in a smaller role compared to Thalaivan Thalaivii (2025), was effortless as Kayal. In Idli Kadai, more than the actor, I admired the director Dhanush. Despite a predictable story and simple screenplay, he kept the film brisk with short, pointed sequences and avoided lengthy dialogues. This made the narrative engaging. Apart from the local villain played by Samuthirakani, there were hardly any unnecessary distractions. Shalini Pandey and Ilavarasu fit well into their parts.

Music by G V Prakash was a big plus. The background score and songs matched the emotions neatly. I also enjoyed a scene with the local inspector, played by R Parthiban.

Overall, Idly Kadai is like its namesake shop—it serves just one dish, but it is done well. Don’t expect variety or surprises, but if you are in the mood for a familiar and satisfying meal, this one works.

26/09/2025

Kushi (2000), rerelease after 25 years

Kushi (2000) rerelease today was fun to watch, even though I knew the scenes almost by heart. I was surprised to see the hall half full for a film that came out a quarter century ago, considering most in the audience would have been toddlers when it first released. This shows the lasting allure of romantic films that are relatable, combined with fine direction and good acting by Vijay and Jyothika. Mangoidiots rates the film a Ripe.

The story is as simple as it gets, but it is the storytelling and screenplay that elevate it. A young man and woman fall in love instantly, but their egos stop them from expressing it. In the end, true love wins and unites them in marriage.

Vijay and Jyothika bring the characters alive with their energy and natural chemistry, perfectly suited for their real and reel ages. It is interesting that, except for a handshake in the second half, there is no physical contact between them, apart from a stage dance and a dream sequence. Also, there is no villain standing in their way. The only fight sequence comes from a strongman character, the father of another girl who is in love with the hero’s friend, which feels like an excuse for some action. Director S J Suryah opens the film with a narration that sets the stage, though the core is a regular love story.

The biggest strength of the movie has been Deva’s background score and songs. Wikipedia may detail the inspirations behind each track, but I remain a fan of Deva and still love his work here. Shilpa Shetty and Mumtaj, glamour queens of the time, were added just to give a song each, more due to box-office compulsions than for the story. Vivek and veteran Vijayakumar have small roles but leave a mark.

One standout moment is when Jenny accuses Shiva of ogling her hips. With just a stare, the story takes a new turn. It is a simple scene but brilliantly executed, something that remains a textbook example for new filmmakers and actors. Even modern AI systems may struggle to recreate the nuance here.

The climax stays fresh even after so many years. The hero goes to Egmore station, expecting the heroine to board the Nellai Express, while she goes to Central, thinking he would be on the Howrah Express. Then, both trains leave at the same time, and they miss each other. Watching this, I wondered if the choice of the hero being from Kolkata and the heroine from Nellai was decided to justify this parallel track of trains and timings. Otherwise, Tamil cinema rarely sets its hero in Kolkata.

Kushi remains a reminder that a simple love story, told with the right mix of emotions, music and performances, can stay timeless across generations.

21/09/2025

Kiss 2025, A raw debut attempt

Kiss (2025) is a romantic comedy with an unusual one-line plot. The film has its lighter moments, though the screenplay could have been tighter. Kavin shows effort, but he still has room to grow in emotional scenes and dialogue delivery. Preethi Asrani, with her makeup reminding us of Rakul Preet Singh, will do well to bring in more of her own style. Mangoidiots rates the film Raw, watchable but nothing more.

The story takes inspiration from a curse centuries ago. A king who despised love burned lovers alive, and one such couple cursed him. In the present day, that curse, through a book, lands in the hands of our hero. Ironically, he too hates love. But the curse gives him a strange power; he can see how the love between couples will unravel in the future whenever they kiss. That is the reason for the film’s title, an eponym. Naturally, the hero eventually falls in love, and whether the couple unites forms the rest of the story.

The background score by Jen Martin during the first kiss scene was impressive, and the choreography was well executed.

Among the supporting cast, RJ Vijay as the hero’s friend and VTV Ganesh as a family friend fit their roles neatly. Devayani and Kausalya appear as the hero’s mother and stepmother, but their roles are brief.

