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Rocky Movie Review : Rocky is gloriously violent and deeply sentimental

• Times Of India

In-depth Analysis

Our overall critic’s rating is not an average of the sub scores below.

Rocky - Official Trailer

Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Subhabrata Saha 645 days ago

This movie is absolute trash. Making and watching this movie is complete wastage of time money and energy. Horrible disgusting movie.

User AHAMMED M 715 days ago

Really good movie

V RAGHU 113 717 days ago

A Unique and Brutal Tale of a Rocky.

User r 940 817 days ago

Amazing movie must watch

sivamp 837 days ago

Masterpiece

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Rocky Movie Review: A meditative study on violence, a terrific directorial debut

Rating: ( 4 / 5).

Rocky may seem like it’s in love with violence. I mean, necks are slit, eyes are gouged, and intestines get worn like garlands. And yet, it’s crucial to note that this film encourages plenty of contemplation—the kind you see its self-deprecatory protagonist, Rocky (Vasanth Ravi, whose deep-set eyes communicate a lot of unspoken anguish), often get preoccupied with. What are we, men, who are killing each other? What is this world that doesn’t seem to care? Through its use of wide shots, this film really drums in the sheer absurdity of all the violence, and why, even the very loneliness of existence. A film in love with violence wouldn’t introspect as much as Rocky does. The first chapter, for instance, is named: ‘ Ungamma unna yen pethaanga theriyuma? ’ Towards the end of the chapter, we get the answer, a punchline if you will, from Rocky. And yet, if you sat him down for a conversation, I dare say that he would likely disassociate himself from a parting punchline he delivers during the height of bloodlust. Rocky, after all, through long, lonely walks, and the ensuing fatigue that he hopes will provide him with some relief from the all-consuming guilt and regret plaguing him, has already realised that his life has spiralled out of control—and worse, that it’s just the beginning. Like many, who unwilling to accept responsibility, blame destiny, Rocky blames time in a charming sequence that doubles as a superb replacement for a conventional song. He calls time a sinner, a disease. And yet, time, as he knows, is indifferent; it doesn’t care about his accusations. That’s why within the same ‘song’, he recognises himself as a ‘beast’, an animal that’s ultimately feeding on self, for, as this film astutely notes, nobody benefits from violence, least of all the hapless women around these ‘beasts’. It’s incredible that Rocky communicates these ideas without the crutch of dialogues.

Director: Arun Matheswaran

Cast: Vasanth Ravi, Bharathiraja, Raveena Ravi, Rohini

The visual imagery in Rocky is gorgeous. There’s noir-esque black and white imagery; there’s a great eye for interplay between light and shadow, for striking use of colours like blue and yellow. Static shots, and I don’t use this lightly, seem like moving paintings. The wide shots don’t just exist to provide eye-catching imagery for the movie theatre screen; it serves to establish, with all the use of empty space, the apathy of nature, the absence of a benevolent deity. Indeed, there’s much scathing commentary on the concept of God, with the film beginning by stating the God Paradox (can God make a mountain he cannot lift?). At one point, Rocky speaks of how God cursed him, while the Devil embraced him. Perhaps it’s most revealing that when Rocky displays his unusual capacity for cruelty, he claims to be… God.

I enjoyed that Rocky doesn’t pay much heed to its straightforward plot or the potential to turn into a conventional gangster revenge film. The plot is very much there, yes, and armed with a screenplay that travels back and forth to reveal just the right amount of information each time. However, the film’s real focus is on exploring and presenting the mentality of this man who’s caught in a vicious cycle of vengeful violence and consequent retribution. It employs monologues and surreal imagery to capture the inescapable, Sisyphean plight of this anti-hero.

Given the film’s unflinching gaze on violence, it’s natural to be reminded of Korean cinema, and of the likes of Tarantino. A glorious pre-interval tussle between one and many feels like an ode to that famous fight sequence in Old Boy , as Rocky , tired and yet, relentless, piles on the bodies, even as he manoeuvres his way upwards through narrow corridors. An unforgettable visual is of Manimaran (a layered, menacing Bharathiraja) gazing almost in admiration, as a static shot—like in a video game—has us gasping at the full impact of what Rocky has done and is doing. Any film that has a chapter-division is going to get us thinking of Tarantino, let alone one with as much violence. There are what seemed to me to be other homages as well: An old Telugu song plays as a throat gets slit. Later, a car bonnet comes crashing on a man’s head over and over again—how do you not think of that Kill Bill scene in which a door gets slammed against a man’s face? As Rocky, a stone-cold killer, turns guardian for a vulnerable little girl, I also found myself thinking of Leon, The Professional . None of this is to suggest that Rocky is an imitation or that it lacks originality. I mean these comparisons as compliments. The film is very much its own, and even its setting speaks of an unspeakable cruelty in a neighbouring country. Much of the cruelty we see in the film happens by the sea, but it’s impossible not to hear the whispers of horror from what’s happening across it. Among the film’s many questions is one: In a world that’s as irrationally cruel, of what use is appealing to the mercy of a deity?

Darbuka Siva’s experimental background score is a heady pleasure as well. Guitars come to the party suddenly. Just when you think you have got a grasp of the film and its reluctance to use songs, a full-blown emotional song plays in the background to define a sibling reunion. A thrilling action set-piece plays out to mridangams . The best of the lot is that opening ‘song’, that lament against time from a resigned Rocky. You can spot similar resignation in Bharathiraja’s Manimaran as well, especially at the end when he lets out a wry smile. You see similar half-smiles from Rocky throughout the film, particularly when consumed by the high of vengeance. These aren’t men on opposite sides of morality; they are rather similar in a sense, these lonely men, driven to unstoppable violence by a thirst for revenge.

