jailer movie review rating imdb

A full house screamed throughout last night’s Times Square premiere of “Jailer,” a grisly and comedic action Indian thriller starring Rajinikanth, the marquee-topping, Tamil-speaking septuagenarian and self-advertised “Super Star.” Or at least, everybody alive in that auditorium seemed to be cheering for Rajinikanth.

Rajinikanth (“Robot,” “Kaala”) is now 72 years old. His “Jailer” character, a retired cop and prison warden named Muthu “ Tiger ” Pandian, has a sassy young grandson and a knack for murdering villains. Beheadings and fatal stabbings are a Muthu specialty. He also has a vast network of shady old friends, played by a deep bench of Indian character actors and fellow leading men, who help Muthu kill the bad men who threaten his family.

In “Jailer,” the bad men are led by Varman (Vinayakan), a manic crime boss who kidnaps Muthu’s adult son Arjun ( Vasanth Ravi ), also a cop, and threatens to behead Arjun’s grandson Rithvik (Rithvik Jothi Raj), an aspiring YouTube star, while Rithvik and Muthu get ice cream. Varman’s men taunt Muthu by doing a grotesque dance of joy in the street. He retaliates by hacking at some of them with a gigantic blade: “After a point I don’t talk, I slash.” If you come to “Jailer” for anything but Rajinikinath, you will probably leave disappointed.

“Jailer” simultaneously is and isn’t a typical Rajinikanth vehicle. It’s more self-conscious and more committed than some of his other recent vehicles, as far as reconciling the tonal whiplash banked into the Indian cinema’s kitchen sink, mass-audience-minded masala style. The makers of “Jailer” toggle between emotional registers with confidence and alarming frequency, like whenever Muthu helps Rithvik film a gardening program for his YouTube channel, and then resumes his bloody feud with Varman. In a musical montage that only makes sense after a long-delayed plot twist, Muthu and Rithvik bask in each other’s company while an acoustic guitar plays and a singer paints a sunny picture of a man who, in Rithvik, also sees “my leader … my son.” Meanwhile, Arjun tortures one of Varman’s men, and also orders a fellow cop to not give water to his blood-soaked victim. The acoustic guitarist never takes a break.

The persistent extremity of Varman’s character-defining violence also gives old man Rajinikanth a mandate to be merciless. It’s sometimes even touching to see him match Varman since, as our antihero’s theme song boasts, “He will make your next generation dance to his tunes.” Rajinikanth is perhaps unusual when compared to, say, a Sylvester Stallone or a Steven Seagal , in that he still attracts the sort of young idolatrous filmmakers who all seem obsessed with making the now biologically mature star look eternally iconic. A friend who saw “Jailer” in Los Angeles last night joked about how many times Rajinikanth enters a new room with dramatic flair. In Times Square, each new slow-motion turn to the camera was met with screams. So were Rajinikanth’s lusty action scenes, especially when he finally notices Varman’s barrels of sulphuric acid.

Sometimes it’s hard to tell if director Nelson Dilipkumar knows what he’s doing, either with his star or this movie’s volatile mix of tones and styles. “Beast,” Dilipkumar’s loopy third-generation “ Die Hard ” clone, gives some helpful context since “Beast” pits the relatively young four-quadrant star Vijay against a shopping mall full of terrorists, one of whom he also beheads. In “Jailer,” Muthu is an older man with a legacy to consider. On-screen, Rajinikanth occasionally bumps his head against his emotional range’s low ceiling, like when Muthu cries about Arjun’s fate. In this scene, Rajinikanth leans as hard into his angles as he does whenever Muthu loses it and cackles like a lunatic with a secret.

Before an “INTERMISSION” intertitle flashed across the screen—they never pause for intermission at the AMC Empire 25—Muthu tells us that now that he’s got nothing to lose, he can stop juggling three different faces and just wear one. He says this to his family members after he warns them to stay perfectly still, so that he and his action-pose-ready friends can pick off some more bad men. After the “INTERMISSION” title, there’s an extensive new subplot involving an extra-marital affair, a bad toupee, the comedian Sunil, and the starlet Tamannaah Bhatia . Everybody acts as a version of themselves in “Jailer,” but only Rajinikanth’s performance pulls everything together by sheer willpower.

Rajinikanth is 72 years old, so it’s weirdly moving to see that, every two or three years, he can still crank out a freewheeling star vehicle as vigorous and exhausting as “Jailer.” Just outside Theater 25, I overheard a 40-something-year-old man ask an older companion what he thought about “Jailer.” I couldn’t make out the older fellow’s response, but his chuckle and little shake of the head suggested that he was still enjoying Rajinikanth’s eternal summer.

In theaters now.      

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

• Rajinikanth as Tiger Muthuvel Pandian
• Mohanlal as
• Shivaraj Kumar as Ravana
• Jackie Shroff as
• Sunil Varma as
• Ramya Krishnan as
• Vinayakan as
• Tamannaah Bhatia as
• Vasanth Ravi as
• Nagendra Babu as

Original Music Composer

• Anirudh Ravichander

Playback Singer

• Rajinikanth
• Arunraja Kamaraj
• Nelson Dilipkumar

Director of Photography

• Vijay Kartik Kannan

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Jailer Reviews

It is the kind of film that quite happily declares to us that whatever type of dinosaur Rajinikanth may be, he is never the type to get extinct.

Full Review | Jul 11, 2024

It's a familiar path told endless times.

Full Review | Jun 4, 2024

Jailer is yet more of the same type of long-winded revenge action tale with fake-looking stunts, mediocre-to-bad acting, and an absurd plot that doesn't look believable.

Full Review | Aug 15, 2023

The guest stars do their bit and move on. It is left to Rajinikanth to shoulder the weight of the erratic script.

