Premium5 overrated Tamil movies of 2023 - Maamannan, Dada, Good Night on the list
As the year draws to an end, we dissect the overrated Tamil films of 2023.
Last Updated: 07.25 PM, Dec 27, 2023
The year 2023 was a mixed bag for Indian cinema, particularly the Tamil film industry. The industry delivered bigger commercial hits but came up short in producing more memorable films that could stand the test of time. While some well-deserved movies didn't get their due in terms of popular acclaim, some movies overachieved both in terms of immediate critical reward and box office receipts.
As we bid farewell to the year, one can't help but wonder whether the allure surrounding these movies was justified or if, in the grand spotlight, they were merely overhyped illusions.
Here are the five overrated Tamil movies of 2023:
Mark Antony:
In Mark Antony, a scientist in the 1970s invents a phone that allows its users to contact people from the past. If you are gifted with good communication skills, you can convince the person on the other end of the line and change the course of historical events. Director Adhik Ravichandran adapts the time loop concepts as each character tries to change the past to have favourable circumstances in the present. The idea sounds exciting and riveting on paper, but Adhik's execution falls flat, failing to flesh out this idea into a compelling narrative. The movie is a colossal mess, dull and unimaginative, and tries too hard to please the audience. SJ Suryah and his over-the-top acting with unshakable conviction are the only saving graces of the movie.
Maamannan:
In Maamannan, director Mari Selvaraj attempts to delve into the ways individuals practicing caste discrimination have evolved, adopting subtle methods to conceal their problematic behaviour in plain sight. The film also poses a critical question about political parties that claim to oppose caste hierarchy while simultaneously rewarding casteist leaders with top political positions. Additionally, it showcases Vadivelu in a compelling role that leverages his dramatic acting skills. However, despite these promising elements, the film fails to seamlessly integrate them, resulting in an unsatisfying cinematic experience. At times, it seems like Mari Selvaraj is intervening in the drama, steering the narrative to favour certain political groups.
Vaathi:
Vaathi tells the fictional story of a teacher who revolutionised the education system in a village in the 1990s. Dhanush's performance and screen presence overshadow the narrative shortcomings. Filmmaker Venky Atluri has used the same storytelling sensibilities as he would while telling a feel-good romantic drama. For a film that rebels against corruption and predatory behaviour in the country's educational system and invokes the likes of Bharathiar, it lacks the flair, conviction and courage to drive home its message.
Dada:
Dada is one of the films that you will look back on and wonder the reasons that made this movie so endearing to so many people. Not just the audiences, but even filmmakers like Nelson were pretty impressed with this film. But, why? Debutant filmmaker Ganesh K. Babu has written and directed the movie. The film begins very well, with the opening moments showing a long and intimate conversation between the lead pair: Mani (Kavin) and Sindhu (Aparna Das). The drama keeps getting better; it's making us laugh, feel-good and swoon over the unfolding romance and the first half ends on a very emotional note. However, the narrative begins to lose focus and spiral out of control in the second half. Mani, left alone by his wife, grapples with the challenges of caring for a newborn. While the film celebrates its male protagonist and encourages us to give him all our sympathies and appreciation, it's largely cruel to its female lead. The justification that comes in the end as to why Sindhu abandoned her child is too weak and contrived. Clearly, Ganesh had no idea what he was doing or what the movie was about.
Good Night:
Good Night, another low-budget film helmed by debut director Vinayak Chandrasekaran, centres around Mohan, portrayed by K Manikandan, a mild-natured and quintessentially good man. Mohan grapples with a snoring condition that turns his life into a constant struggle. The shame and feelings of inferiority intensify as those around him suffer from his snoring problem. Unfortunately, as the narrative progresses, it loses energy, imagination, and emotional depth, falling into a repetitive and whiny pattern that struggles to evoke pity for Mohan and becomes somewhat excruciating for the audience.