Parking

Yes, the ending wasn't great, but let's set that aside for a moment. 2023 has witnessed the release of a few unexpectedly good single-conflict Tamil movies; from 'Good Night', to 'Ayodhi', to 'Dada', etc. Joining this impressive list is Ramkumar Balakrishnan's 'Parking', where a seemingly trivial dispute between two tenants over a parking space spirals out of control propelled by the egos on both sides. A premise this simple is dangerously easy to fumble, but debutant Balakrishnan's measured self-awareness makes the cinematic experience fresh and rewarding.

The film's success is underpinned by several factors, with the standout being its acting unit. Veteran actor M. S. Bhaskar delivers one of his most compelling performances to date, understanding the depths of his character and playing it to uncriticizable perfection. Complementing his presence is co-lead Harish Kalyan, whose uncompromising performance matches auras with that of Bhaskar's. The supporting cast too is equally well-chosen, seamlessly blending into the narrative when required. On the technical side, much credit is due to the director for elevating what could have been yet another low-budget B-movie into a finely crafted thriller. Every directorial choice is meticulously thought out and executed to perfection, with cinematography and sound playing pivotal roles in stylizing the movie.

Now onto the climax, which I'll avoid spoiling with specifics. The film maintains a consistent tone throughout, and the way in which the movie progressed, the ending seemed almost inevitable. While the logic behind the climax can be debated, the extent to which the conflict gets overblown seems a tad ridiculous and bombastic for the sake of an elevated climax. If it had been any more careless in its handling, it could have severely undermined an otherwise great movie. Thankfully, the damage isn't irreparable, and 'Parking' can still be relished for its thrilling buildup and pointed storytelling. If you're contemplating watching this movie, please do go ahead. The climax can always be debated afterwards.

Man what a movie I have watched. Such a good gem of a thriller. Movie started normally and took a great turn as a suspense thriller. Nothing new story but the the presentation and screenplay keeps you edge of seat. Fresh movie coming out of stupid mass movies.

MS Baskar such an artist. Nailed his character with his acting, body language and dialogues, Such an great actor who deserves national award. Shows all emotions easily. Harish can clearly say this is his best so far. Equally competed with MS Baskar. An ego between two good people makes life miserable. All supporting characters (Ms Baskar wife, his daughter, indhuja and all others) really did well.

Kudos to director for taking such a simple story(simple parking issue)and clearly written a screen play and dialogues (was wondering if these kind of simple and good movies will come only in Malayalam. But great attempt by director and applause for production house in believing this story).

Special note to music director who's the main reason for such an gripping thriller.

New age so called high budget directors should learn from this movie director on how to make a good movie with simple plot.

Really enjoyed. Pls support these kind of good movies in theatres to come out of some stupid movies.

Movie was written perfectly, I didn't feel like dip throughout the whole film, screenplay focused mainly on the plot and did not have any unnecessary songs or comedy scenes. What a performance from MS Bhaskar and Harish Kalyan. Music was okay wouldn't complain anything about it.

Cinematography was good as well.

Felt like could've changed the heroine for a better reach in terms of promotion.

Overall: Good plot with engaging storyline 8/10.

Parking is a 2023 Indian Tamil-language drama thriller film written and directed by Ramkumar Balakrishnan in his directorial debut. The film is produced by Sudhan Sundaram and K. S. Sinish.

Unique writing and screenplay. Great acting by Harish and MS Bhasker. An ego fight between two adults. Two men taking out their frustrations on each other. I couldn't think of any Tamil movie of this sort in the past decade. Things start small and become so huge. Indhuja has also done a good job. The struggle is real with rented places! An apt title for this movie. It's easy to gel into this story. Supporting actors have also done a fab job. No songs, no comedy, cliche scenes or dialogues. The movie is to the point and would not let you think of anything beyond. Unlike his other movies, Harish has chosen a different genre this time.

Here's a simple but effective addition to the "Bruised Male Ego" cinematic universe which already features the likes of Driving Licence, Ayyapanum Koshiyum, Kaduva, Adi, and plenty more in Malayalam. This time, the setting is a house in Chennai and the ego clash occurs between tenants who get worked up over their shared parking space. The Tamil thriller follows the same pattern as the Malayalam films I've mentioned where a minor incident gradually spirals out of control and leads to irrepressible repercussions. The writing takes it slow, letting us into the distinct worlds of its protagonists; I use the word "distinct" as they come from different strata of life and have completely different ideologies, yet they share one common element - an easily wounded ego.

MS Bhaskar and Harish Kalyan play the two men at loggerheads with each other, and the former's character is unquestionably easier to hate. Beyond a point, he shows no redemptive qualities (as his wife puts it across) as a husband, a father, or a human being. While Harish Kalyan doesn't show signs of struggle as a performer, I feel the role could have produced a greater impact in the hands of a more seasoned actor. That it's his face alone on the film's poster is also a decision I'd like to challenge. Bhaskar, as expected, is outstanding with even the subtle changes in his facial expressions adding to the film's overall positives. The score by Sam CS is also a definite plus.

There are also some really tense moments within the screenplay that work in its favor. These include a fantastic raid scene at a government office, a sabotage scene at night, and a public showdown between the two men. On the other hand, Kalyan's character ends up getting the short end of the stick, with his problems mostly limited to being there for his pregnant wife. There are flashes of other issues that are brought up, like how he's underdelivering at work and frequently being an absentee, but it's all conveniently brushed aside for larger thrills. The cops also only show up in one instance, and they're also rendered inconsequential in this scenario. The women, like most others in similar films, are the ultimate sufferers.

While it works within the thriller context, the screenplay route in the film's penultimate and final acts becomes increasingly predictable, especially once we get a hang of how things are shaping up. For a good while, I thought writer-director Ramkumar Balakrishnan had done away with that particular idea, but the film circles back to it in a rather uncomplicated and rushed closure.