Latest news with #TheVerdict
Time of India
31-05-2025
- Entertainment
- Time of India
The Verdict Movie Review: When manipulation meets its match
: A woman acquitted of murder orchestrates an elaborate trap to expose her husband's deadly schemes, using his own deceptions against best chess matches happen when both players think they're winning, and The Verdict serves up exactly that kind of strategic showdown wrapped in courtroom proceedings. Director Krishna Shankar's thriller, set entirely in the US and half in English, starts as a conventional murder trial before revealing itself as something more cunning – a battle of wits where the real game begins after the gavel film opens with Namrutha aka Nami (Sruthi Hariharan) facing trial for the murder of wealthy Miss Eliza Sherman (Suhasini Maniratnam) in an American courthouse. These early courtroom scenes, following US procedural conventions with jury deliberations and cross-examinations, feel distinctly theatrical. The dialogue sounds more like position statements than actual conversation, coming across as stiff portraits rather than living drama. Maya Kannappa (Varalaxmi Sarathkumar), Nami's formidable attorney, works through these proceedings with visible competence, though even her presence can't entirely mask the procedural dryness that makes you check your the real movie emerges post-acquittal. Nami reveals herself as more than just a defendant – she's a strategist who suspects her nurse husband Varun (Prakash Mohandas) orchestrated Eliza's death for inheritance money. Through flashbacks, we see Eliza's genuine bond with Nami, making her murder more personal and calculated. Suhasini Maniratnam brings gravitas to these glimpses, creating a fully-realized character despite limited screen time. Even Raphael, Eliza's long-time caretaker, becomes a pawn in this game, manipulated by Varun to provide false testimony that nearly seals Nami's transforms the film is the alliance between three women against one manipulative man. When Pragya, Varun's pregnant colleague, realizes his true nature after he casually suggests abortion as a first response to her news, she becomes the third player in this game. The dynamics shift as Nami, Maya, and Pragya orchestrate an elaborate trap using the early COVID pandemic as cover. It's here that the initially plastic characterizations start to make sense – these people were always performing for each other, hiding their true intentions behind carefully constructed film's strength lies in how it treats manipulation as a double-edged sword. Varun believes he's the puppet master, but the women around him have been pulling different strings all along. Using his arrogance against him, they create a scenario where his need to boast becomes his undoing. The recording scene where Varun confesses his crimes to Maya, believing her to be another conquest, is particularly well-executed – a predator caught by his own Sarathkumar commands every scene as Maya, bringing both legal authority and street-smart cunning to her role. She's the film's anchor, making even the stiff courtroom sequences watchable through sheer presence. Sruthi Hariharan impressively navigates Nami's transformation from victim to victor, while Prakash Mohandas delivers a compelling performance that truly comes alive in the second half. The supporting cast are Shankar shows promise in handling the thriller elements, particularly in the second half where psychological warfare replaces legal procedures. The screenplay excels at revealing character through action rather than exposition – watch how each person reacts when cornered, and you'll understand who they really are. The film cleverly positions its reveals to maximize impact, letting us discover alongside the characters that trust is the most dangerous game of all. After all, Varun himself is the real infection that needs Verdict works best when it abandons the courtroom for the messier arena of human duplicity, where justice wears a different face entirely. It's a reminder that sometimes the best verdict isn't delivered by a jury but orchestrated by those who refuse to remain Subramanian
New Indian Express
30-05-2025
- Entertainment
- New Indian Express
The Verdict Movie Review: Sruthi Hariharan shines in a courtroom drama that fails to deliver
When Elisa (Suhasini Mani Ratnam), a billionaire, is found dead, Namrutha (Sruthi Hariharan), her close friend and well-wisher, is accused of cutting off her oxygen supply and murdering her. The motive? Namrutha was recently added to Elisa's will and stood to inherit a staggering $150 billion. The Verdict follows Maya (Varalaxmi Sarathkumar) as she takes on the case, determined to prove Namrutha's innocence and unmask the real killer. Set in Texas, USA, the film opens with Elisa's murder and swiftly moves to the courtroom, where a jury is weighing the evidence and arguments to decide whether Namrutha is guilty or innocent. While most jury members lean towards acquittal, one juror, played by Vidyulekha Raman, asks a pointed, 'Why?' Her initial belief in Namrutha's guilt suggests she might crack open a Pandora's box of secrets. Instead, she merely rehashes the court proceedings, which feels more like a procedural snooze than a tense cross-examination. Even the interval twist, a moment ripe with potential, is reduced to a convenient reveal. With an idea that has immense potential for exploration, The Verdict stands accused of poor execution. The director opts for a non-linear narrative, perhaps to let us play jury. Each witness takes the stand to recount Namrutha's ties with Elisa, her marriage with Varun (Prakash Mohandas), the involvement of the butler Rafael in the murder, and a host of other aspects. Much of the first half is spent in exposition, which culminates in a reveal at the interval point. You would expect Namrutha's road to justice to be long, winding, and riddled with twists. But surprisingly, the titular verdict is delivered rather early in the second half. What follows feels like a different film altogether; one that wanders off the legal path and into narrative no man's land. Up until the verdict, the film keeps its spotlight firmly on the case, and then it abruptly shifts its entire focus to the killer. Suddenly, the legal drama turns into a mystery thriller. With the killer being the main focus and their motive laid bare from the get-go, the second half limps toward a predictable conclusion. And just when you think the film might have a final ace up its sleeve, it reveals that Namrutha knew the killer's identity all along. She claims to have stayed silent because all the evidence pointed to her, so she chose to play along and face the charges. The logic behind it is shakier than a witness on cross-examination. To make matters more convenient, the investigation that follows hands Maya and Namrutha one lucky break after another, with evidence and clues falling into their laps.
