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"I'm inside my head," Murphy ( Karl Glusman ), a humorless young man in lust, says at one point in "Love," French provocateur Gaspar Noé's sexually-explicit drama about romance and, well, being inside your head. "Love" unsentimentally depicts Murphy's affair with Electra ( Aomi Muyock ) as a series of flashbacks, showing us all the information we need through the lens of Murphy's present-day emotions. But because Noé wants viewers to see Murphy's memories as a womb-like retreat, the first thing that impresses viewers about present-day Murphy is his petulance, expressed immediately through Glusman's flat, affect-less voiceover narration voice. Murphy may be concerned with his romantic feelings for Electra, but he's also a brat who blames his wife Omi ( Klara Kristin ) for his loveless marriage. "Love" is accordingly a prickly consideration of a past-tense sexual relationship from the perspective of a present-tense relationship that's well past its expiration date. Think of "Love" as a time travel movie, but about really sad young people you probably wouldn't want to hang out with in real life. 

In "Love," Murphy essentially relives a past life. He is not however in control of his emotions, so his memories are fragmented, and out of order. He recalls Electra because her mother calls him, giving him a sentimental oasis to cling to in order to escape his life with Omi. Still, in flashbacks, we see how Murphy's relationship with Omi ironically started because of Electra, and how Electra and Murphy's relationship was always a co-dependent one. He, a film student with posters of "Saló," and "Story of O" hanging ostentatiously on his bedroom wall, jealously obsesses over her. But eventually she, an aspiring painter, reveals that she's just as concerned with being protected. They form an unhealthy relationship that expresses itself through violent outbursts, and copious sex scenes that range from genuinely sexy to mechanically frantic. So while Electra accuses Murphy of being a bright young man who doesn't know what love is, she's just as impulsive.

Since Noé ("Enter the Void," " Irreversible ") wants to steep viewers in Murphy's confused emotions, the experience of watching "Love" can sometimes be more frustrating than thinking about the meaning of "Love" while you watch the film. In fact, "Love"  probably only works if you see it as a paradoxically over-determined work of and about sensuality. Noé uses 3-D photography but also never stops reminding viewers that they are outside of the frame, as he directly acknowledges in one scene where an erect penis thrusts directly at the camera before ejaculating CGI semen. You can't watch this movie and ever really forget that you're watching a movie, as is reinforced by the film's elliptically-structured plot, droning soundtrack and periodic mid-scene black-out cuts. That's because Murphy is, like some of Noé's previous blank slate heroes, a character who remembers himself at his most frustratingly vacant. 

Murphy thinks he knows it all, but is unfailingly clueless, as we see when he first meets Electra, and blurts out " What's the meaning of life? " and she quickly responds in kind: " Love. " Noé's movie is about characters who want to stay nestled in the past, as is evidenced by his frequent use of reddish-brown camera filters, and symmetrical frames-within-camera-frames compositions. "Love" is about an angry, sulking character who think he wants to make a "sentimental" romance featuring sex, but is ultimately incapable (and essentially uninterested) of seeing outside of himself. 

But what's it like to actually watch "Love"? This is a movie where non-professional actors and unsimulated sex scenes constantly encourage viewers to form a bond of alienation, instead of a bond of sympathy, with Murphy. That may sound pretentious, but Noé knows exactly the type of effect he wants to achieve, and he mostly gets it. His biggest gamble is the use of first-time actors to elicit complex emotions. But he builds a complex relationship between Murphy and his viewers throughout the movie, one that speaks louder than the unmoving, shrill line-readings from all three of the film's principle characters. 

The film's sex scenes are similarly mannered, mournful and distractingly graphic. But they're not just endurance tests, or frustrating slogs either. Noé wants you to see sex as a cocoon, so he genuinely tries to show you what attracts his young characters to each other. His earnest objectification of actors' bodies is, in that sense, often compelling. We look at bodies in motion, and see them as body parts first, and then people trying to get lost in each other, to give each other pleasure, and to remain lost in sensations that will always remain mysterious to anyone who isn't experiencing them first-hand. "Love" may not always be enjoyable, but it leaves an abiding mark.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Peyton Robinson

Film credits.