For his directorial debut, Sathish Krishnan has done a reasonable job. He shows promise, and we can expect better films from him. But Kiss (2025) is not there yet.

20/09/2025

Shakthi Thirumagan (2025), Vijay Antony shines!

Vijay Antony has once again picked a script that fits his style of acting. The story revolves around power brokers and the systemic corruption in today’s governance in India. While this theme has been used many times before, Director Arun Prabu manages to keep us engaged. Mangoidiots gives it a Ripe, with some caveats.

Kittu is a powerful middleman in the Tamil Nadu State Secretariat. By pimping for favours, bribing, and using his shrewdness, he gets work done in the bureaucracy for his clients. He is seen as unbeatable. Then his fortunes take a sudden turn. The story is about whether he manages to climb back and take revenge against the villain. There are gaps in logic and nothing new in the core plot, but the director doesn’t try to trick the audience; instead, he focuses on moving the story along with plausible actions.

There are hardly any action scenes and very little romance, which works in favour of Vijay Antony, who carries the role with ease. Trupthi Ravindra plays his wife in a minimal, functional role and delivers what was required. For me, it was Sunil Kirpalani as the villain Abhyankkar who kept the film interesting with his calm and composed performance. After watching the weak villains we are often shown in even recent Rajinikanth films, this was refreshing. Vagai Chandrasekhar as Subbiah and Cell Murugan as Maaran, Kittu’s assistant, also give memorable performances.

Most of the politicians shown in the film, from both Tamil Nadu State and the Central Government, can be easily mapped to real-life leaders. They are stereotypical portrayals, but they blend well into the screenplay. The background score by Vijay Antony adds the right pace to the narration.

The first half of the film is stronger than the second. After the interval, the path to the climax feels weak. We never get a convincing reason why the hero waited till that particular moment to start his revenge journey. Why not earlier? That question lingers. The climax unfolds too conveniently for him, without the force or impact expected from the buildup in the first half.

What works for the film is its narration of a relatable systemic problem, unlike, say, Indian 2. The simplicity of the story, a clear villain, and good casting make Shakthi Thirumagan a watchable and winning film.

13/09/2025

Su from So (2025) is a Kannada comedy film that stands out for its unusual treatment. The first half is brilliant, but after the interval, the film loses steam and drifts away. Mangoidiots gives it a Raw.

The story is set in a tightly knit village in Karnataka. Ravi Anna, a local building contractor, is well-liked and the go-to man for everyone in the village. Ashoka, who works for him, has a crush on a local girl and sneaks into her backyard. When he gets caught, he pretends to be possessed. From there, the film turns into a comedy of errors, with the villagers trying to drive away the “ghost”.

Shaneel Gautham shines as Ravi Anna. The director J. P. Thuminad, who also plays Ashoka, does well without slipping into overacting, even in the sequences where he appears possessed by a lady character. Raj B. Shetty as Guruji adds humour to the proceedings, and Sandhya Arakere as Bhaanu brings a natural charm to her role.

The first half of the film is crafted brilliantly, leading up to the main plot and keeping us hooked. But in the second half, soon after Guruji enters, the screenplay feels stretched, with repetitive events. The only saving grace here is the graceful romance between Ravi Anna and Bhaanu, which develops naturally. If this had been shown earlier, and the distractions cut down in the latter half, the film could’ve been a lot more enjoyable.

Su from So is still worth checking out, as it offers a different experience. Just be prepared with a little patience for the second half.

13/09/2025

Bomb (2025) is built on an unusual premise, where a dead body ends up solving a bitter animosity between two communities that has lasted for generations. Kaali Venkat deserves credit for boldly playing a character who keeps farting even after death, which is central to the story. Arjun Das gets very little scope to show himself, which is a pity. Sadly, the overall making felt more like a stage play with limited characters and lacked the visual weight you expect from a big-screen film. Mangoidiots gives it a Raw, purely for the social message it tries to deliver.

The story has Arjun Das as Mani and Kaali Venkat as Kathiravan, both living in a village divided by blind faith over two rocks, one small and one big, each claimed as their God. This silly but deeply ingrained belief has kept the village in constant hatred and violence. Kathiravan, a rationalist, wants to unite them. But he suddenly dies after drinking too much. His dead body, strangely releasing gas, is seen by villagers as their God’s new avatar. The movie gets its name from this “Bomb”. The villagers believe the sound to be a divine symbol and approval.

