filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

getsibs This will keep you in thoughts for a while.. Outstanding movie with an apt cast and deadly acting!! There is love, emotion and betrayal and what not.. A masterpiece that must be watched by every movie lover..DONT MISS THIS!!

Praveen Venkatesan Visaranai movie takes us directly to the part of police investigation.Vetrimaran created a new milestone in film making. Dinesh and Samuthirakani takes the plot on their shoulder. and overall all the characters in the movie done a fabulous job.The climax Takes our mind to edge of the screen. and technical side also so strong. camera, edit and music all are made excellently.Vetrimaran makes a film with Oscar standards. Finally Tamil Cinema witnesses a milestone in around 80 years.The beating shown on screen will definitely be felt by all experiencing this film.Some may even end up in tears.I would also give a huge thumbs up the make up artists of this film for giving such real wounds and bruises for the actors.Movie deserves **********

visharl Vetrimaaran deserves allocates for having given the best from the team. The extent of enduring pain is as plain as water as they stutter and fumble with their bloody bruised bodies. The hard- riviting screenplay is unstoppable, making no move to shield you from the bitter realities of the merciless world. cameraman S Ramalingam perfectly complements the script by depicting the pain, torture and humiliation while GV Prakash's haunting background score makes it happen like real, The sound of flesh being torn apart by brutal lathi blows will make one finch and even experience it. The story portrays as how innocents are often brought in to fill cases which cant be solved. The extent of torture they undergo to make them underwrite the crime they have never committed is painful and morally awakening. The film brings out how gruesome our criminal justice system is, and the lack of transparency, access to judicial services and no signs of accountability at the cutting edge level is making the common man suffer more every day. It is not to say that all police functions are gruesome. But the movie brings up how the dark side can be and how dangerous it can be to the life of a common man when the power is uncontrolled.I sincerely hope that lockup deaths and police encounters will no longer be mere flash news after watching this movie, as the film sends across a spine chilling message which needs every ones attention.

Mohammed Hidhayat (zmhsrk) The first few montages of the yet-to-dawn nocturnal life is enough to invite the film festival community to engage in the story. Visaranai is the big screen transformation of Chandra Kumar's documented novel Lock Up; a true story about how police brutality and inhuman interrogation techniques go into tormenting innocents to admit false crimes. A group of migrants from Tamil Nadu working in Andhra Pradesh are taken into illegal custody by local police . What follows is a gruesome police drill involving batons, boots and banana stems. All they want is a confession; a fake confession. 'Attakathi Dinesh' as Pandi is the stand-up guy unwilling to surrender fearing a larger force at play and more importantly, he wants to do a great many things in life. 'Aadukalam' Murugadoss as Murugan can be easily tricked, Afsal is innocent to the core and Kumar is severally battered at an early stage. The characters we meet on screen are controlled and manacled by the System in ways unprejudiced. Ajay Ghosh as the vicious Guntur chief Vishweshwar Rao is one such police officer with a disappointing career profile, a face like death and a body trained to beat the life out of others. But still, Attakathi Dinesh does a great many things as he aspires to do so when he is set free. There is a point of saturation in the film where even Vishweshwar Rao runs out of breath. If apathy, personal gain and atrocity ever had a threesome, mishaps like Ajay Ghosh tend to happen. The harsh acoustics of yelling can get on your nerves at some point. This was a necessity made by the film's structure to facilitate such relentless thrashing and torture. With so many battered souls locked up, it puts you in their place and raises questions. But Vetrimaran is not here to preach, his screenplay and dialogs stay direct, relaxed and procedural. Neither the water- boarding nor the vicious slow paced thrashing had any effect on Pandi, it was hope, his tenaciousness, his trickiness and a chance TN police intervention that puts an end to their misery. Played by the ever obstinate Samuthirakani, Murugavel is a TN police officer on a special mission to trap an elite white collar auditor. Pandi and his friends return a favor and help Murugavel. The second half travels to familiar grounds of Tamil Nadu. The rich and fraudulent auditor KK (Kishore) who spurts money philosophy is the victim of the another brutal interrogation. It is his adage on 'System' that links the background events. All this talk about the System being the Kingmaker and that 'your actions have set things in motion' establishes a thick premonition. Thankfully, this talk is kept to a minimum. Had it not, then a part of audience's imagination would have reached heights of hype expecting a Brobdingnagian revelation of some sort. There is calmness meandering in all scenes. The casual statement of the lawyer and the video logging of reconstruction scene shows the normalcy of situation and sheds light on how police practices defy law and makes you wonder on the number of cases solved by false/forced convictions. Taking a few incentives, Visaranai achieves a gritty cinematic leap. There is also a half baked romantic connection that is left to rot much like the irrelevant voiceless lives in jail. There is coherence of how the middle class working community from lower backgrounds are taken for granted. The abuse of Shanthi in the hands of her owner, the case of 4 street vagrants picked up from a Nellore park, the provision store owner who is blackmailed - a constant living in fear and hardship. 'Attakathi Dinesh' channels Pandi vehemently. He has the 'Andy Dufresse kinda' reluctance to give in. Pandi sure does suffer a hell lot in comparison. Both wrongly captured. One convicted and the other unwilling to get convicted. Maybe there can be more to say about these characters in contrast. That will be for another day. For a brief period in the last sequence of the first half, it felt like it was going to be a complete escape and survivalist episode.The movie is a genius thriller in the making. Although not as tension seeking as Michael Mann-esque film, we feel the trap Pandi, Murugan & Afsal walk into as they accept the shameless duty of domestic help. Secondary characters make a lasting impact especially the promotion ignored officer in TN station. Muthuvel is an upright police pushed by higher officials and disoriented by the System into pursuing Pandi. Personally, my fondness for cinematography has grown rather exceptionally over the past few years. A film devoid of creative and meaningful visual strategy doesn't excite me. There were a few; very few parts in the film that meant visually nothing but then, this emptiness perfectly defines realism - through the dingy corners of highways and the wandering nightlife patrols, the blurry hope of escapism emanates. The final moments are as tense and seems like a cliffhanger until the camera zooms out to the fullest. The sudden pull and push of camera; this shift in movement noticed at a pivotal stage grounds the approach in realism as the hand-held camera becomes a secret surveillance tool, an all seeing eye - the eye of the system. As it looks down upon Pandi and Murugavel standing through knee-deep murky water, it signifies the troubled position of two candidates with no evil tendencies irrelevantly chosen by the powerful. Visarani in its vagueness to expose a larger atmosphere for the Organism of System perfectly sums up the horrible dilemma of innocent fishes pushed into predatory waters that is timely polluted by forces unknown.