Love (2015)

135 minutes

Aomi Muyock as Electra

Karl Glusman as Murphy

Klara Kristin as Omi

Juan Saavedra as Julio

Gaspar Noé as Noé - Art Gallery Owner (as Jean Couteau)

Vincent Maraval as Lieutenant Castel

Benoît Debie as Yuyo

Ugo Fox as Gaspar

Cinematographer

• Benoît Debie
• Denis Bedlow

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Review: Full of biceps and bullets, 'Love Lies Bleeding' will be your sexy noir obsession

Sultry, sweaty and sufficiently bizarre, “Love Lies Bleeding” is a neo-noir thriller packed with barbells and bullets that’s fearless in its depiction of lesbian love and over-the-top mayhem.

Director Rose Glass follows up the unholy terror of 2019’s “Saint Maud” by rubbing a grimy sheen across a zesty retro combo of a revenge flick, addiction narrative, body horror show and queer love story. Newcomer Katy O’Brian is sensational as a bisexual bodybuilder who gets mixed up in some bad business – with Kristen Stewart as her troubled romantic interest – in a muscular yet incomplete yarn (★★★ out of four; rated R; in select theaters now, nationwide Friday) exploring the seedier corners of Americana.

In small-town New Mexico circa 1989, Lou (Stewart) oversees a ramshackle gym where her days are spent unclogging nasty toilets and laminating membership cards. One night, Jackie (O’Brian) stops by on the way to a competition in Las Vegas: Working her ripped physique garners male attention, though she only has eyes for Lou, and vice versa.

They hit it off, and Lou taps into her steroid supply to help Jackie get extra jacked for the big day. But the more Jackie immerses herself into Lou’s tumultuous world, the more trouble she finds. Jackie starts working for her new love’s skeezy estranged dad (Ed Harris), the bug-chomping criminal owner of a local gun club and also meets the abusive husband (Dave Franco) of Lou’s sister (Jena Malone).

An act of familial violence goes too far, the vengeful aftermath tests Jackie and Lou’s fledgling relationship, Lou threatens to expose her father’s shady dealings, and the bodies pile up as our lovers get desperate.

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Lives go off the rails, but Glass keeps the plot from following suit, weaving in a dark sense of humor (there’s a whole bit with a jawless corpse) and a fantastical bent. “Bleeding” gets weird but not too weird, and the intense chemistry between Stewart and O’Brian powers an insightful exploration of how love can save just as easily as it can turn one’s entire existence into pure chaos.

Stewart is solid as the frazzled Lou, who struggles to find steadiness even when Ms. Right walks through her gym door. But none of it works without O'Brian, whose first lead big-screen role is a performance she nails physically and emotionally. A former bodybuilder herself, the actress superbly navigates the arc of a hulking character transformed by steroids and her increasingly volatile situation. O’Brian finds the unsettled soul underneath Jackie’s rippling muscles and lets her loose, flaws and all, but is also game for a healthy amount of strangeness too.

When Jackie and Lou aren’t together, the movie suffers because neither of their individual points of view are particularly strong. Bits of their backstories come out but not enough for two people whose cryptic pasts seemingly inform their unhinged present. You’re left wanting more – they’re both called “monsters” by different people, which does pay off in a sense – in a film that otherwise is pretty good at juggling style and substance. 

“Love Lies Bleeding” is a blood-soaked throwback to '80s erotic thrillers and action cinema but also Glass’ deconstruction of cinematic hypermasculinity through a female lens. Instead of dudes named Schwarzenegger and Stallone, it’s a woman named Jackie with the veiny biceps, who when offered a gun, says she doesn’t need one: “I prefer to know my own strength.” For this movie, that is the teaming of Stewart and O'Brian, who's about to be movie lovers' powerful new obsession.

Review: In ‘Love Lies Bleeding,’ dangerous lusts and noirish calculations are alive and well

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Kristen Stewart, playing a gym manager named Lou, starts Rose Glass ’ marvelously seedy “Love Lies Bleeding” elbow-deep in a clogged toilet while a blond (Anna Baryshnikov) begs her desperately for a date. Straightaway, you know two things: Lou is resigned to cleaning up other people’s messes, and this erotic thriller has a sadistic way of getting its kicks.