As deep films so often do, Rocky incites reflection. I caught myself thinking of existentialist philosopher Martin Heidegger and his concept of ‘thrownness’ (to describe the feeling that we are arbitrarily ‘thrown’ into this world). It almost feels like Rocky and Manimaran contemplate something similar as they so often stand as lonely figures, the violence from and around them almost incomprehensible, and seemingly unavoidable. I enjoyed Rocky for inspiring such reflection, and for director Arun Matheswaran’s refusal to create a factory product with this plot. It may not be a perfect film—the performances sometimes feel rather rough on the edges, a deus ex machina at the end seems rather convenient—but it displays such a courageous tendency to stray from the ordinary that these tiny missteps don’t matter. For instance, Rocky, in a scene, is beaten bloody while forced to witness a horrific murder. Where normal films would exploit such a scene for tragedy, director Arun Matheswaran takes us away into surreal imagery to explore Rocky’s mind, as he is forced to process trauma and guilt. It’s a refreshingly deep creative choice from a filmmaker who, with Rocky , has made one of the more memorable debuts in Tamil cinema. Here’s hoping the authenticity of this voice remains as fierce in the years to come.

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Rocky movie review: Vasanth Ravi’s slow burning, violent revenge drama dares to push boundaries

Rocky movie review: vasanth ravi plays rocky, a character who has been just released after 17 years in prison. it is unarguably the most violent film in tamil cinema's history..

Arun Matheswaran’s Rocky is a no-nonsense, extremely ultraviolent revenge drama. This is the kind of film that doesn’t sugarcoat what it promised in the promos – unadulterated violence. In fact, the film is in love with the idea of violence so much that it uses it as a tool of catharsis, to make us empathise with the hero, who’s out to avenge the death of his sister. The violence is choreographed and shot in such a way that it looks like a visual feast on screen. If you have the appetite for brutality and don’t mind sitting through a slow-burning revenge drama, Rocky is just for you. Plot-wise, the film reeks of predictable moments and scenes but there’s so much to marvel at in Rocky, which is painstakingly shot to make every frame look like visual poetry. 

Vasanth Ravi plays Rocky, a character who’s been just released after spending 17 years in prison. We are told much later that he went to prison for killing his boss’ (Bharathiraja as Manimaran) son in front of his eyes. By killing, I mean he cuts him open with a jigsaw, takes out his intestines and puts them as a garland around his neck. Upon release, Rocky goes in search of his sister, but his violent past doesn’t let him live in peace. Soon, Manimaran comes after Rocky, and what follows is a bloody showdown. 

Rocky is unarguably the most violent film in Tamil cinema history. There’s a scene where Rocky asks a corrupt policeman before crushing his head with a hammer, ‘Do you know why your mother gave birth to you?’. Before swinging his hammer, Rocky replies, ‘To die in my hands’. There’s another scene where Rocky asks a guy if he can read and write, before cutting his tongue off (because he yaps non-stop) – he then hands over a paper and pen to get the address he wants. As much as Rocky is about violence and the glorification of it to some extent, it is also about the senselessness of it all. You get a better understanding about the senselessness of the violence as the movie ends. If you’re familiar with the kind of violence Korean and European cinema is known for portraying on screen, you will enjoy Rocky as much as most celebrated films like Oldboy and The Man from Nowhere among others. If you are also a fan of John Wick and how the film made violence look so cool on screen, you won’t mind Rocky.

Also read: Minnal Murali movie review: Kerala delivers India’s first great superhero film 

The cinematography by Shreyaas Krishna elevates Rocky to another level. Without those breathtaking visuals and shot compositions, Rocky would’ve been just another boring tale of revenge. Darbuka Siva’s music too adds a lot of value to the viewing experience. There’s one Oldboy-inspired action stretch and Darbuka’s infusion of classical music to this scene makes it one of the highpoints of the movie. It takes a lot of skill to make violence look so appealing on screen, proving debutant filmmaker Arun Matheswaran is a talent to watch out for. No Tamil movie before Rocky had dared to push boundaries when it comes to the depiction of violence. 

Vasantha Ravi turns in a measured performance. In the film’s most tender moments, he’s as fragile as a leaf but transforms into a monster when it comes to the action sequences. He was a treat to watch. Veteran actor-filmmaker Bharathiraja leaves a lasting impact in an interesting role of an aged crime lord.

Film: Rocky

Director: Arun Matheswaran

Cast: Vasanth Ravi, Bharathiraja, Rohini and Raveena Ravi

• Tamil Cinema
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Rocky movie review: A bold, relentless depiction of senselessness of violence

Rocky review: none before arun matheswaran had dared to graphically depict violence in such a way. the film's setup innately compromises the separation between good versus evil. it is a demon versus demon and we have to root for the lesser evil..

The first teaser for director Arun Matheswaran’s debut movie Rocky included a scene where a father wails hopelessly as he watches his son being dismembered mercilessly. The scene felt totally barbaric, and even surreal for this is the first time in Tamil cinema that a filmmaker has dared to show such extreme acts of violence for such an extended period.

The camera lingered on Rocky’s back for long as a physically strong man is cut open. Arun doesn’t rush through the scene for the comfort of the audience and it is unnerving. There is stillness amid a lot of action; a lot of calm in the face of senseless violence.

Once Rocky cuts open the body, the camera zooms in on the hacksaw blade, the murder weapon, dripping with blood and tiny pieces of flesh. Then, Rocky proceeds to desecrate the lifeless body by pulling out what we later find out is his victim’s intestine and putting it around his victim’s shoulders as garland.