The idea is certainly intriguing. But none of the characters, including Mani and Kathiravan, are given any real definition. Kathiravan’s sister, played by Shivathmika Rajashekar, is in love with Mani, yet this is left hanging without reason. The screenplay by director Vishal Venkat is confused, swinging between dark comedy, rationalist commentary, and plain drama, without settling into one. The two communities divided over rocks, wearing coloured wristbands to show their side, was a clear nod to caste divides in Tamil Nadu. This had the potential for a powerful story but ends up underused.

D Imman’s music is the one strong point. His background score keeps the film moving even when the visuals, story, and dialogues don’t. Veteran Nassar gets wasted in a forgettable MLA role, as does Abirami as the collector. Singampuli tries something new as the villain and does okay, though the role needed more effort. Bala Saravanan adds a tiny bit of relief as a YouTuber.

Bomb had an important plot idea, but it was never taken advantage of.

06/09/2025

Madharaasi (2025), SK shines in a weak script.

Directed by A R Murugadoss and starring Sivakarthikeyan, this is an all-out action film. The plot touches on an important public issue of rising gun culture, but the screenplay makes no use of it to build an emotional connection with the audience. Mangoidiots gives the film a Raw rating.

Sivakarthikeyan has handled the action sequences very well. In fact, the theatre was full of claps and cheers for every hit and shootout. He plays Raghu, a young man working in a car factory, who falls in love with Malathy, a girl of his dreams, played by Rukmini Vasanth. At the same time, a team of NIA officers are trying to stop a large shipment of guns into Tamil Nadu. They fail and rope in Raghu to help. Till here, the setup was perfect for an action film, but the screenplay falters from the start. Characters are not developed, and motivations are not explained. Raghu gets a backstory, but that is placed only to justify his style in the fights. The antagonists fare even worse – we don’t know who they are, or what their real motivation is, apart from a 10-second TV interview that throws up all possible causes.

Raghu’s character itself feels muddled. Is he brave, tragic, funny, smart, or simple? He seems to be all and none at the same time. The romance between Raghu and Malathy begins nicely, but collapses once she discovers his true side. Her reason for breaking up is amateurish, more of a prop to move the stuck screenplay. Even when she explains her sad past, it fails to convince. Yes, this is a mass hero film, I understand. I, too, grew up watching Rajinikanth beat up all-powerful villains. But there was no need to show a professional agency like the NIA in such a clownish light. Every officer behaves recklessly, without any knowledge of operations or spycraft. Why would an NIA officer reveal a key operational secret to everyone standing around – including the heroine and even the front gate guards?

Guns blaze throughout the film, though I am not sure why. By the end, it felt like I had spent cartridges and discarded guns in my own pocket. Beyond that, I was at a loss to figure out what the story was and why it had to run for 165 minutes.

I forgot to add, the so-called syndicate is shown only to reduce the dreaded world of powerful people into a bunch of midwits. And who exactly was the lady don who appears in two scenes with some build-up, only to vanish without a trace?

Overall, watch Madharaasi only if you are a fan of SK and non-stop action. Do not expect any story depth or emotional connection with the characters.

14/08/2025

Rajinikanth's Coolie (2025) is an indistinguishable international smuggler versus labourer story. Compared to recent Rajinikanth films, this one keeps you a little more engaged. It is a regular Lokesh Kanagaraj film; there is blood, violence, and more blood without reason. Mangoidiots gives it a Raw.

Rajinikanth plays Deva, a man who owns a mansion in Chennai. On hearing about the untimely death of his close friend Rajasekhar, played by Sathyaraj, he goes to Vizag. There, he crosses paths with a ruthless gangster network headed by Simon, played by Nagarjuna, and Dayal, played by Soubin Shahir. How Deva handles this gang, with help from Rajasekhar’s daughter, played by Shruti Haasan, is the story.