Full Review | Original Score: 2.5/5 | Aug 15, 2023

Nelson, whose last big screen outing was Beast, is back with his signature style of filmmaking - packed with subtle, dark comedy in the first half.

Full Review | Original Score: 3/5 | Aug 14, 2023

Who can take an avenging hero seriously when the threats are so feeble? A high-wattage star can bring only so much value to an indifferently written movie.

Full Review | Aug 14, 2023

The makers of “Jailer” toggle between emotional registers with confidence and alarming frequency.

Full Review | Original Score: 3.5/4 | Aug 11, 2023

JAILER is full-on Rajinikanth love. Nelson brings his flair for black and absurd comedy and presents us with a super stylish mass spectacle in a class of its own.

Full Review | Original Score: 7/10 | Aug 11, 2023

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‘Jailer’ movie review: Rajinikanth, Nelson make a captivating comeback that majorly works

Though far from perfect, the towering presence of rajinikanth — along with nelson’s fortified writing, unique sense of humour and fan service — make ‘jailer’ a commendable comeback for both the actor and filmmaker.

August 10, 2023 05:34 pm | Updated August 23, 2023 02:36 pm IST

Rajinikanth in a still from ‘Jailer’ | Photo Credit: Special Arrangement

A line from our review of Rajinikanth’s first film, Apoorva Raagangal (1975), goes, “Newcomer Rajinikanth is dignified and impressive.” Even after almost 50 years, the actor has managed to maintain if not multifold that dignity and impressiveness; something that has been etched in his fans’ minds in the form of the “Vayasanalum un style-um, azhagum...” dialogue from Padayappa . It’s this seasoned charisma, along with filmmaker Nelson’s quirky touches, that make their latest collaboration Jailer an enjoyable entertainer.

In the film, the veteran actor plays Muthuvel Pandian, a retired jailer who spends his time helping shoot videos for his grandson’s YouTube channel. When his son Arjun (Vasanth Ravi), a conscientious cop, digs deep into an idol smuggling racket, trouble knocks on Muthu’s door. Blaming the situation on his honest ways that have apparently rubbed on his son, Muthu steps back into a world he voluntarily took a break from.

Jailer (Tamil)

Apart from fantastic visuals, wacky humour, and lead characters sporting deadpan faces, all of Nelson’s previous three films have had rather simple plots that are accentuated by the director’s nifty ideas; Jailer is no different. In fact, Jailer might feel similar to Thangappathakkam (1974) to senior audiences while the youngsters are sure to be reminded of Kamal Haasan’s latest hit Vikram . Both the recent films, apart from featuring the legendary stars in age-appropriate characters, are about men who were once officials in service but are now out for blood, with their trusted connections, to avenge their son’s fate. But the similarities stop there, as Vikram is a page from a cinematic universe... while Jailer is a cinematic universe compressed into one feature. Nelson packs Jailer with a host of characters and despite limited screen space for almost all of them, they almost fit in perfectly like pieces of a large puzzle.

The biggest pillar of support for Jailer is its racy screenplay and right from the get-go, we’re thrown into the thick of it. Within moments, Muthu is out on a mission and the film shifts to top gear until intermission. It’s in the second half where the film wavers a little into inconsistent territory. While cameos from Mohanlal and Shiva Rajkumar are excellent additions, the same can’t be said about other characters that are introduced in the second half.

Apart from his first film Kolamaavu Kokila, Nelson has also had trouble writing strong female characters and it hasn’t changed in Jailer as well. The much-awaited Padayappa-Neelambari reunion featuring Rajini and Ramya Krishnan (who plays his wife Vijaya) isn’t as sensational as one might have wanted it to be. Meanwhile, Vinayakan does a fantastic job as the menacing antagonist, but his character Varma doesn’t end up being an equal foe to Muthu. Moreover, for all the righteousness that Muthu bats for, his flashback glorifies custodial violence.

What makes the rest of the film palatable are Rajinikanth’s sheer presence and Nelson’s unique sense of humour and fan service, which, unsurprisingly, transcends the boundaries of mere fandom. Nelson’s love for the Breaking Bad series has been evident from his previous three films and in Jailer too, the inspirations have inconspicuously seeped in. Muthu’s character shares a number of similarities to Mike Ehrmantraut, one of the hit series’ fan-favourite characters. Even Varma’s underground den reminds one of the super lab beneath the industrial laundry and the ‘use of acid to dispose of bodies’ trope is a clear reference to the series. Easter eggs to Rajini films are aplenty; like the mentions of Baasha , a scene pandering to Rajini’s snake ‘sentiment’, a callback to his iconic ‘Na oru thadava sonna’ line, and even his character name Muthuvel Pandian being a blend of two of his iconic characters, Muthu and Alex Pandian. Not only are these gratifying but double as a hat-tip to the nostalgic magical moments of cinema many of us grew up watching.

Add to that are some decent action sequences that are emphasised by Anirudh’s banger score and scintillatingly shot by Vijay Kartik Kannan; there are a number of mass sequences too that we missed in Nelson’s previous film Beast . Rajini’s last two films, Annaatthe and Darbar , were also underwhelming, to say the least, which explains why they tread on safe grounds for most of this outing.

Jailer might be far from perfect, but with the towering presence of Rajinikanth standing tall along with Nelson’s fortified writing, this is a commendable comeback for both the actor and filmmaker.

Jailer is currently running in theatres

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Jailer Movie Review : It’s director Nelson's show in the first half, superstar Rajini takes the baton in the second half

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‘jailer’ review: rajinikanth is back in complete, majestic form, 'jailer', directed by nelson, stars rajinikanth in the lead..