The year is 1989, the cultural moment when “American Gladiators” brought muscle-bound women with names like Zap and Lace into people’s homes. Right on cue, a bodybuilding drifter named Jackie (Katy O’Brian) barges into Lou’s life. Biceps like Jackie’s come from physical discipline — but as for Jackie’s mental and emotional health, she’s an unpredictable mess. During her first 24 hours trying to find a foothold in Albuquerque’s moody fringes, Jackie sleeps with JJ ( Dave Franco ), Lou’s repellent brother-in-law, for a job, and then Lou herself for reasons the film leaves deliberately vague. A free bedroom? A gym membership? Maybe even love?

It’s tempting to call it love, to see Lou and Jackie as survivors clinging to each other in a brutal world where JJ knocks around Lou’s sister, Beth (Jena Malone), and Lou’s father, Lou Sr. (Ed Harris) — chew on that naming for a second — fires a pistol at Jackie’s head just to get her attention. We’ve been trained to think of characters like Lou and Jackie as victims. Particularly queer women, particularly in a time and town like this.

But that’s not what interests Glass and Weronika Tofilska, the co-writers of this horny, thorny script. To them, Lou and Jackie’s sexual orientation is less compelling than the fact that both use sex to get something they want. Spinning the wreckage these women cause into some kind of representational triumph is like arguing Warren Beatty’s bank-robbing Clyde Barrow is a hero for men with erectile dysfunction. Though the pair whisper the word “love” in bed and even seem to think they mean it, this is not a movie about two people healing each other. It’s about two broken souls mashing their jagged edges together, hurting each other and those around them. And it’s fun to watch the blood splatter.

Stewart and O’Brian’s sex scenes are designed to stir up conversation. Lou licks what looks like a chocolate protein drink off Jackie’s pecs; Lou flicks a lighter under her girlfriend’s feet as she does pull-ups, and, for a reward, sucks Jackie’s toes. (As a salute to longtime L.A. Times film critic Justin Chang, I am obliged to call that mo-toe-vation.) Lou pokes and prods and grabs at her lover as though she’s fascinated — hypnotized, even — by a woman with popping bicep veins. So are we. O’Brian, a real-life bodybuilder and Hapkido black belt and a former cop, packs more onscreen wow factor than any fantastical CG super suit. Their intimate moments are stretched out in slow motion, but the film always abruptly cuts away mid-tryst. The couple is never allowed to relax. Tension builds.

Stewart, phenomenal as ever, has two great line readings under two syllables: “Yup” and “Huzzah.” Here, montages shoulder as much plot as the dialogue. Partly, this is because O’Brian’s Jackie never opens up about her past beyond a hasty mention that she was once fat and bullied. When Jackie lashes out intensely, it’s hard to track why. Is it trauma or steroids? Her inner life goes more or less ignored by the other characters, who are caught up in their own dramas. Instead, we can only watch in increasing horror at how she moves through the film silently, like the hush before a bomb hits the ground.

The closest the film comes to articulating Jackie’s muffled thoughts is the motivational posters at the gym: “Destiny is a decision.” “Pain is weakness leaving the body.” (To that, I’ll just say Arnold Schwarzenegger isn’t most people’s top pick for a couple’s therapist.) Occasionally, her psyche is made too literal. In one scene, when Jackie is feeling trapped, the editing splices in an insert of a boiling coffee percolator and an old news clip of the Berlin Wall.

She likes characters who do ‘terrible things.’ And she’s found an actor ready to do them

Rose Glass, director and co-writer of the sexy thriller ‘Love Lies Bleeding’ starring Kristen Stewart, talks about big swings and the influence of ‘Showgirls.’

March 6, 2024

Otherwise, “Love Lies Bleeding” has superb technical style. We can hear the muscles rippling under Jackie’s skin, and the ominous difference between quiet and airless. Cinematographer Ben Fordesman shoots the movie like a prestige noir. At night, the desert blacks are as dense and mysterious as the La Brea Tar Pits.