Pink Villa
27-05-2025
- Entertainment
- Pink Villa
Latest Tamil movies releasing in theaters this week (May 26 - June 1): The Verdict, Jinn - The Pet to Manidhargal
A new week means new stories on the big screen. Tamil cinema fans can look forward to some fresh releases. Each film brings its own flavour — some light-hearted, some intense. Whether you're heading to the theater with family or friends, there's something waiting to entertain. Let's check what's releasing this week. Tamil movies releasing in theaters this week 1. The Verdict Cast: Varalaxmi Sarathkumar, Sruthi Hariharan, Suhasini Maniratnam Release date: May 30, 2025 The story of the film revolves around the mysterious death of a rich woman. The main suspect is Namrutha, and the case quickly grabs everyone's attention. As the trial progresses, shocking secrets begin to surface. Hidden relationships, lies, and betrayals slowly unravel. Every witness brings a new twist, making it harder to tell right from wrong. The story digs deep into how far people go to cover the truth. 2. Raja Puthiran Cast: Prabhu, Vetri Sudley, Krishnapriya Release date: May 30, 2025 Raja Puthiran is a Tamil family drama that follows the story of Chellaiyah. He is a 60-year-old farmer who holds deep respect for the land he works on. He believes farming is not just a job but a sacred responsibility. His son, Pattamuthu, doesn't share the same belief. He secretly takes up a job under a man named Linga, hoping to make quick money. But things take a dark turn when Pattamuthu gets involved in illegal financial dealings. 3. Jinn - The Pet Cast: Mugen Rao, Bhavya Trikha, Bala Saravanan Release date: May 30, 2025 Jinn - The Pet is about a family that brings home a mysterious creature known as a Jinn. They are given three clear rules to follow. Everything seems fine until those rules are broken. From that moment on, their lives spiral into chaos. The hero must now deal with the strange events that unfold as he tries to set things right. 4. Manidhargal Cast: Kapil Velavan, Gunavanthan Dhanapal, Arjundev Saravanan Release date: May 30, 2025 In Manidhargal, six friends wake up after a night of heavy drinking. What they discover shocks them and sends the group into chaos. None of them can explain what happened. As they try to piece things together, tensions rise. Some start pointing fingers, while others feel overwhelmed by guilt. The group begins to crack under pressure and their friendship is put to the ultimate test.