Muthuvel Pandiyan ( Rajinikanth ), now retired, lives in serenity with his family, doing odd jobs around the house and lamenting that a ‘retired man gets no respect’. He spends his days running errands and helping his endearingly self-assured grandson shoot his YouTube videos. This peace is threatened by a foreshadowing of typical thug-cop danger – Muthuvel’s son, a cop Arjun (Vasanth Ravi) is hot on the trail of a nexus that steals and smuggles idols from places of worship. 

Rajinikanth in a still from Jailer.

(Photo Courtesy: YouTube)

This bravado will imminently lead to violent consequences for his family, as is the template with these films. 

When Arjun mysteriously disappears, his father is nudged awake from a chosen slumber to reclaim his title, ‘Tiger’ Muthuvel Pandiyan. Rajinikanth is in full form in Jailer – his charisma is less infectious and more god-like. His real-life colossal celebrity throws a shadow over the entire film, creating several massy, whistle-inducing moments. 

‘Tiger’ Muthuvel Pandiyan has an army of people ready to serve him, waiting for a single command to fire on all cylinders. Tiger’s backstory might seem unconvincing, making you struggle to grasp what he has done to earn this reverence but the person you’re seeing on screen is Rajinikanth – reverence seems but natural. 

Cameos from actors like Mohanlal, Shiva Rajkumar, and Jackie Shroff cement the film’s pan-India appeal and both characters are weaved into the story astutely which makes the film’s payoff even more of a visual spectacle. The actors’ allure mixed with Vijay Kartik Kannan’s intuitive cinematography elevates the film. 

A scene in the climax featuring Mohanlal and several trucks is awe-inducing. 

Nelson’s expertise lies in structuring the characters on the sidelines, especially since he dabbles in the complex black comedy genre. Considering this is something he has attempted before, the comic elements in the film almost always land. However, the side characters barely get their due this time around. 

Aranthangi Nisha, who played an unforgettable character in Nelson’s Kolamaavu Kokila doesn’t truly get her space in the story. Redin Kingsley and Yogi Babu, both established comic actors, who’ve earlier collaborated with the director in Doctor are woefully underutilised. 

One especially wonders how Ramya Krishnan (who plays Muthuvel’s wife), a magnetic and commanding star in her own right, can be reduced to a woman trembling at the dinner table as an action set piece unravels around her. 

Ramya Krishnan in a still from Jailer.

Why does the filmmaker who created a film like Kolamaavu Kokila posit that a man can only reach his true superhero status if the women in his family are terrified of him? Why isn’t the possibility of an actually equal marriage not even a distant thought? 

Jailer ’s greatest strength is also its biggest flaw. Rajinikanth is more than capable of carrying an entire film on his shoulders but, in this case, there is an overreliance on the star that makes most of the film seem underwhelming. The film’s plot is overtly simple which leads to the additions of a caper, a love triangle on a film set, and some songs that seem out of place. 

On that note, the ‘Hukum – Thalaivar Alappara’ by Anirudh Ravichander and Super Subu is a powerful leit motif that scores some of the film’s most effective scenes. 

Nelson’s magic as a filmmaker is most evident in Jailer ’s primary antagonist – the idol thief Varma (Vinayakan). The actor is equal parts terrifying and impressive as Varma – he doesn’t believe in ‘investigations’ since he’s not a cop and decides instead to kill anyone he suspects. 

Vinayakan in a still from Jailer.

There is not a single moment of redemption for the villain and that is what makes him so effective. Vinayakan plays Varma as a chilling blend of man and beast – in one scene, he almost prowls towards his nemesis on all fours. While Muthuvel’s ability to kill is introduced subtly, Varma’s thirst for blood is more in-the-face. That difference exists to portray that Varma’s violence is for evil while Muthuvel duels for justice. 

As is the case with Nelson’s films, the story ends up being about a man’s fight to save his family while grappling with how far he is willing to go for absolute justice. Nelson’s love for the macabre, inspired perhaps from Quentin Tarantino’s love for stylised violence, makes up for most of the film’s charm. 

Varma remarks, “It is the grandfather who dies first in every film,” adding that he wants to flip the script. This is precisely what Nelson does; we see a man of machismo but one who has aged out of being an ‘angry young man’ stereotype. But the film wants the audience to remember, Rajinikanth has still got it. 

Jackie Shroff in a still from Jailer.

Without Rajinikanth, Jailer might not have had the same magnetism as it does but since the star is on screen, flicking his shades and throwing lighters in the air, it’s a whole different story. 

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Jailer review: Rajinikanth is the heart of Nelson’s quirky, fun film

Leave logic at home, go for the Rajinism. Director Nelson Dileepkumar and the Superstar offer a film that may have gaping plot holes, but you wouldn’t really care. Jailer is an undiluted adrenaline rush for the diehard Rajini fan. The star brings his trademark larger-than-life mannerisms into Nelson’s quirky storytelling: a combination that works like a perfect charm.

The film opens with an idol smuggling ring that Muthuvel Pandian’s (Rajini) son Arjun (Vasanth Ravi), a dedicated cop, is trying to bring down until tragedy strikes. Rajini’s clash with the smuggling ring builds up to a heist thriller reminiscent of Nelson’s Sivakarthikeyan-starrer Doctor (2021), only Jailer manages to top it. The villains, with Malayalam actor Vinayakan in the lead, swing between cartoonishly ridiculous to manically bloodthirsty. Bullets, blood, and bodies fly. Rajini makes mass entry after mass entry. Anirudh’s music frequently spirals into frenzied guitar riffs and pounding percussion. The cameos of Mohanlal, Shiva Rajkumar, and Jackie Shroff will be immensely satisfying to their respective fans. 