The scene depicting extreme violence is shot in black and white. Like the victim’s father, played by Bharathiraja, we see the incident from a distance and the camera spares us a close-up shot of all the gore. The scene is staged in a way that provokes an experience that is hard to make sense of. The violence depicted in the scene is explicit and yet obscure from the audience’s view. It is direct and implied at once. The line that separates the scene from being a straight-up gore fest and a well shot, and well-performed piece is very thin.

Arun Matheswaran calls for a serious application of our critical thinking to distinguish the violence in his film from the overly-stylised acts of violence portrayed in the grab of heroism in other movies. In a way, this film dissuades us from the illusion of violence that was fed to us by earlier movies. Violence is not fashionable. It is a lot of work, takes a huge toll on our mental well-being, is ugly, dirty and has  unbearable consequences.

Taking this particular scene at its face value and dismissing it as a bad influence would be improper. The mental exhaustion that is caused by just watching it is such that it could actively discourage one from involving in any kind or form of violence.

Now, to release the whole scene as the film’s teaser is a ballsy move as it establishes clearly that this film is not for the faint-hearted. It was a clear enough message that this film is going to shine a light on some dark corners of our human civilization, which we pretend doesn’t exist as we surround ourselves in pleasures.

The way Rocky kills his victim is not unheard of. “I will pull your gut out and wear it as garland,” is a sort of common threat we have heard people use, sometimes playfully and at times seriously. We also have a depiction of such violence in our mythology. We have grown up hearing how Lord Vishnu took on the avatar of man-lion, Narasimha, and disembowelled the demon king Hiranyakashipu.

But, none before Arun Matheswaran had dared to graphically depict this particular act of violence in detail and with some patience. And the film’s setup innately compromises the demarcation between good and evil. It pits a demon versus a demon and we have to root for the lesser evil, who longs for a second chance in life.

A hero slaughtering hordes of people by claiming a moral high ground and promoting violence as a quick fix to all our social problems is deeply problematic and morally questionable. On the other hand, when the violence is depicted in the context of war, it takes a different shape. The setup is devoid of any sort of moral ambiguity and it places us at a vantage point from where we can see the meaninglessness of violence.

Rocky’s parents fled their home country, Sri Lanka, to escape the war. But, the war was not done with them and follows them to Tamil Nadu , where they seek asylum. Rocky’s father pursues a life of crime to survive and when he dies, Rocky fills his shoes. For some people, escaping from the cycle of violence seems impossible.

Manimaran is an emotionally well-sorted man. He never engages in violence for the sake of it but as a deterrent. His son is his antithesis — a coward, he uses it to hide his insecurity and fear. And when he kills Rocky’s mother for no good reason, he disembowels him. Manimaran, who saw his only son being butchered, waits patiently for 17 years to exact his revenge.

He wants his revenge to be as staggering as Rocky’s. He doesn’t want to kill Rocky but he wants to kill everything that Rocky wants to live for, including his pregnant sister and niece.

Vasanth Ravi’s eyes are haunting as they look empty and betray no emotion. Rocky feels that he has no other choice but to kill every last one of them who deprived him of a reason to live. Bharathiraja excels in a handful of acting flourishes. Manimaran’s lust for revenge is no different from Rocky’s. He’s consumed by vengeance and understands the pointlessness of his pursuit, but cannot give it up. To give it up will be akin to giving up the one reason he has to be alive. Manimaran and Rocky are caught up in the vicious tit-for-tat trap. It won’t end until both of them conquer their inner demons by tapping into their reservoirs of tolerance and forgiveness.

Cinematographer Shreeyas Krishna’s frames are sharp. The composition of each shot is visually inventive as different hues of lights depict various moods in a visual style that Wong Kar-wai would approve of. In particular, the corridor fight scene set inside of an unfinished building is path-breaking. The action scene is inspired by Park Chan-wook’s 2003 movie Old Boy. But, Arun and his stunt team led by Dinesh Subbarayan invent a new variation of the iconic movie moment. And who would have thought watching an action scene play out in a long shot as opposed to typical close-ups would be such an impactful and visually arresting experience?

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Rocky movie review: A stunning tapestry of anger, blood, and violence

With Rocky, Director Arun Matheswaran and DOP Shreyas Krishnaa manipulate the space on-screen with great finesse to communicate the emotional psyche of the characters.

Language: Tamil

“We are violent people. Violence namma raththulaye iruku (Violence is our blood),” says Rocky ( Vasanth Ravi ) to his sister Amutha (Raveena Ravi). The film argues that violence is everywhere. You can either choose to acknowledge and participate or ignore it. But there’s no escaping it. For a long time, Rocky belonged to the former. (He is infamous for disemboweling Manimaaran’s (Bharathiraja) son.) After a seventeen-year jail sentence, Rocky wishes to be the latter. But he is forced to see the violence, quite literally – enemies hold his eyes open to make him see a near one die. After multiple failures, will he finally be able to protect what’s left of his world?

With Rocky, Director Arun Matheswaran and DOP Shreyas Krishnaa create a visually stunning tapestry of blood, revenge, and violence.

They manipulate the space on-screen with great finesse to communicate the emotional psyche of the characters. We don’t see explicit violence until Rocky is made to ‘see’ it – and it becomes increasingly unrestrained from there. The frames shake at times of emotional turmoil but stay steady in anger. The staging and blocking are evocative, and each frame has been crafted for effect. Rocky’s visual splendour is equally matched with aural richness. Music and sound blend in and out to create a chilling sensory experience.

