Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

varunguliani-1 I've logged in and taken pain to write this review, as I hardly write anything anywhere, but after watching this total time waste movie, I was forced by myself to help other people save their 2-3hrs. Please never watch this movie. Rajnikant should retire full time now. Robot and earlier 2 movies were still better. I watched it because it was showing under awarded category on Netflix, would request them to kindly remove it from that list.

subhashr-26396 The movie failed for the following reasons 1.this movie is a family drama , but d way it was promoted like a gangster, action movie.which lead to disappointment for fans. 2 .I do no whats wrong with director, what does he want to convey. Slow story, poor characterization. 3. Two useless character in dis movie - Meena and tiger, both are mentally retarded. Both kill Rajini indirectly or directly. 4. don give so much hype for familial drama.5.rajini sir has his own style and class.should choose a director wisely, not a fool like Ranjith

Athul Ramesh Rajnikanth was in his full form as an actor rather than a superstar, he plays the role of an aged, reformed gangster Kabaleeswaran who had fought for the oppressed in Malaysia and returns from his jail stay after twenty-five years. There are hardly any scenes that pass which do not involve Rajinikanth in it, but Ranjith(Director) has made sure that he has put all his acting resources to good effect. All the characters have been established having Rajinikanth alongside them. Rajinikanth has quite a few sentimental scenes which have come out very well. When it comes to Kabali, more than his mass mannerisms, it is the sentimental scenes of him that will be the talking point. On the technical side, Santhosh Narayanan's score is a major plus to the film, the editing and the costumes, especially Rajnikanth's classy suit were good and the art direction was not a promising one especially in the flash back scenes, And last but not least the direction and script, Director Ranjith has did a wonderful job as a director he showcased an entirely new Rajnikanth to the new generation audiences who saw him only in mass masala entertainers and speaking of the script which was not a tight one, it lacks speed and not thrilling enough for a Rajnikanth film . All in all Kabali is Rajinikanth in a different dimension, but it might not work for everyone. But if you wanna see the actor in Rajnikath give it a try it won't disappoint you in that case and don't watch it expecting a Basha or Sivaji

Varun Chaudhary I'm afraid there's no other way to say it: Kabali is a drag. And that's because the man, oops, the Superstar of Superstars, a phrase used for Rajinikanth minus any irony, comes off same-old. Everything that Rajini does to spark untold hysteria amongst his die- hard fans is in here: the dress code ( three piece suits ), the dark glasses, the lines only Rajini can say, the kicks and punches only he can deliver. But the formula is now frayed and tired: there's neither swag nor swagger. There comes a time when even Rajini has to reinvent, and this is it. He has been playing In and As to such adulation for so long that his directors have long stopped bothering about such things as plot and characterisation. When Rajini is on and at it, who cares? Actually, let me amend that. Kabali does make an attempt at a plot. Kabaliswaran aka Kabali is the firebrand leader of a group of Tamil indentured labour in the Malaysian rubber plantations. A skirmish between the owners and the labour turns into a tragedy, and Kabali transforms from regular guy into an grizzled gang-boss. There could have been something there, given the history. But the treatment is both half-baked and half-hearted. Despite it being shot in Malaysia (new locations), the arch-villain being a local (new face), and the superstar given not one but two pretty young women (Apte as wife, Dhansika as daughter) as adoring satellites, this bloated, overlong enterprise cannot hide the fact that the superstar is distinctly slower, less nimble on his feet, making the holes in the film much more visible.