And yet, how is the heart of the film, Rajini, in the middle of all of this? Whatever thought went into balancing the actor’s usual on-screen antics with Nelson’s markedly different style in Tamil cinema, it’s worked. 

Nelson starts us off by presenting Rajini as a fumbling pushover in the place of the star fans know and love, slowly turning up the heat quite Baashha -like, until the Superstar beneath emerges. While Muthuvel’s backstory is logically laughable and problematic, it’s the unabashedly extravagant delivery that sucks you into the swirling vortex of Nelson’s storytelling. Rajini inhabits the centre of this vortex with veteran ease. 

Jailer is a like an ode to the many shifts the star’s career has seen. There is the morally grey Rajini of his debutant days from the 1970s, his meteoric rise to the title of Superstar with callbacks to characters like Alex Pandian ( Moondru Mugam ,1982), and the Rajini of the 1990s—the towering demi-god of Kollywood whose characters could do no wrong. From impossible grief to mass moments to comic sequences, the Superstar brings all of it together. It is also notable that Rajini pulls this off while, as a rarity in recent years, playing a character his age. 

Speaking of which, the ‘90s generation who are looking forward to a Neelambarai-Padayappa-type reunion in Ramya Krishnan’s casting as Muthuvel’s wife, are going to be disappointed. The feud between the two in Padayappa (1999) has grown to legendary status over the decades. This was in no small part due to Ramya Krishnan’s acting. Despite being written from a misogynistic, male imagination of a woman with a mind of her own, the actor’s Neelambarai captured an entire generation’s imagination. From a feminist perspective, she remained until her end, submissive to no one. Certainly, not even to the man (Padayappa) she loved. It is this cinematic history that Jailer obviously relied on when the choice to cast Ramya Krishnan was made. Sadly, it is the continued misogyny of Kollywood that relegates her to a side character, with hardly any scope for an actor of her calibre. Similarly, Tamannaah’s cameo is of little consequence to the story. 

In that vein, neither has the director’s predilection for homophobic and transphobic jokes been quelled despite the criticism he received for such scenes in Doctor . The film’s political undercurrent is chaotic as it is dubious. 

Nelson also stays true to his obsession with big guns, explosions, mercenaries, and the armed forces/police, as we saw in his previous films including the Vijay-starrer Beast (2022). But unlike Beast , the director seems to have figured out how to weave in the format expected of big stars in Kollywood with his own brand of quirky humour, and a certain irreverence to formula movies. 

Anirudh is clearly the music composer to go to for a lavish dose of theatrics in a film that’s already bursting at the seams with what millennials will describe as being “extra”. While such an approach can easily misfire, in Jailer , it comes together fluidly. 

Is the film a bit silly too often? Yes. But is it also fun, full of cheer-worthy moments, and superbly entertaining? Also yes. This Rajini-Nelson double act is a resounding success. 

Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the producers or any other members of its cast and crew.

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'Jailer' review: Rajinikanth roars back to form in this mass entertainer

Superstar Rajinikanth's latest release 'Jailer' has graced the theatres, marking a triumphant return to his iconic form following the setback of 'Annaatthe.' The film presents Rajini in a spectacular display of energy and action, evoking fond memories of his youthful vigour.

Helmed by Nelson Dilipkumar, 'Jailer' is an absolute entertainer, with Rajinikanth commanding the screen with his singular presence.

However, the movie's appeal hinges on individual perspectives. Those seeking logical coherence might find themselves disappointed. On the contrary, for those who embrace the movie's mass appeal and set aside the need for rationality, 'Jailer' will be a good cinematic experience.

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Centred around Tiger Muthuvel Pandian (Rajini), a retired police officer, the narrative delves into his unexpected descent into a world of action and conflict. This transition is catalysed by the mysterious disappearance of his son, Assistant Commissioner Arjun (Vasanth Ravi), who vanishes while on the trail of Varman (Vinayakan) and his notorious criminal syndicate.

Regrettably, the female characters, portrayed by Ramya Krishnan (as Rajinikanth's wife) and Mirnaa Menon, are severely underutilised. Their roles appear reduced to mere stereotypes of gullible and naive women, devoid of substantial involvement in the narrative.

Furthermore, certain scenes where Rajini's character berates his wife seem contrived solely for a dramatic flair, resulting in a dissonance that diminishes their suitability in the movie.

The film encompasses all the quintessential elements that define a Rajini movie: elegance, mass appeal, dynamic action, power-packed dialogues, and even a dance sequence (although Rajini's participation was limited, allowing Tamannaah to shine).

Vinayakan's presence in the film is undeniably robust. While he embodies a formidable villain, his mannerisms become somewhat repetitive over the course of the movie. 

The film strikes a balance between action and comedy.  Actors like Yogi Babu and Sunil adeptly handle the comedic aspects.

While the pacing wanes in the second half, potentially losing the audience's attention, the cinematic climax sequences compensate admirably.

The inclusion of cameos from stalwarts like Mohanlal, Jackie Shroff and Shiva Rajkumar adds a flavorful blend of ingredients that prevents the movie from unravelling. Their performances resonate warmly on screen, particularly in tandem with the ever-present Rajini. Witnessing Rajini in his full charismatic splendour after a considerable hiatus is indeed invigorating for the audience.

'Jailer' warrants a theatrical experience, especially for those who revel in mass entertainers. Amid the whirlwind of elements within the movie, Nelson has successfully delivered a commendable entertainment package.

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'Jailer' Review: Rajinikanth returns to supreme form in Nelson Dilipkumar's film

Director nelson dilipkumar's 'jailer', starring rajinikanth, vinayakan and vasanth ravi, is a proper paisa-vasool commercial entertainer. with solid performances and good camera work, 'jailer' is strictly a theatre watch, says our review..