Also read:  Marakkar Arabikadalinte Simham movie review: Mohanlal-led war drama is remarkably unremarkable

Violence might be the most striking feature of Rocky, but the film also bears a strong connection to mythology. Rocky’s claim to fame is extracting the bowels of Manimaran’s son, to use as a garland – something he shares with Vishnu’s Narasimha avatar. Not to mention, It is particularly interesting because Narasimha has roots both in Hinduism and Buddhism, where he is referred to as Mahakala (beyond time). And time is another recurring theme in Rocky, both in form and plot. (Kaber Vasuki’s monologue is a profound deliberation of what time is – an illusion, a miser, and a traitor.) Rocky’s legacy from his parents is an old watch. The film seamlessly flows between the past and the present, and there’s a terrific rhythm in the edit (Editor Nagooran).

The film’s deliberations with God and the idea of a creator are persistent, questioning his role in this din of violence. (Kadavulal sumakka mudiyatha periya kalla kadavulal padaikka mudiyuma? – Can God create a stone big enough that he can’t bear?) Arun leaves the philosophical deliberations open to interpretation. If we are the creators of our worlds, then can we create one where we can’t handle the repercussions?

Vasanth Ravi as the brooding, savage Rocky is terrific. The actor constructs a beautiful and controlled balance between Rocky’s gushing anger and his frail vulnerability. The restraint in his performance is commendable and also effective. On the other hand, Bharathiraja proves to be a worthy contender. As the mighty Manimaran, the veteran director emits power through this frail frame, dominating the screen in each scene he shows.

I might need a few more viewings to absorb the entirety of Rocky’s philosophical conundrums. But this is a good problem to have. I particularly enjoyed the film’s deliberate, measured pace. The frames breathe with life, questions, introspection, and emotion. In an era where slow is constantly confused with boring, films like Rocky become necessary proof. This is a spectacular debut by Arun Matheswaran. I am already looking forward to Saani Kaayidham.

Rating: 4/5

The film is running in theatres

Ashameera Aiyappan is a film journalist who writes about Indian cinema with a focus on South Indian films.

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Rocky Movie Review (2021)

Rocky tamil movie review - film directed by arun matheswaran starring vasanth ravi.

Rocky Movie Cast & Crew

Vasanth Ravi who made a big impact in his debut in Tamil cinema with Ram's Taramani, is back with his second outing, Rocky which features him and veteran director Bharathiraja in the lead roles. Directed by debutant Arun Matheswaran, Rocky is produced by CR Manoj Kumar and presented by Nayanthara and Vignesh Shivan. 

STORY: Rocky (Vasanth Ravi), a gangster who is out of prison after 17 long years, sets out in search of his lost sister Amudha (Raveena Ravi). On the other hand, there is Manimaran (Bharathiraja), an ageing don who was once the boss of Rocky, wanting to avenge him. Did Rocky find his sister and what is the reason behind the conflict between Rocky and Manimaran is what the film is all about. 

SCREENPLAY, DIALOGUES, & DIRECTION:  Rocky is a film that has been made for the love of cinema and the visual grammar of the film is very much evident of it. Debut director Arun Matheswaran seems to be a talent with a sound voice and he makes a promising debut with Rocky. One can confidently say that the young filmmaker is here to stay. His conviction to make a film without any commercial compromises, that too, in a debut film, needs to be appreciated. Arun Matheswaran is a wonderful filmmaker who uses the beauty of film crafts to tell his story. On the surface level, Rocky can be seen as a usual revenge drama where the ego clashes lead to miserable consequences, but the way the film has been presented is what makes it unique.

Rocky is a gritty action drama that takes the fullest freedom of the 'A' certificate and uses it to its strengths. The film has quite a few interesting underlined messages and philosophies which make sense and these moments would be a treat for film lovers. Rocky is an art-house film that demands a certain level of patience. If you adapt to the world of Rocky and move along its leisurely pace, you are in for an exciting ride. But, if you don't connect with the mood of the film, then Rocky might not be your cup of tea. The blood is on your face and the violence isn't diluted at any cost and depending upon your taste in films, Rocky might or might not appeal to you.

However, one has to admit that Rocky is a daring attempt in Tamil cinema that needs to be noted. The makers need to be credited for executing a long single-take shot featuring Vasanth Ravi and Raveena Ravi seamlessly without any hassle. The film also has solid stretches that keep you glued to the screens, especially the climax, which is a stunner. Rocky effectively showcases the plight of the female characters in the film, who get dominated and traumatized by the men in their world.

CAST:  Vasanth Ravi delivers a fantastic performance as Rocky. He carries the intense mood of the film through his eyes and his determination to play Rocky is highly appreciable. Bharathiraja comes in with a handy performance that adds vitality to the character that he plays. Having used to see Bharathiraja in light-hearted and subtle roles, this one is a shocker. The other members of the gangster world are aptly cast making the film look solid, in terms of performances. Raveena Ravi, in a short role, is effective.

TECHNICAL:   Shreyaas Krishna's cinematography is one of the major USPs of the film. The shots have been composed in an unconventional manner and the lighting is also tremendous. Shreyaas' work is sure to earn him laurels unanimously. Darbuka Siva's music is commendable, giving solid support to the movie. Nagooran's edit has a certain level of uniqueness, making the film look fresh visually. Due credits to stunt choreographer Dinesh Subbarayan for the raw and gritty action moves.

SO?  Rocky is a one-of-a-kind art-house film with a unique voice that needs to be heard! 