But Glass herds the tone toward comedy, teasing us to admit that Lou and Jackie’s predicament is funny. Can we laugh when Lou and Jackie tumble into bed and the soundtrack cues up a highbrow version of bom-chicka porno music? Can we laugh at Baryshnikov’s infatuated ninny with her bottom row of rotting orange teeth? Or when Lou Sr. stress-eats a wriggling bug? Or, most daringly, when Malone’s Beth, disfigured and swollen from her latest spousal beating, turns to her sister and hisses, “ You don’t know anything about love !”

Then again, “Love Lies Bleeding” isn’t really about love. It might not be about anything besides Glass’ own urge to poke and prod audiences to remember the kinky delight of movies that leave us dangling. The torment is delicious.

'Love Lies Bleeding'

Rated: R, for violence and grisly images, sexual content, nudity, language throughout and drug use Running time: 1 hour, 44 minutes Playing: In limited release Friday, March 8

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Love Lies Bleeding review: The gnarliest crime story of the year

“Love Lies Bleeding is a blood-soaked, underwritten thriller that is elevated by Rose Glass' impeccably stylish direction and Kristen Stewart's impressive central performance.”

• Kristen Stewart and Katy O'Brian's capable, complementary lead performances
• Rose Glass' mesmerizing direction
• A satisfyingly dark sense of humor throughout
• An underwritten script
• Several forgettable supporting characters
• One big, climactic creative swing doesn't fully connect

In Love Lies Bleeding , passion and devotion aren’t things you feel. They’re drugs you inject. The sophomore feature effort from Saint Maud  filmmaker Rose Glass is a sweaty, muscular thriller that luxuriates in the messiness of romance. It’s a film that tries to straddle, though not always successfully, the line between the literal and metaphysical — inserting dreamlike images of physical transformation and companionship between its scenes of rough sex, violence, and death. It is a blunt-force instrument that hits you enough times over the head that you buy fully into the seemingly cosmic power of its central love story, even if you remain a bit dubious about the specifics of its plot.

Above all else, it reiterates Kristen Stewart’s status as one of the world’s premiere big-screen performers and Glass’ artistic interest in the delirious pleasure that can sometimes be found in pain. Like Morfydd Clark’s fanatical private care worker in Saint Maud , who walks on metal spikes to feel closer to her faith, the two lovers at the center of Glass’ latest film achieve ecstasy through exertion, whether they’re smashing the faces of those they hate, burying the bodies of those they’ve killed, or lifting weights.

Love Lies Bleeding isn’t set literally in the underworld, but it might as well be. Not only does its first image, a low-angle shot of two canyon walls lit by a nightmarish red light, immediately evoke ideas of hellfire and eternal damnation, but it’s set in the kind of ambiguously southern, palpably seedy American town that makes one inevitably think about things like purgatory if they have the unfortunate pleasure of being trapped there long enough. Unlike Saint Maud , which feels firmly rooted in Glass’ British upbringing and particular obsessions, Love Lies Bleeding is a broader film. Its setting is so vaguely Texan and indistinctly 1980s that it doesn’t feel lived-in so much as it does inherited — namely, from all the many Southern American crime thrillers that clearly inspired it.

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The film, consequently, lacks some of the specificity and bite of Glass’ feature directorial debut. Ben Fordesman’s nocturnal, harsh cinematography partly makes up for that, as do Stewart and Katy O’Brian’s performances as its leads. The former stars in the thriller as Lou, a lesbian gym manager who is desperate to get away from her criminal father, Lou Sr. (a cartoonishly styled Ed Harris), but feels obligated to stay in her hometown and look out for her sister, Beth (a practically chicken-fried Jena Malone), who refuses to divorce her abusive, walking red flag of a husband, J.J. (Dave Franco). When O’Brian’s bodybuilder drifter, Jackie, wanders into Lou’s gym one night, the two quickly strike up a yanking, clothes-tearing romance.