There are no backstories or character introductions. We get no chance to connect with the protagonist or the antagonist. There is no comedy relief. There is no real storytelling. It is endless fights and killings, with little rhythm or reason. We are left confused about who Deva is, what his purpose is when the movie begins, and why he and his friends live in solitude for thirty years. There are too many logic gaps. For a start, Deva learns everyone’s background in a flash, yet the international smuggler has not cared to know the basics of his key men. Anirudh Ravichander’s background score is fine, but the songs are undifferentiated high-decibel audio. Pooja Hegde’s Monica song is exactly what you saw on YouTube, nothing more and nothing less.

Rajinikanth handles the action scenes better than in his recent films. Expecting anything more at his age is unfair. He does justice to a character with very little to work with. Soubin Shahir is the one who impresses the most with his ruthless streak. Nagarjuna could have been utilised much better. Upendra’s entry scene is a mass attraction. Aamir Khan’s character turns out to be an anticlimax. Shruti Haasan does her role well. Rachita Ram, though brief, is effective, and like Agent Tina in Vikram (2022), she gets a tiny fight sequence that she pulls off well.

Overall, the film picks suspense and high-energy action over storytelling and emotion. It becomes yet another violence-heavy outing that is unlikely to be remembered beyond its running days. Thanks.

01/08/2025

Housemates (2025) keeps viewers engaged

I went to Housemates (2025) with no expectations and came out pleasantly surprised. A simple plot, focused screenplay, and a neat cast make this film entertaining. Mangoidiots gives it a Ripe.

Karthik, played by Darshan, and Anu, played by Aarsha Chandini Baiju, are newlyweds who move into an apartment they have bought. Their happy days soon turn uneasy when strange incidents start happening in the house. At the same time, Ramesh (Kaali Venkat) and Viji (Vinodhini) experience similar disturbances in their apartment, where they live with their young son. How these two events are connected forms the core of the story.

Debut director T Raja Vel walks a fine line between supernatural and science fiction. The first half moves briskly and keeps us engaged. After the interval, the film slows down for a while, and I feared the strong start might go to waste. Thankfully, the last half-hour picks up and ends on a high. The climax, powered by the brilliant emotional performances of Kaali Venkat and Vinodhini, gives the film a fitting finish.

Darshan and Aarsha Chandini fit their roles perfectly. For some reason, Darshan’s voice reminded me of Udhayanidhi Stalin. Dheena, as the hero’s friend, does his supporting role well. Music by Rajesh Murugesan—especially the first-half background score—adds an effortless sense of horror.

25/07/2025

Thalaivan Thalaivii (2025), surprises with smart writing

There are very few films where the trailer seems to reveal the entire plot, yet the film manages to surprise you in a good way. Thalaivan Thalaivii is one such rare case. It is not easy to set the true expectation in a trailer and still delight viewers with a brilliant screenplay that stays true to what was promised. Here, Director Pandiraj scores right from the start by casting Vijay Sethupathi and delivering an engaging watch. Mangoidiots gives the film a Ripe.

The story opens in a village temple where a family has come for their granddaughter’s first tonsure. The father of the baby has not been informed. The villagers wait, expecting trouble, and sure enough, the son‑in‑law played by Vijay Sethupathi arrives and creates a ruckus with his in‑laws. From here, the film unpacks what led to the tension between the couple.

What I enjoyed most was how the film shifts between dark comedy, family drama, humour and action without breaking its flow. The director takes a simple, familiar story and turns it into something special by staying true to the characters and their culture. There is no judgement in how anyone is shown, which makes it easy for us to connect with almost every character. The non‑linear way in which the story is told adds to the film’s charm.

Santhosh Narayanan’s music lifts the mood throughout. Performances by Roshini Haripriyan, Deepa Shankar, Myna Nandhini, Chemban Vinod Jose, and Saravanan are all strong. Yogi Babu and Sendrayan appear briefly and bring in light moments.

Mango Idiots

18/10/2025

17/10/2025

02/10/2025

26/09/2025

21/09/2025

20/09/2025

13/09/2025

13/09/2025

06/09/2025

14/08/2025

01/08/2025

25/07/2025

Address

Website

Alerts

Contact The Business

Shortcuts

Share