Kudos and appreciations to Vignesh Shivan and Nayanthara for coming forward to present a small yet beautiful film like Rocky, making it reach a wider range of audience. 

Verdict Rocky is a daring film in Tamil cinema that excels brilliantly with its unique presentation! Go for it!

Galatta Rating: ( 3.25 /5.0 )

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Rocky Movie Review

A year of fantabulous debutant story tellers is how 2021 will go down in the books of Tamil cinema history. Director Arun Matheswaran is the latest and perhaps the last one to put his name in the long list. Sylvester Stallone’s Rocky Balboa is the first thing that strikes our mind when we catch the title, Rocky. From now on, we might have glimpses of actor Vasanth Ravi’s Rocky as well. Actor Vasanth Ravi garnered the attention of the Tamil cinema audience back in 2018 with his brilliant performance on his debut entertainer Taramani . With Rocky he emphasizes his fondness to do nonlinear films. Veteran film maker Bharathiraja is seen in a significant role in the film. So, how has Rocky come out? Is it solid enough to catapult actor Vasanth Ravi as a bankable hero in Tamil cinema ? To know that let us get in to the movie review.

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The entertainer follows the life of a hooligan Rocky (Vasanth Ravi). Rocky begins with a voiceover laying forth a metaphor for Rocky’s release from prison after 17 years of detention. As he begins his journey hoping to find his sister Amudha (Raveena Ravi) we get to know his past and the reason why he was put behind bars. In to the past, we see Rocky murdering the son of a local don Manimaran (Bharathiraja) while the latter watches on from behind a closed grill door. This is not the regular murders that you might have witnessed numerous times in Tamil cinema. This is not how film maker Arun Matheswaran’s Rocky want it to be. He aims to make it look like a work of art. He has his victim under his clutch and with a great sense of calmness in rage he dissects him. The camera that shows Rocky taking the hacksaw blade to the victim’s body does not shift to his face during the act like it usual does. It stays where it is. Showing us the visuals of the gruesome act.

He cuts out the body, draws out the intestine and puts it as a garland around his victim’s neck. He then turns to Manimaran, enunciates a sorry, and walks away from the scene. He is incarcerated. The hurt lion awaits patiently for 17 years to extract its revenge. Learning about Rocky’s release, Manimaran deploys a devious method that draws Rocky to the place where his sister – who is pregnant – lives and kills her right in front of his eyes. This episode cuts loose the animal in the man who came out of the prison with an intention to lead a normal life. He goes after Manimaran. What follows is a huge pile of dead bodies. Rocky slays up people like a sculptor working on his art piece. His thirst for blood fades when he finds out that his sister’s daughter is alive. But Manimaran is not willing to give up. He wants his son’s death be avenged. Can Rocky escape from the shadow of Manimaran and give the child a violence free life or is he to turn more violent in order to save the kid, is what makes the rest of the flick.

In a state where naming a film Virumaandi drew a lot of political heat, in comes Rocky which breaths violence. Yet zero percent commotion. This is indeed an interest period in Tamil cinema. Film makers like Arun Matheswaran are making this trend an awesome experience for the cinema audience. Debutant director Arun Matheswaran takes the clichéd revenge angle and presents it in a whole new dimension that is ruled by violence. The distinct thing about Rocky is, though it has violence on the skin, the message it has at its heart is there are no winners in a life of violence. Besides this core message there is another strong message the film gently passes on. The fine line of what happens to a man when he has nothing to live for and how a beacon of hope, a sense of responsibility could change a man altogether is beautifully interwoven in to the plot.

There is poetry amidst extreme ferocity. Be it how the chapters unfold, the title of the chapters, the wide-angle shots, the use of black and white portions, it is in everything. There are not many dialogues to any characters yet the drama speaks volumes. Unfortunately, this also works against the drama as violence is what is spoken and the message it carries is the unspoken piece. Some might find this to be problematic. Nevertheless, rocky is an entertainer that must be experienced.

Actor Vasanth Ravi’s Rocky is a character that has not yet been tested in Tamil cinema. Of course, we have had many violent characters but none as violent as Rocky’s Rocky. Actor Vasanth Ravi has portrayed the character to near perfection. He has handled the aura of a calmness in madness quite well. Veteran director Bharathiraja casually cakewalks his character. We do not really see any effort he draws to perform. He is just natural. Actress Raveena Ravi has played an extended cameo appearance. She makes her presence felt even in limited screen space. The rest of the cast is also solid and has delivered an impressive performance.

On the technical front, music director Darbuka Siva’s track is decent. His back background score syncs so well with the emotions of the film. Cinematographer Shreeyas Krishna lets his frames and angles do all the talking. There is something in every frame to look for. Editor Nagoorran has done justice to his colleague’s work with his sensible trims that does not chop of the beauty that was captured.

On the whole, Rocky is a one of its kind film that possibly might have opened a new cult in Tamil cinema, and if you are one that love new cinematic experiences, then you should not miss Rocky.

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Rocky, A gangster released after 17years from prison, goes back to his childhood house, searching for his missing sister Amudha, all the while reminiscing his violent past as it comes back t... Read all Rocky, A gangster released after 17years from prison, goes back to his childhood house, searching for his missing sister Amudha, all the while reminiscing his violent past as it comes back to haunt him. Rocky, A gangster released after 17years from prison, goes back to his childhood house, searching for his missing sister Amudha, all the while reminiscing his violent past as it comes back to haunt him.