Behind the camera, Glass goes out of her way to emphasize the physical nature of Lou and Jackie’s relationship. In their first meeting, Jackie socks a misogynistic homophobe in the face, and it’s only a few minutes later that Lou is telling her to bend over so she can inject her with steroids. Several sex scenes follow — all comprised of uncontrolled handheld camera takes and close-up shots of mouths kissing and hands gripping. These scenes stylistically differ from the steadiness of Jackie’s weightlifting workouts and posing routines, but Glass’ unrelenting focus on her performers’ bodies means they achieve the same effect. She’s not a filmmaker afraid of literalizing her metaphors (as she does multiple times throughout Love Lies Bleeding ), but her greatest strength is her ability to visually foreground the most tangible aspects of her deranged, often surreal cinematic worlds and the performances captured within them.

Before long, Jackie and Lou’s Molotov cocktail of a relationship has erupted in a double act of violent defiance that inevitably sets Lou Sr.’s sights on his estranged daughter and her partner (in love and in crime). Apart from one shocking instance of coerced violence, the twists that Love Lies Bleeding ‘s crime plot has to offer aren’t all that surprising, and the film could have benefitted from spending more time in the actual fallout of Lou and Jackie’s actions. By using her leads’ impulsive decisions as a vessel to explore the psychological effects of Lou’s toxic familial relationships, though, Glass does add a level of squeamish discomfort to Love Lies Bleeding in its second act that, at certain points, becomes unbearable.

Stewart’s performance only adds to that aspect of the film. The actress beautifully balances both Lou’s confidence and her frustration with her own debilitating sense of powerlessness. Her turn in Love Lies Bleeding is one of microexpressions and tiny details — notice, for instance, the way the pitch of her voice rises in her final scenes with Harris and how that only further reinforces the recognizable parent-child dynamic of their characters’ otherwise abnormal relationship. Many of the film’s supporting figures, including Lou’s father, are too underwritten for the actors playing them to make much of a lasting impression. Stewart nonetheless capably anchors the thriller with the help of O’Brian, who similarly shines in a role that asks her to seem simultaneously powerful and wide-eyed.

The way in which Stewart and O’Brian manage to rise above Love Lies Bleeding ‘s many underbaked elements is ultimately emblematic of the film itself. The thriller is an imperfect success that further establishes Glass as a visual stylist of considerable power, but one can’t ever shake the feeling that it’s just a bit thinner than it should be. Fortunately, while Love Lies Bleeding falls short as a nerve-wracking crime potboiler, it works better as a blood-soaked romance that acutely understands how love has the power to make you feel both superhumanly strong and weaker than you’ve ever felt before — no matter how much iron you pump.

Love Lies Bleeding is now playing in theaters.

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Unlike other film genres, deciding which movie musical is the best isn't as hard as you'd believe. Perhaps it's because there's probably one musical per drama or crime movie out there, or perhaps it's because the absolute best entries into the genre truly tower above the rest. Whatever the reason, the best movie musicals are timeless and revered, recognized by even the most casual filmgoer, and pretty beloved by pretty much everyone — even those who wouldn't be caught dead singing in the rain. 10. West Side Story (2021)

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From is headlined by Harold Perrineau, an actor who knows a thing or two about playing a single father who is cut off from the rest of the world after his stint on Lost. On this series, Perrineau plays Boyd Stevens, the father of Ellis Stevens (Corteon Moore) and the closest thing that the town has to both a sheriff and a mayor. Boyd also has plenty of inner demons to contend with in addition the creatures lurking inside and outside of the town.

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DADA MOVIE REVIEW CLICK TO RATE THE MOVIE

Dada is a film written by Ganesh K Babu and produced by Ambeth Kumar under the banner Olympia Movies. It stars Kavin and Aparna Das in the lead roles while Bhagyaraj, VTV Ganesh, Pradeep Antony, Harish Kumar, and others play supporting roles. The music is composed by Jen Martin, and the camera is handled by Ezhil Arasu K.

Manikandan (Kavin) is a careless young college student with no foresight about the future. He is in love with Sindhu (Aparna Das), and one day she reveals that she's pregnant. He wants to abort the child but Sindhu wants to keep it. They end up going with her choice, but Mani's irresponsible nature results in Sindhu leaving their baby with Manikandan, and running away from him. He is forced to raise the child - Adithya, all alone. The film deals with the struggles he has to go through in raising Adithya, and how his life changes for the better.