New Indian Express
26-05-2025
- Entertainment
- New Indian Express
Varalaxmi Sarathkumar Interview: No one has leveraged my full potential yet
While Hollywood cinema's origins could be traced back to vaudeville, Tamil cinema descended from the loquacious street plays. So, its long-standing marriage with the inherently verbose courtroom drama genre is a match made in heaven. Joining Tamil cinema's rich history of legal dramas is the upcoming film, The Verdict. Starring Varalaxmi Sarathkumar, Suhasini Mani Ratnam, Sruthi Hariharan, Vidyulekha Raman, and Prakash Mohandas, the upcoming film is curiously set in the USA. 'The Verdict is a combination of a thriller and a courtroom drama. I've played lawyer roles before, but this film is set in the US, where the legal proceedings are different. A good part of the dialogues are in English and some of the cast are American, so I thought that the challenge would be interesting to tackle,' says Varalaxmi Sarathkumar. She then adds, 'It gets boring if you're not challenged as an actor.' Even though the film is set in another country, the actor believes that the story doesn't necessarily have to justify its location every time. She says, 'Sometimes you need the story to justify the setting, but it can also act as an exotic and aesthetic choice. Audiences are used to watching films from other industries as well. We can relate to English language films set in London because stories are relatable, and that is the key factor, not the location. We have seen films set in Thoothukudi and then stories set in Kerala. In The Verdict, the story happens in Texas.' Varalaxmi believes that the dearth of courtroom dramas in Tamil cinema has very little to do with our seeming disinterest in the genre. 'Genres don't die,' she says, before continuing, 'We might not be getting a lot of courtroom dramas in Tamil the way we used to get in the 80s and 90s, but that doesn't mean we have completely lost interest in that format. Genres are seasonal. Suddenly, we might witness a spree of thrillers or adult comedies or horror films or mass masala films. Cinema goes through its cycles.' Varalaxmi then points to Jai Bhim as a recent example of a Tamil courtroom drama. Ruminating on the seasonal changes in cinema, Varalaxmi reflects on how even trends and aesthetic choices go through their own cycles. 'The 80s used to be the go-to era for a nostalgic setting, but even the aesthetics of the 90s and early 2000s are mined for nostalgia nowadays. Films set in the 80s might be considered period films now,' she says in a lighthearted tone, before adding, 'I guess that's life.' On the topic of period films, Varalaxmi shares how she would like to be a part of films with a historic setting like the Baahubali duology, Troy, and Gladiator. She then adds, 'I would also love to do comedy films. I've signed on to do a couple of comedy films in Telugu, and I'm looking forward to them. Madha Gaja Raja, the recent comedy that the actor starred in, went on to become a box-office hit despite its delayed release. 'It is a vintage comedy and you get to see Santhanam in a full-fledged comedy role after a long time. It's been a while since we saw that kind of mass masala entertainer,' says Varalaxmi, dissecting the surprisingly healthy box office reception of the film, which was initially planned for a release in 2013. 'I think I will eventually end up directing films,' says Varalaxmi, on the topic of her future plans. However, she feels that her passion for acting has not been completely satiated. 'I will move on to the next step only after my passion for acting has been satiated. I don't think anybody has leveraged my full potential as an actor yet,' she signs off.
Daily Mail
28-04-2025
- Sport
- Daily Mail
Liverpool are champions and how they made it known - everywhere you looked, this football-mad city was a sea of red and this felt like a mass outpouring of relief and ecstasy, writes LEWIS STEELE
It hit you as soon as you stepped out of Liverpool Lime Street railway station about midday. The sky was blue but the rest of the city was red. Very red. Captain Virgil van Dijk, an honorary Scouser to use his own words, had called on fans to come out in their colours. And how they responded. Everywhere you looked, this football-mad city was a sea of red. This day was an attack on all the senses. The smell of pyrotechnic flares and smoke bombs stalked the air and clung on to clothes. The sound of fireworks was non-stop… bang, bang, bang. Liverpool are Premier League champions and how they made it known. On the walk back into town after the game, fans were everywhere. One small patch of grass was on fire and the night sky illuminated by red smoke. Read all of Mail Sport's excellent coverage of Liverpool's 20th league title in The Verdict, Mail+ and online They stood on top of bus stops and somehow managed to balance atop lamp posts and trees. They held pyros aloft, swung scarves around their heads and sat on pals' shoulders. These are the days fans will never forget. These were the moments that, when the kids of today are old and grey, they will bore their grandchildren by banging on about. This felt like a mass outpouring of relief and ecstasy, these supporters losing control for a day and letting their inner child come out. Grown adults were in tears, some screaming like young children. The bus greeting in itself was an event. Thousands of fans lined the streets to greet the squad and players are said to have been truly inspired by that. Arne Slot himself said it was at that point he knew that Liverpool simply would not lose. Inside the stadium, the atmosphere was deafening and left your eardrums ringing long into the night. There was one episode in the first half when Andy Robertson tried to speak to Dominik Szoboszlai five yards away, but the Hungarian ignored him. Not because he was being rude but because he could not hear. It was that loud. The decibels hit their highest level, though, at 6.24pm. This fabled stadium has seen plenty of raucous days and nights but that moment may top the lot as Anfield got a party started which was 35 years in the waiting. Each and every player had their moment in the sun with the Kop going through its whole songbook. Slot got the biggest cheers from the stands and on the pitch, with players soaking him in champagne and giving him hugs. Any footballer around the world would have been watching these scenes before, during and after the game and may have had a hint of jealousy. This day confirmed Liverpool as the place to be. As for Trent Alexander-Arnold and his mooted move to Real Madrid, how could anyone want to walk away from this?