• Arun Matheswaran
• Bharathiraja
• Raveena Ravi
• Vasanth Ravi
• 27 User reviews
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• 2 wins & 4 nominations

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• December 23, 2021 (India)
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• Runtime 2 hours 9 minutes

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ROCKY MOVIE REVIEW CLICK TO RATE THE MOVIE

Rocky is an action film written and directed by Arun Matheswaran, produced by CR Manoj Kumar of RA Studios, and presented by Vignesh Shivan and Nayanthara under the banner Rowdy Pictures. It has Vasanth Ravi and Bharathiraja in the lead roles while Raveena Ravi, Rohini, Rishikanth and others play crucial supporting roles. It has music by Darbuka Siva, and cinematography by Shreyaas Krishna.

Rocky (played by Vasanth Ravi) is just out of prison after 17 years, and is in search of his sister Amudha. His mother has been killed, and he doubts Manimaaran (played by Bharathiraja) has something to do with his missing sister. Does he find her, or what else does life have in store for Rocky, and how his violent past haunts him forms the rest of the story.

The film's plot is quite easy to perceive. Calling it wafer thin would be a crime. It is dense, but simple. But the making, craft, performances, screenplay and edit pattern makes us wonder what a beautiful art filmmaking is. Because if someone narrates to you the story of Rocky, it would hardly cross 3 lines. A man loses everything dear to him, except one person. She is his last ray of hope. He fights the entire world for her... all this sounds so normal. But when the visuals and sounds set in, the experience becomes something bigger.

The biggest strength of the film, on the surface, are the performances. The intensity in the violent scenes shown by Vasanth Ravi is tremendous. We would have heard of the phrase - 'calm before the storm'. I don't know if this would fit any other actor better. When a supporting character calls him a 'kozhandha moonji', we feel like it fits. But scenes later, he is someone who rips apart the intestines of another character and garlands it over that character's neck. And the film doesn't shy away from showing this, and at the same time, this isn't voyeuristic. There is a fine line between aesthetics and voyeurism, and the film knows it very well.

On the other hand, Bharathiraja, Rishikanth, and the actors in Manimaran's gang play the perfect foil. There is hardly any actor who goes off the metre. Rishikanth's character especially reminds us of lyricist Kaber Vasuki's independent song 'Maanda Mannan Kaaviyam' which is ideally about a prince who wants his father's throne without much effort. Though all these details are buried deep, the film works even if you consume it on the surface level.

It is a brilliant decision to make the film in a non-linear manner and dividing the story into 5 parts with interesting titles - 'Un Amma unna yen peththa theriyuma?', 'Ketta Kadavul Nalla Saathan', 'Naatukku Pogalam', 'Oru Kazhugu 100 Mugam', and finally 'Seedless Dates'. The film's engagement factor is boosted because of this, and the 2 hours 9 minute duration also seems perfect. Director Arun Matheswaran is an erstwhile associate of Thiagarajan Kumararaja. The latter is known for the philosophy behind his films. For instance, Aaranya Kaandam had - 'Ethu Dharmam? Edhu Thevaiyo, Adhuve Dharmam' as it's base. Similarly, in Rocky, Arun poses us the God Paradox riddle - Can god create something that is heavy even for him to carry?

The film is novel in the way it is shot and edited. Taking the sensibilities of European Cinema and fitting it into Tamil Cinema is something we've never seen before. All this reflects the confidence the filmmaker has on his script and crew. And it is presented without any double mindedness. Shreyaas Krishna's usage of lights, especially in the construction building fight sequence is commendable. Stunt Choreographer Dinesh Subburayan also needs to be appreciated for his innovation and style in the fight sequences. They look as real as possible.

Darbuka Siva's music and sound design merge at some point, and paint a picture on their own. They are given a spine through the lyrics of Kaber Vasuki, Vairamuthu and Madhan Karky, which look more like poems running in the background. And this makes sense because the film itself has violence portrayed in a poetic way. Overall, the film is not for the weak hearts since full advantage of the 'A' certificate is taken. It picturizes the carnal nature of humans and to what extent they can go when they have nothing to lose. It doesn't hold back on the violence and there is blood everywhere. Some of it seeps into the verdict as well, making it a bloody brilliant film that's not made for everyone.

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

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தமிழகத்தில் வரும் கிறிஸ்துமஸை முன்னிட்டு தியேட்டரில் வெளியாகும் திரைப்படங்கள்! ஒரு பார்வை!

VIDEO: இறைவன் கொடியவன்! வெளியானது ராக்கி படத்தின் உலக தரமான இரண்டாவது டிரெய்லர்!

VIDEO: இறைவனா? அரக்கனா? ரிலீசானது! மிகவும் எதிர்பார்க்கப்பட்ட ROCKY படத்தின் சிங்கிள் பாடல்!

KGF - 2 படத்தின் டப்பிங்கை முடித்த பிரபல நடிகர்! படக்குழு வெளியிட்ட கொல மாஸ் ஃபோட்டோ! முழு தகவல்!

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Rocky ( A ) 23/Dec/2021 Crime, Thriller

Critics: 10 Panel: 2 User: 132

Overall: 3.7 from 144 users

Synopsis/Plot :

Director : Arun Matheswaran

Music Director : Darbuka Siva

Cast More Cast & Crew (9)

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Critics Review All critic Reviews(10)

Technically sound and that's it.

Technicality is the biggest strength of the movie. Out and out, all departments have worked splendidly throughout. The camera work is so artistic and the visuals tell us better stories than the writing. The frame arrangements, artist placements are like a poem. The dark toned shots hinting us the go... (more)

Source: Ashwin, MovieCrow

A violent action revenge drama

Only towards the end of the film, Arun connects the non-linear narration and all the introduction to the subplots, it's his filmmaking style! The action sequences are a feast for those who love violence but not for the weak-hearted. As they say, violence is poetic for those who have the appetite but... (more)

Source: Moviebuzz, Sify.com

Rocky is a daring film in Tamil cinema that excels brilliantly with its unique presentation! Go for it!

