Kirubhakar Purushothaman

Sir is one of those formulaic Tamil movies with a strong cause or message it wants to put across and doesn’t mind doing so at the cost of being a didactic and dated. The style, writing, brevity, and everything that makes up for a superior form take a backseat in Sir as Bose Venkat prefers coming across as an activist to a fine filmmaker. While Sir has a noble cause at its core, the execution makes it a yarnfest, and instead of getting the catharsis such social commentary aims to provide, the film invokes a sense of guilt for feeling so.

All Rajinikanth films have some default settings. It doesn’t matter who directs him, they have to play by these rules or around it. Experimentations by the director are allowed but within the frame of the boilerplate. The success then comes down to how the proverbial ‘director’s touch’ syncs with the template of a superstar film.