When a family matriarch, vexed about not having a grandson after her first two sons produce girl children, is on the verge of giving up, her third son’s wife births a baby girl while the son’s friend becomes a father of a male child. In a minor confusion, the matriarch mistakes the male child of her son’s friend as her grandson and it’s up to the son and his friend to maintain the narrative while external forces decide to kidnap the child. If you, like the reviewer, are a fan of actor Thyagu’s “Adhaan Varghese’u” line from the 1996 Tamil film Enakkoru Magan Pirappan, you would most likely know the above plot is from the same Ramki-Vivek starrer, which itself was a remake of the Malayalam film Aadyathe Kanmani. A tweaked version of this also happens to be the plot of Jai’s Baby and Baby, an uninspiring, insipid ‘comedy’ film.

In a scene in director Magizh Thirumeni’s Vidaamuyarchi, Ajith Kumar’s character Arjun, trying to move a stalled car from the road to the shoulder, wraps the car’s seat belt around him to push the vehicle safely. That, in a scene, encapsulates the film and the contribution of its lead actor to make it work. Walking out of the film, the biggest takeaway is how Ajith, the star who takes the road less taken when compared to his contemporaries off-screen, also pulls off the same with his choice of scripts. Irrespective of whether the payoff is worth the trade, it’s fun to see the star shed the vanity of stardom and surrender completely to the script in hand and that’s what makes Vidaamuyarchi work… almost. Heavily “inspired” by the 1997 Kurt Russell-starrer Breakdown, Vidaamuyarchi is the story of a couple whose road trip is interfered with by some uninvited guests and it’s up to the husband to save his kidnapped wife. More than a decade after Arjun (Ajith) and Kayal (Trisha) fell in love with each other and decided to tie the knot, the romance seems to have faded. When Kayal breaks the truth of having an affair and wants to file for divorce, Arjun decides to hit the road to drop Kayal at her parent’s place. Magizh layers the narrative by intercutting the journey of two strangers who fell in love 12 years ago, with the one last journey they take through the open roads of Azerbaijan.

By now, big stars teaming up for a streaming original film — mostly comedy, and made on a budget that makes you wonder about the recovery without a theatrical run — has become a mainstay. What’s been difficult is to shake off the tag that these films offer little entertainment compares to their big-screen counterparts. Films like Prime Video’sYou’re Cordially Invited tell you why this trend is, unfortunately, not a fad. Director Nicholas Stoller, the maker behind comedies like Forgetting Sarah Marshall, Get Him to the Greek, The Five-Year Engagement and Bros, is back for another comedy headlined by powerhouses Will Ferrell and Reese Witherspoon. In You’re Cordially Invited, a single father, Jim (Will Ferrell), to get his daughter Jenni (Geraldine Viswanathan) married off, books a small inn on Palmetto Island where he got married years ago. Concurrently, television producer Margot (Reese Witherspoon) finds out that her sister Neve (Meredith Hagner) is planning on marrying and she volunteers to plan the wedding. She books the same Palmetto Island, where she and Neve visited their grandmother as children. Thanks to what can be only called a clerical error, both parties reach the island on the same day to learn about the double booking. While Jim and Margot initially decide to work it out by sharing the premises, their egos, insecurities, miscommunication, and many other mistakes play havoc.

After the astounding success ofThe Invisible Man, director Leigh Whannell is back to reboot another of Universal Pictures’ most iconic horror titles. While The Invisible Man turned out to be the outing that could have revived the Dark Universe which was shot down after the failure of The Mummy, the filmmaker’s latest film Wolf Man shows why the chances of getting that universe are darker than the films it could have. In the latest iteration of Wolf Man, after getting a “closure” on his father’s sudden disappearance along with the keys to his childhood home, Blake (Christopher Abbott) decides to make a trip out of it to save his strained marriage with Charlotte (Julia Garner). Along with their child Ginger (Matilda Firth), the couple drives to the middle of nowhere when they get attacked by a mysterious creature similar to what Blake had seen 30 years ago. When one of them gets infected while escaping from the monster, the barricaded safehouse turns into a trap.

‘God works in mysterious ways’ they say, and in a way, love does too. While the romance genre itself is done to death in all art forms, very few Tamil films have captured the intricacies of contemporary relationships and the multiple factors that might have to fall into place for them to work. The latest to join the elusive list is director Kiruthiga Udhayanidhi’s Kadhalikka Neramillai starring the fantastic duo, Nithya Menen and Ravi Mohan. In Kadhalikka Neramillai, Shreya (Nithya) and Sidharth (Ravi Mohan) are two oddballs with diametrically opposite belief systems, only their recent heartbreaks and profession being the common factor between them. While fate brings them together, the meet-cute leads to a dead end. When their paths cross years later, one is now a single parent while the other gets an unwelcome visitor from their past. Whether they put aside their differences and come together forms the rest of Kadhalikka Neramillai.

One of the oldest tricks in the cinematic book of twists is introducing car accidents. Tamil cinema’s tryst with it has been a long-standing one. Just a small flip through the memory reminds me of films like Kushi, Kovil, Manmadan Ambu and even recent flicks like Star and Thiruchitrambalam. When it results in impending tragedy for our protagonist or those affiliated with them, most films leave us wishing that fateful day never happened. While the conflict in Shane Nigam’s Tamil debut Madraskaaran also happens to be the same, given the number of times it happens, it’s also the first time one might probably feel that the protagonist should never be allowed to take the wheel and his driving license immediately cancelled.

A long, icy road is the first shot of Kraven the Hunter, the sixth film in the infamous Sony’s Spider-Man Universe (SSU). Given how all the other films, except the Venom movies, turned out to be fiascos, the very first shot of Kraven felt like a metaphor for the studio’s long and trying journey with Marvel’s IPs. After all, it’s not a lot to work with when you only have characters commonly associated with Spider-Man and you cannot even use the friendly neighbourhood superhero. Despite being far better than Morbius and Madame Web, Sony’s latest and possibly final superhero outing, Kraven the Hunter, still misses its mark by miles.

If you are one of those die-hard cinephiles who believe Die Hard is a Christmas film (along with the first two Home Alone flicks), then Netflix’s latest offering may very well make it to that coveted list of yours. Jaume Collet-Serra, the mastermind behind some simple yet efficient nail-biting action thrillers is back and while he’s not teaming up with Liam Neeson this time, he’s got an efficient Taron Egerton and a cast-against-the-grain Jason Bateman facing it off in Carry-On.

Moana is back for another adventure! Whether that’s even necessary is a different question considering the first film, which came out eight years ago, was one of Walt Disney Animation films’ best outings of all time and a well-rounded product on its own. Our titular hero became a wayfinder, turned buddies with the demigod Maui by retrieving his fishhook and in due course, took her fellow Motunui people back into the sea as voyagers like how their ancestors once were. Moana 2 puts our heroes back in the open ocean on a new adventure that makes us wonder what’s the sea creature equivalent of a cash cow.

‘Technicolour’ seems to be the word of the week when it comes to the releases this Friday. If The Colours Within and Wicked from two different corners of the world are technicolour spectacles, director Karthick Naren’s latest outing, Nirangal Moondru, not only makes for an addition to that list but also treats the three-color process as a metaphor for the men who populate its vibrant world.