Rocky is a daring attempt in Tamil cinema that needs to be noted. The makers need to be credited for executing a long single-take shot featuring Vasanth Ravi and Raveena Ravi seamlessly without any hassle. The film also has solid stretches that keep you glued to the screens, especially the climax, ... (more)

Source: Editorial Board, galatta.com

A spine-chilling thriller that entertains you in parts

After a long time, a really violent and edge of the seat kind of thriller has come from the Tamil cinema. Director Arun Matheeshwaran has done a good job. He has written a good script that definitely entertains in parts. He got the best performances out from all the artistes in the film. (more)

Source: Bhavana Sharma, Pinkvilla

Vasanth Ravi's John Wick-style film is tastefully gruesome

Rocky is not a plain revenge drama, it is layered and carefully structured. From revealing crucial plot points at frequent intervals to showcasing violence in a no-holds-barred manner, Rocky is out there. In a corridor fight scene, we see Vasanth Ravi's Rocky killing over 20 goons in a gruesome way.... (more)

Source: Janani K, India Today

A stunning tapestry of anger, blood, and violence

Vasanth Ravi as the brooding, savage Rocky is terrific. The actor constructs a beautiful and controlled balance between Rocky�s gushing anger and his frail vulnerability. The restraint in his performance is commendable and also effective. On the other hand, Bharathiraja proves to be a worthy contend... (more)

Source: Ashameera Aiyappan, Firstpost.com

A bold, relentless depiction of senselessness of violence

None before Arun Matheswaran had dared to graphically depict violence in such a way. The film's setup innately compromises the separation between good versus evil. It is a demon versus demon and we have to root for the lesser evil. (more)

Source: Manoj Kumar K, Indian Express

Rocky doesn't hold back it's punches and ends up as an excellent arthouse revenge film, Try out for Bharathiraja and Vasanth Ravi's exceptional performance

The film is novel in the way it is shot and edited. Taking the sensibilities of European Cinema and fitting it into Tamil Cinema is something we've never seen before. All this reflects the confidence the filmmaker has on his script and crew. And it is presented without any double mindedness. Shreyaa... (more)

Source: Editorial Board, Behindwoods.com

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Gun supervisor for ‘Rust’ movie gets 18 months in prison for fatal shooting by Alec Baldwin on set

Movie armorer Hannah Gutierrez-Reed was sentenced to 18 months in prison in the fatal shooting of a cinematographer by Alec Baldwin on the set of the Western film “Rust,” at a sentencing hearing Monday in a New Mexico state court. (April 15)

Hannah Gutierrez-Reed, center, sits with her attorney Jason Bowles and paralegal Carmella Sisneros during her sentencing hearing in Santa Fe, New Mexico, on Monday, April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

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Hannah Gutierrez-Reed wipes her tears at her sentencing hearing in state district court in Santa Fe, New Mexico, on Monday, April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Luis Sánchez Saturno/Santa Fe New Mexican via AP, Pool)

Olga Solovey, speaks by video from Ukraine, during the sentencing hearing for Hannah Gutierrez-Reed in state district court in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez Reed, the armorer on the set of the Western film “Rust,” was convicted of involuntary manslaughter in the death of Solovey’s daughter, cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin during a rehearsal in 2021. (Eddie Moore/Albuquerque Journal via AP, Pool)

FILE - This aerial photo shows the Bonanza Creek Ranch in Santa Fe, New Mexico, Oct. 23, 2021, used for the film “Rust.” A New Mexico judge Monday, April 15, 2024, sentenced “Rust” movie armorer to 18 months in prison for fatal on-set shooting by Alec Baldwin. (AP Photo/Jae C. Hong, File)

Special prosecutor Kari Morrissey speaks to the media outside the Santa Fe County Courthouse after Hannah Gutierrez-Reed was sentenced to 18 months in prison, following a hearing in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was convicted in March of involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin during a rehearsal in 2021. (Eddie Moore/Albuquerque Journal via AP)

Hannah Gutierrez Reed, center, with her attorney Jason Bowles and paralegal Carmella Sisneros during her sentencing hearing in state district court in Santa Fe, New Mexico, on Monday, April 15, 2024. Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez-Reed, center, with her attorney Jason Bowles, left, and paralegal Carmella Sisneros prepare for a sentencing hearing in state district court in Santa Fe, N.M., on Monday April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez-Reed, with her attorney Jason Bowles, enters the courtroom for her sentencing hearing in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez-Reed, armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez Reed, left, and paralegal Carmella Sisneros await sentencing in state district court in Santa Fe, New Mexico, on Monday April 15, 2024. Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez-Reed watches her father Thell Reed leave the podium after he asked the judge not impose prison time on his daughter, during a sentencing hearing in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez-Reed, armorer on the set of the Western film “Rust,” was convicted in March of involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. Gutierrez Reed was sentenced to 18 months in prison. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez-Reed makes a statement to the court during her sentencing hearing in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison. She was convicted in March of involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/Albuquerque Journal via AP, Pool)

SANTA FE, N.M. (AP) — A movie weapons supervisor was sentenced to 18 months in prison in the fatal shooting of a cinematographer by Alec Baldwin on the set of the Western film “Rust,” during a hearing Monday in which tearful family members and friends gave testimonials that included calls for justice and a punishment that would instill greater accountability for safety on film sets.