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• 'Jailer' released in theatres on August 10.
• The film is helmed by Nelson Dilipkumar.
• Jackie Shroff, Mohanlal and Shiva Rajkumar play cameo roles in the film.

Release Date: 10 Aug, 2023

Rajinikanth is truly back and how! Whenever Thalaivar scores a hit, it almost feels personal. After ‘Annatthe’, which received unfavourable reviews, it has been quite a while since Rajinikanth delivered a solid entertainer. And for Nelson Dilipkumar, who is coming back from Thalapathy Vijay’s ‘Beast’, getting ‘Jailer’ right was much-needed. And he did a great job!

‘Jailer’ opens with a group of people involved in idol smuggling, with its main leader as Varma (Vinayakan). Arjun (Vasanth Ravi) is an honest police officer who wants to track the idol smuggling network and bust them. However, Arjun gets kidnapped by Varma, and everyone in the police department fears that he is dead. His father, Muthuvel Pandian (Rajinikanth), an ex-police officer himself, is distraught.

Muthuvel Pandian is a doting father as well and now wants to take revenge. He goes on a killing spree, which leads him to Varma. But that’s not the end. Varma gives Muthuvel a daunting task as well. And Muthuvel agrees to it on one condition. The whys, whats, and hows are explored in nearly three hours.

Director Nelson Dilipkumar is known for his impeccable comedy timing, and he incorporates dark comedy in all his films. ‘Jailer’ is no different. In fact, Rajinikanth gets a subdued introduction as a retired man taking care of the household chores. He helps his grandson with his YouTube channel, buys vegetables for the house, and has absolute fun. It is great to see Thalaivar do mundane stuff as opposed to the stylish antics we’d always see. But Nelson has struck a balance in tapping into both sides of Rajinikanth, which is essentially why ‘Jailer’ works.

It is Rajinikanth who does all the heavy lifting in ‘Jailer’. The story of ‘Jailer’ has shades of Kamal Haasan’s ‘Vikram’. The two films are about a father going to any lengths for their sons, even if it means taking on a criminal gang. While ‘Vikram’ sticks to its genre righteously, ‘Jailer’ is a commercial actioner, with the right doses of action. The initial portions of Jailer have Rajinikanth attempting black comedy. While the comedy works in some parts, it also falls flat in many places. The film takes its sweet time to get into the main conflict. But Rajinikanth makes up for his subdued performance whenever the film lags.

‘Jailer’ is a film that celebrates the film industry at its core. We have Shiva Rajkumar, Jackie Shroff, and Mohanlal with their explosive cameos setting the screen on fire. And seeing these greats share screen space with Rajinikanth offers several whistle-worthy moments. The film also has many callback moments to Rajinikanth's superhit movies like 'Baasha' and 'Enthiran', among others, which add a nice touch of nostalgia.

The interval sequence, which shows Rajinikanth's epic transformation, is a total banger! It is one of those sequences that brings forth the best of everyone. And when Anirudh's 'Hukum' plays, you are sold!

‘Jailer’ also has its own shortcomings. While the story is extremely predictable, there are places where you’d begin to question how Rajinikanth has people all over the country to chip in and help him. The flashback to his early days as a police officer looks unconvincing. Several murders take place, but there are no repercussions. The story begins in Arakonam and travels to Kavali, Bangaluru and several other cities in India. And sometimes, we feel that ‘Jailer’ is incohesive.

‘Jailer’ is Rajinikanth’s return to form. Even at 72, his charisma and style make you scream in theatres. After Rajinikanth, it is Vinayakan, who has stolen the show completely. His piercing gaze and deadly wrongdoings make him a worthy villain for Rajinikanth. Vasanth Ravi, too, has a meaty role in the film.

While the performance of Rajinikanth is an asset to ‘Jailer’, it is also Anirudh Ravichander, who acts as a solid pillar of support for the film. His thumping background score will make you enjoy Rajinikanth’s swag. Whenever the ‘Hukum’ song plays on screen, the theatre erupts in joy.

Cinematographer Vijay Kartik Kannan’s frames are grand and offer visual extravaganza. Editing by R Nirmal complements the film's mood as well. Ramya Krishnan, Sunil, Tamannaah, Yogi Babu and several others appear in short-lived roles.

‘Jailer’ is a film that celebrates Rajinikanth for what he is. There are sparks of Nelson’s intelligence in ‘Jailer’ which makes it quite enjoyable.

Rajinikanth's 'Jailer' film review: A glorious first half tapers off into oblivion

Even if director Nelson hadn’t flaunted the  Breaking Bad  tee in that teaser video of  Jailer ’s single, we all know by now, on evidence of his films, that the series has had a serious impact on him. Cocaine smuggling in  Kolamavu Kokila , twin assassins in  Doctor , Walter White masks in  Beast … and now,  Jailer   gives us more evidence of its influence on him.

In this film, people get dissolved in acid, a ceiling comes crashing down, a policeman pretends to be drunk and lures away two enemies before finishing them off… and perhaps most importantly, a cop father deals with the loss of his cop son.

We also know by now that Nelson’s film universe milks tragedy for comedy—and that, and his visual signatures, make him such a unique filmmaker. In  Jailer , heads get lopped off, family members disappear, women are perpetually unsafe… and like its men, the universe of  Jailer  feels cold. Nelson isn’t interested in your tears (not unless they are of laughter)—and so, he shows little interest in capturing the emotional consequences of events like the disappearance of Muthuvel’s son (Vasanth Ravi). In fact, soon after this event, you see Muthuvel and their grandson enjoying an ice cream—which is a strange scene to come up with so early after a profound loss. But I wasn’t in the mood to resist these developments. This is Nelson’s world, after all, and he has proven ways of delivering unique entertainment. He thrives in unexpected, cool violence; he specializes in deadpan humor. And often, he combines both to powerful effect. When Muthuvel drags a sack to Yogi Babu’s car, we know it’s the aftermath of a murder. But that doesn’t stop the scene from being funny. Quite the opposite, in fact.