With Dada, one can see how well Kavin has matured as an actor. Not just with his performances but also with his choice of scripts. In a way, one can call this the answer to what would happen if Preethi from Arjun Reddy handed over the baby to Arjun Reddy, asking him to raise it all alone. The only difference is that Manikandan is not as abusive as Arjun.

It is indeed a responsible choice to not make Sindhu look like the villain and give proper justification for her decisions. Despite not having a villain as such, the film is breezy and engaging to an extent. The initial portions of the first half are what negatively affect the film. There are plenty of songs, and they end up becoming speed breakers to an already slow screenplay.

There are plenty of supporting characters who make their entry at various stages of the film and each one makes their mark in their own way. In particular, Harish Kumar is delightful as Manikandan's friend Amit. In the second half, Manikandan's teammates in the office also shoulder the film really well and offer proper support to Kavin through their performances. Aparna Das also comes up with a measured performance as Sindhu.

The film has first-timers as its technical crew, but the quality of their work doesn't show that. Jen Martin's background score is top-notch, and the songs are pleasant to hear. It is just the placement that doesn't sit well. Ezhil Arasu's cinematography does justice to Ganesh K Babu's story and elevates the film in a lot of places. He also works in tandem with editor Kathiresh Alagesan.

Overall, Dada is a sweet feel-good romantic comedy with engagement issues in the first half. The film has its heart in the right place and that powers the film throughout. Technically too the film has a certain quality and that is maintained till the last frame. The humour works out wonderfully in many places and that also helps the film a lot. A harmless watch for the weekend.

DADA VIDEO REVIEW

BEHINDWOODS REVIEW BOARD RATING

PUBLIC REVIEW BOARD RATING

REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

DADA NEWS STORIES

கவின் நடித்த DADA.. ஸ்பெஷல் ஷோ படம் பார்க்க வந்த H. வினோத்! வைரல் வீடியோ

"DADA கவின் லுக்.. லோகேஷ் கனகராஜ்ட்ட இருந்து Inspire ஆனதா?.. அவரே சொன்ன EXCLUSIVE தகவல்!

BIGGBOSS கவின் - பீஸ்ட் அபர்ணா தாஸ் நடிக்கும் புதிய படம்.. BTS போட்டோவுடன் வெளிவந்த சூப்பர் அப்டேட்!

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SARDAR MOVIE REVIEW

Sardar is an action thriller film written and directed by PS Mithran and produced by S Lakshman Kumar under the banner Prince Pictures. The film has Karthi, Raashi Khanna, Rajisha Vijayan in the lead roles while Laila, Chunky Pandey, Munishkanth, Rithvik and others play supporting characters. The film has music by GV Prakash Kumar and cinematography by George C Williams. 

Karthi plays the role of Vijay Prakash who is fond of being the centre of attention, and falls in love with Shalini (Raashi Khanna). To redeem himself from a personal issue that he's facing, he decides to take up the challenge of retrieving a few important files related to RAW. On the other hand we have ex-RAW agent Sardar who is held captive in Bangladesh for certain reasons. How did Sardar end up there? What is the connection between Sardar and Vijay Prakash? Watch the film to know.

Director PS Mithran's movies always have a strong social cause behind it. It was the issue of privacy and data theft in Irumbu Thirai, in Hero it was the education system and in Sardar, he takes up the issue of how water being sold to the common people is one of the unhealthiest practices. He cleverly blends this with the story of an espionage and gives us a film that is gripping for most parts.

The film is self aware right from the start. It wants to have the elements of a commercial film, but at the same time, is aware of when things start lagging. Which is why Karthi's introduction song is cut short. The romance angle is present but the film never invests or commits to it. It knows that there's something bigger on which the attention should be.

Karthi is fantastic in both the roles and exhibits variety to differentiate the characters. While he's aggressive and brash as Vijay Prakash, he's slow and the acting is more nuanced when he is Sardar. While his chemistry with Raashi Khanna is less interesting, it's the complete opposite with Rajisha Vijayan who scores well in whatever little screen time she gets. Her eyes are earnest and emote so beautifully. Munishkanth and Rithvik's performances too leave an impact on us.