Movie armorer Hannah Gutierrez-Reed was convicted in March by a jury on a charge of involuntary manslaughter in the death of cinematographer Halyna Hutchins and has been held for more than a month at a county jail on the outskirts of Santa Fe. Prosecutors blamed Gutierrez-Reed for unwittingly bringing live ammunition onto the set of “Rust,” where it was expressly prohibited, and for failing to follow basic gun safety protocols.

Gutierrez-Reed was unsuccessful in her plea for a lesser sentencing, telling the judge she was not the monster that people have made her out to be and had tried to do her best on the set despite not having “proper time, resources and staffing.” Gutierrez-Reed plans to appeal the judgement and sentence, defense attorney Jason Bowles said in an email.

Baldwin, the lead actor and co-producer for “Rust,” was pointing a gun at Hutchins during a rehearsal on a movie set outside Santa Fe in October 2021 when the revolver went off, killing Hutchins and wounding director Joel Souza.

Baldwin has pleaded not guilty to a charge of involuntary manslaughter. He is scheduled for trial in July at a courthouse in Santa Fe.

The sentence against Gutierrez-Reed was delivered by New Mexico Judge Mary Marlowe Sommer, who is overseeing proceedings against Baldwin. The judge said anything less than the maximum sentence would not be appropriate given that Gutierrez-Reed’s recklessness amounted to a serious violent offense.

“You were the armorer, the one that stood between a safe weapon and a weapon that could kill someone,” the judge told Gutierrez-Reed. “You alone turned a safe weapon into a lethal weapon. But for you, Ms. Hutchins would be alive, a husband would have his partner and a little boy would have his mother.”

Gutierrez-Reed teared up as Hutchins’ agent, Craig Mizrahi, spoke about the cinematographer’s creativity and described her as a rising star in Hollywood. He said it was a chain of events that led to Hutchins’ death and that if the armorer had been doing her job, that chain would have been broken.

Friends and family recalled Hutchins as courageous, tenacious and compassionate — a “bright beam of light” who could have gone on to accomplish great things within the film industry.

“I really feel that this was due to negligence,” Steven Metz, a close friend, testified. “This case needs to set a precedent for all the other actors, and cinematographers and every one on set whose lives are at risk when we have negligence in the hands of an armorer, a supposed armorer.”

This aerial photo shows the movie set of “Rust” at Bonanza Creek Ranch in Santa Fe, N.M., on Saturday, Oct. 23, 2021. (AP Photo/Jae C. Hong, File)

Los Angeles-based attorney Gloria Allred read a statement by Hutchins’ mother, Olga Solovey, who said her life had been split in two and that time didn’t heal, rather it only prolonged her pain and suffering. A video of a tearful Solovey, who lives in Ukraine, also was played for the court.

“It’s the hardest thing to lose a child. There’s no words to describe,” Solovey said in her native language.

The Ukrainian relatives of Hutchins are seeking damages in her death from Baldwin in connection with the shooting. Allred said after Monday’s hearing that the family supports his criminal prosecution.

Defense attorneys for Gutierrez-Reed requested leniency in sentencing — including a possible conditional discharge that would avoid further jail time and leave an adjudication of guilt off her record if certain conditions are met.

Gutierrez-Reed was acquitted at trial of allegations she tampered with evidence in the “Rust” investigation. She also has pleaded not guilty to a separate felony charge that she allegedly carried a gun into a bar in Santa Fe where firearms are prohibited.

Defense attorneys have highlighted Gutierrez-Reed’s relatively young age of 26 “and the devastating effect a felony will have on her life going forward,” arguing that she will forever be affected negatively by intense publicity associated with her prosecution in parallel with an A-list actor.

Special prosecutor Kari Morrissey urged the judge to impose the maximum prison sentence and designate Gutierrez-Reed as a “serious violent offender” to limit her eligibility for a sentence reduction later, describing the defendant’s behavior on the set of “Rust” as exceptionally reckless.

Morrissey told the judge Monday that she reviewed nearly 200 phone calls that Gutierrez-Reed had made from jail over the last month. She said she was hoping there would be a moment when the defendant would take responsibility for what happened or express genuine remorse.

“That moment has never come,” Morrissey said. “Ms. Gutierrez continues to refuse to accept responsibility for her role in the death of Halyna Hutchins.”

The judge indicated that summary transcripts of Gutierrez-Reed’s telephone conversations from jail weighed in the sentencing.

“Hannah says that people have accidents and people die, it’s an unfortunate part of life but it doesn’t mean she should be in jail,” Marlowe Sommer said. “The word ‘remorse’ — a deep regret coming from a sense of guilt for past wrongs — that’s not you.”

Defense attorneys argued Monday that Gutierrez-Reed was remorseful and had breakdowns over Hutchins’ death. They also pointed to systemic problems that led to the shooting.

“Rust” assistant director and safety coordinator Dave Halls last year pleaded no contest to negligent handling of a firearm and completed a sentence of six months unsupervised probation. “Rust” props master Sarah Zachry, who shared some responsibilities over firearms on the set, signed an agreement with prosecutors to avoid prosecution in return with her cooperation.

The pending firearms charge against Gutierrez-Reed stems from an incident at a Santa Fe bar, days before she was hired to work as the armorer on “Rust.” Prosecutors say investigations into the fatal shooting led to the discovery of a selfie video in which Gutierrez-Reed filmed herself carrying a firearm into the bar, while defense attorneys allege vindictive prosecution.

The spelling of the judge’s name has been corrected to Mary Marlowe Sommer, instead of Summer.