These are such great moments in a wildly entertaining first half. Every time Rajinikanth agrees to work with a filmmaker, a question that pops up immediately is, ‘Will the filmmaker, in making the Rajini brand work, compromise on his previous strengths?’  Jailer ’s first half suggests no dilution in the Nelson brand of filmmaking. In his fascinating world, when Muthuvel smiles, it’s an expression of pain. When characters squeal in pain, it’s often for laughs (like when a character is hung from a fan). You know it’s the Nelson world when a husband calmly looks at his wife, who’s shocked about a dead body falling on her, and simply advises, “Just push it.” Rajinikanth, at one point, refers to himself as a dinosaur—and somehow, Nelson ensures that this lands as a mass moment. It’s the first half in which Yogi Babu’s quips seem like the perfect foil for Rajini’s serious demeanor. The film, in these portions, establishes enough motivation for ‘Tiger’ Muthuvel Pandian to go berserk; it establishes a menacing, nutty villain and actor Vinayakan’s performance (those unforgettable eyes!) is wonderfully physical. And above all, perhaps the most important—and likable—decision Nelson seems to have taken in this film concerns Rajinikanth’s fight sequences. This film almost wholly does away with hand-to-hand combat. Even when it uses it, Nelson ensures it delivers maximum impact (like in that memorable interval scene). Finally, we are realizing that Rajinikanth has enough charisma to ensure that he doesn’t need to do all the killing. It’s enough if, like in that pre-interval scene, he sits down and asserts control, while someone else takes care of the shooting.

So, yes, I do think the world of everything that happens in this film before it breaks for an interval, but then, as the click-bait text goes on social media, ‘what happened next shocked me’. The film, for no rhyme or reason, goes into freefall, in directions that don’t feel organic at all. There’s a flashback in which we see a ‘younger’ Rajinikanth—and the Rajini admirer in me felt compelled to enjoy it (make the most of everything you get from him, right?). Let it not matter that the walk of the younger Muthuvel isn’t as dynamic as it needed to be, or that the look itself is not-so-convincing. This scene also shows the policeman, Muthuvel, happily lopping off a prisoner’s ear as punishment, and declaring that he won’t follow ‘rules’ when dealing with those who don’t follow them. Such blatant romanticization of police violence has always made me uncomfortable—and this time too, it was no different. This film, interestingly, also talks of how cops are generally corrupt—and it’s perhaps for this reason that Muthuvel seems to have closer alliances with reformed gangsters than he does with those in his department. So, no, it’s definitely not a film that’s out to whitewash the police department—but still, the preeminent star of our times, wearing a police uniform, unleashing brutality to Anirudh’s thumping music, doesn’t exactly scream responsibility.

Soon, the film, bizarrely, turns into a sort of heist; suddenly, it’s all a far cry from the pre-interval joys. You get something about a film shoot; there’s something about a bad actor vying to win Tamannaah over a rival, his own assistant; wigs are worn and removed; Redin Kingsley, who was so funny in  Doctor , stares aimlessly and mumbles something about ‘refraction’… All these flabby portions fill up big chunks in the second half, and Rajinikanth seems strangely absent for a while. To prop things up perhaps, top actors from other languages play cameos, and we get representatives from across regions including Shiva Rajkumar, Mohan Lal, Sunil, and Jackie Shroff, all making brief, forgettable appearances… Even more forgettable are the women in this film. Ramya Krishnan plays Rajinikanth’s wife in the film, and she’s largely relegated to looking meek and frightened. Somewhere around the interval, there’s a striking visual of Ramya Krishnan rising and Padayappa, sorry, Rajinikanth sitting down, but the film doesn’t make any more of it or of her.

A last-ditch attempt to wrest control over the film feels too little, too late—and there’s a downer of an end as well, for a film that seemed so dynamic, so explosive for long periods in the beginning. I went with the film with all its fanciful leaps (like the convenient idea of CCTV footage bailing out Muthuvel, like allies constantly showing up when needed), in the hope that consistent, memorable payoffs would come, but there just aren’t enough.

None of this is Rajinikanth’s fault though. The man seems to belong as organically in Nelson’s universe as Sivakarthikeyan did in  Doctor . He’s smiling while killing. He’s crying while laughing. He’s lopping off heads like a vendor slices vegetables, which perhaps leads Yogi Babu to confuse bloodstains with beetroot coloring. He polishes the shoes of younger actors; he even does a self-deprecatory jig as a backup dancer at one point. This is an actor who clearly doesn’t have a problem submitting, on evidence of this film; if there are problems in  Jailer —and the second half is a sackful of it—it has to be attributed to the writing.

As  Jailer  ended, I was left with many thoughts. I thought about whether that brief flashback was enough to justify the title. I thought about the film seeming so full of promise at the halfway mark and bizarrely losing direction from then on. I thought about another unforgettable Tamil film from 27 years ago that spoke about an incorruptible father dealing with his son, without compromising on ‘commercial entertainment’. Above all, I thought about how many more films Rajinikanth has in him and whether we are making the most of his willingness to submit to filmmakers.

Rating: 3/5

(This story first appeared on  Cinema Express )

READ MORE:  Rajinikanth: The Superstar title is always a problem

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Directed by Nelson Dilipkumar

Muthuvel Pandian, a retired, stern yet compassionate jailer lives a peaceful life with his family, but trouble knocks his door when his cop son’s tryst with an antique mafia gang goes awry and forces Muthu to step back into a dark world he had voluntarily took a break from.