GV Prakash's music amps up the film at the right places and keeps us on the edge of our seats. George C Williams' cinematography is stylish in terms of the colours and framing, while the editing is also fantastic. There's a scene in the second half where Sardar is revealed to the audience... The way the scene has been staged is a sample for the quality of visuals.

Overall, Sardar ends up as a technically brilliant film that has goosebumps moments at regular intervals. The writing by PS Mithran's team is neat and reflects the clarity of thought. And more than anything the film's noble message must also be appreciated.

SARDAR VIDEO REVIEW

BEHINDWOODS REVIEW BOARD RATING

Public review board rating, review rating explanation.

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

SARDAR NEWS STORIES

• Tamilnadu theatre counts for sardar and prince movies sources
• Karthi Raju Murugan New Movie Exclusive Shooting Update
• Karthi Ritu Rocks Rithivik Sardar Making BTS Video
• Suriya viral wishes for Karthi Starring Sardar releasing Oct 21

SARDAR RELATED NEWS STORIES

• Actor Karthi reveals Sardar One line and why dual role
• Karthi Starring Sardar Movie Trailer Released
• Karthi Sardar CBFC Censored and Certified UA
• Karthi Starring Sardar Tamil Telugu Trailer Release Update
• Sardar movie first single Yaerumayileri released
• Karthi Sardar movie releasing on 21st October Diwali Festival
• Karthi starring Sardar official release date announcement
• Karthi Sardar Movie Teaser Released by Actor Suriya
• Annapurna Studios Releasing Karthi Sardar Telugu States
• Sardar movie tamilnadu theatrical rights bagged by Udhayanidhi Stalin
• after nayantharas O2 Master Rythvik in Karthi Sardar
• Rs.4 Cr spent for Karthi SARDAR movie Azerbaijan shoot
• Actor karthi three movies release exciting line up
• Laila instagram post about jasmine flower from woman
• Actress Laila's latest photo with Vijay Sethupathi goes viral
• laila latest photo with vijay sethupathi gone viral
• Karthi Raashi Kanna Sardar Movie Song Shooting
• Karthi sardar movie new bts image with raashi khanna
• Raashi Khanna all set to join Karthi's Sardar shooting; viral pic
• Raashi Khanna joining to Karthi Starring Sardar shooting
• Karthi's Sardar movie Latest viral BTS images
• Sardar Movie Latest BTS Images Went Viral on Social Media
• karthi starring Sardar next schedule planning in Kodaikonal
• sardar movie karthi getup went viral on social media
• actor karthi latest image went Viral on social media
• Thalapathy vijay couldnt realise Sardar Karthi shooting fun
• Here’s why Thalapathy Vijay was shocked by Karthi when they met at Beast and Sardar shooting spot
• Karthi's SARDAR TRENDING pic from today's shoot is here
• Breaking update from Karthi and PS Mithran’s Sardar shoot near Thalapathy Vijay’s Beast sets
• Breaking update from Karthi's next mass thriller with dual heroine ft Sardar, Raashi Khanna, Rajisha Vijayan
• PS Mithran Karthi movie title revealed - Watch video of motion poster - heroines revealed

SARDAR PHOTOS

RELATED CAST PHOTOS

Raashi Khanna

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Vijay സിനിമ കഴിഞ്ഞാൽ ഉടനെ kaithi 2 ആരംഭിക്കും 🔥💪🏼 | karthi reveals videos.

RITHU -க்கு MASS -அ BGM போட சொல்லிக்கொடுத்த SARDAR KARTHI 🔥 VIDEOS

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• வந்தியத்தேவன் - கார்த்தி | PS1: ரசிகர்களை கவர்ந்த பொன்னியின் செல்வன் படத்தின் முக்கிய கேரக்டர்கள் & நடிகர்கள்.. முழு தகவல் - Slideshow
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• Mohan Raja And Jayam Ravi | Celebrities With Their Parents, Compilations Of Cute Moments! - Slideshow

Sardar (aka) Sardaar

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