Rajinikanth Vinayakan Vasanth Ravi Yogi Babu Ramya Krishnan Mirnaa Rithvik G. Marimuthu Harshad Jaffer Sadiq Sunil Varma Redin Kingsley Mohanlal Shivaraj Kumar Sunil Reddy Tamannaah Bhatia VTV Ganesh Jackie Shroff Saravanan Padam Kumar Karate Karthi Sugunthan Billy Murali Aranthangi Nisha Mahanadhi Shankar Sooraj Pops Dancer Ramesh Haji Mohammad Udhayabanu Mageswaran Show All… Kishore Nagendra Babu Girish Kulkarni Makrand Deshpande Jani Master Ananth Murugan Martin

Director Director

Nelson Dilipkumar

Producer Producer

Kalanithi Maran

Writer Writer

Editor editor, cinematography cinematography.

Vijay Kartik Kannan

Executive Producer Exec. Producer

Raja Sridhar

Production Design Production Design

D.R.K. Kiran

Art Direction Art Direction

Stunts stunts, choreography choreography.

Jani Master

Composer Composer

Anirudh Ravichander

Songs Songs

Arunraja Kamaraj Subu

Sound Sound

G. Suren S Alagia Koothan

Costume Design Costume Design

Pallavi Singh Muthul Hafeez

Makeup Makeup

C. Harinath

Hairstyling Hairstyling

Aalim Hakim

Sun Pictures

Primary Language

Spoken languages.

Hindi Kannada Malayalam Tamil Telugu

Alternative Titles

Thalaivar 169, Rajini The Jailer, 狱卒, Carcereiro, रजनी The जेलर, ജയിലർ, జైలర్, ಜೈಲರ್, Gardiyan, 제일러

Action Thriller Crime Comedy Adventure

Releases by Date

10 aug 2023, 11 aug 2023, 12 aug 2023, 13 aug 2023, 07 sep 2023, releases by country.

• Theatrical 14A
• Theatrical UA
• Theatrical 15 uncut
• Theatrical 12A cut
• Theatrical 15 cut
• Digital 15 uncut
• Theatrical NR

165 mins   More at IMDb TMDb Report this page

Popular reviews

Review by jack ★★★★★ 17

all those late night binge watches of breaking bad and better call saul has finally paid off for my man nelson.

Review by 𝘿𝙤𝙤𝙛𝙚𝙣𝙨𝙝𝙢𝙞𝙧𝙩𝙯 ★★★ 6

This was pretty lame and entertaining at the same time. Story and plot were all over the place. After all it’s a Nelson movie so my expectations were low. I’ve gotta admit Anirudh is the top music composer right now in India. Thalaivareeee 🫡🔥 Still at the age of 73 he’s got the Superstardom to carry an average lame movie and make it a Blockbuster. Rajini is the only true Superstar 🛐 Rajini, Lalettan and Dr. Shivrajkumar smoking with Anirudh Bgm, yeah that’s one of the best theatre experience of this year.

Review by Michael James ★★★★ 31

At age 73, will Rajinikanth be able to pull off the same level of superstardom on and off screen? Jailer just reaffirmed what Ramya Krishnan stated in Padayappa- " Minsaara kanna… Unna yen ellarukkum pudichirukku theriyuma.. Vayasaanaalum, Un style’um azhagum, innum unna vittu pogala "

Paisa vasool commercial entertainer. Nelson does come up with a wacky enough plot line, shuffling between genres with twists n turns, but the lack of a coherent narrative in the latter half, hurts the rhythm and makes the plot points feel a bit jumpy. However when it comes to staging, direction and mass level elevations, he hits bulls eye. Even in a typical narrative, he keeps throwing in fresh exciting ideas with solid visual choreography. He cleverly keeps…

Review by Patrick Willems ★★★ 15

A truly deranged movie

Review by Rafael "Parker!!" Jovine ★★★★ 6

A Passage to India: Dawn of the Wobble

“Superstar” Rajinikanth returns to our marathon with his latest action film that sees him arguably at his most badass. The action is arguably even better than the two films I’ve seen featuring the legendary Indian action star. I definitely didn’t expect it to be this gruesome and bloody. Probably because he doesn’t have as much hand-to-hand combat, but Raji is much more believable and still oozing with such an incredibly magnetic and infectious charm. The scene when Raji slices that bad guy’s head had me fist pumping and shouting “Spaghetti!”. But at the same time, in many ways, it plays like a dark comedy with a lot of pretty good humor; some…

Review by ash ★★★★ 4

Uun Alumba Paatthavan Ungoppan Whistle-a Kaettavan Om Mavanum Paeranum Aattam Poada Veppavan - Ivan

Movie did full justice to the above mentioned lyrics. This is the best Thalaivar movie I've seen after 2010.

Rajini is just electrifying and the charisma he gives out is unparalleled. He is in his top form here. Idk what to say man , petta had goosebumps moments of thailaivar but this only has that kinda scenes throughout.

The story is quite predictable but that is covered up by everyone's performance and the soundtrack by anirudh which was 🔥. But I have to say that there was not a single dull moment or "this could've been avoided" scene in the movie. Cinematography was cool but not…

Review by brutalkangaroo ★★

Whole lotta buildup to whole lotta nothing, and repeat.

The scene where Rajnikanth meets Vinayakan for the first time is the best (and most frustrating) example of said issue. The way the scene builds up with Jackie Shroff's phone call, Rajni's exit from the Xylo, and him walking towards Vinayakan with a hundred goons is straight-up goosebumps material. But there's no satisfying payoff (aka Thalaivar just wilding out maybe) to all that hype because after that the story just moves to the next plot point.

Lalettan out here built like Totoro, and he cute as hell. That "entha mone" gave me enough dopamine to survive the next few days.

(At this point നെൽസൺ കോമഡി ആണെന്ന് പറഞ്ഞു എഴുതിത്തള്ളുന്ന കോമാളിത്തരത്തെപ്പറ്റി പറയുന്നതിൽ പ്രസക്തി ഇല്ലാത്തത്കൊണ്ട് പ്രത്യേകിച്ച് ഒന്നും പറയാനില്ല)

Review by Dhanush ★★ 11

i think i saw a different movie than everyone else here.

Review by jack ★★★★★ 6

This review may contain spoilers. I can handle the truth.

cigaratte pudikiradhe cinema

Review by VishalT ★★★½

Enjoyed it as I expected . Of course there are flaws like the writing is all over the place, I couldn't emotionally feel at places anything but when you have a Star like Rajinikanth who with his terrific screen presence covers up all these flaws. Sat and just watched the Man do what he does best. We are all mentalans Grace.

Review by chan ★★½ 1

if i was ramya krishnan i’d have simply shot myself in the head instead of listening to grandpa’s mirattal

Review by Barry Egan 2002 ★★★½ 3

Nelson constantly subverts expectations and skillfully mixes various genres, aided immensely by the stardom and acting prowess of Rajini. A welcome return to form for both in this ambitious attempt. Liked it a lot; it was a treat to watch.

Detailed thoughts (with spoilers): 

The film takes a good fifteen to twenty minutes to advance plot-wise. Rajini throughout the first half surrenders himself to Nelson’s world. Rajini doesn’t fight goons all the time but takes the help of others to get the job done. And it was refreshing to watch. When Muthuvel is about to kill Varma, the film changes genre from a revenge action drama to a heist comedy, bringing in new characters. What I really liked about the…

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Jailer Movie Review: An out and out Rajinikanth show with dynamic cameos of Mohanlal and Shiva Rajkumar

Planning to watch the Nelson Dilipkumar directed Jailer starring Rajinikanth in cinema halls this week? Read Pinkvilla review and let us help you decide

• Jailer works, but in parts. When it’s good, it’s very good. But when it’s bad, it just drags
• Jailer has enough mass moments to appease the die hard Rajinikanth fans
• Howeever, Nelson's celebration of Rajinikanth's aura warranted a little better screenplay

Name: Jailer

Director: nelson dilipkumar, cast: mohanlal,shiva rajkumar,rajinikanth,jackie shroff,ramya krishnan,yogi babu, writer: nelson dilipkumar.

Rajinikanth films are like a festival - They open to packed houses on the shows as early as 6 am, even in a city like Mumbai. It’s a surreal experience to watch his cinema in packed houses, as fans celebrate, the walk, and every appearance, which at times even makes up for the slips and flips in the screenplay. The experience and the slips in screenplay is what Jailer is all about. Here’s our review.

Jailer revolves around Tiger Muthuvel Pandian (Rajinikanth), an ex-jailer, who is on a mission to seek revenge for the death of his son, ACP Arjun (Vasanth Ravi) against a mafia dealing in temple antique artifacts. However, he encounters several unexpected conflicts that puts his own family – Vijaya (Ramya Krishnan), Shwetha (Mirnaa Menon) and grandchild Rithvik – in danger. Through the journey, he gets support from old alleys, Mathew ( Mohanlal ), Narasimha (Shiva Rajkumar) and (Jackie Shroff). Does he succeed to save his family and avenge his son? All of this unfolds in Jailer.

What works?

Jailer celebrates the aura of Superstar Rajinikanth. He gets some of the biggest crowd-pleasing moments in the drama space – be it the extended introduction block, or the pre and post interval sequence, the pre-climax twist and the climax. The film has enough ‘Rajini-Moments’ which will be enjoyed by the hardcore fans.

The plot is driven by father and son emotion, which is relatable and Nelson does well to add an interesting dynamic to the screenplay as the film progresses. It’s a film that rides primarily on the emotion, and drama rather than the action. The comic track featuring Rajinikanth with Yogi Babu work’s brilliant in the narrative, and we wished the comic talent had more to do, especially in the second half. Much like the film, the humour of Jailer also works in bits and pieces.

Watch the Jailer Trailer

Anirudh’s background score is one of the biggest pluses of the film and elevates the mass moments to another level. The aforementioned 4 blocks leave an even better impact due to the background score of Anirudh, which does complete justice to the aura of Rajinikanth. The dialogues ensure enough claptrap moments. The family angle, especially in the initial few frames are done well and brings a smile on your face.

The entire villain track, led by Vinayakan, is also done well, when in the intense space.

What doesn’t work?

Jailer is tad too long for the plot that Nelson has in his hand. The filmmaker could have easily put out a crisper version of the same film for a better impact. While the film has enough in terms of standalone moments, it does go off the track for a major part of the second half, which is thankfully lifted by a good climax. While the entire track of heist would have read great on paper, it is not well executed and hampers the pace of the film in a big way. The Blast Mohan (Sunil) subtract also doesn’t click as well as expected. While the humour works in the first half, the film gets derailed on the comic front in the second half.

Some of the sub-plots are left unexplored – be it the entire nexus of the police department working hand-to-hand with the stolen artifact’s mafia, or the arc of Tiger Muthuvel Pandian’s family members. The antagonist track doesn’t work when Nelson attempts to marry the intensity with his dark comedy. The entire psychiatrist angle in the first half doesn't land well. Pacing is also an issue through the film, as there are a lot of moments which drag and there are also some sequences which add nothing to the narrative.

Jailer Star Performances

Jailer is a superstar Rajinikanth show. The film isn’t just about the display of Rajinikanth’s superstardom and antiques, but also has enough scenes that puts forward Rajinikanth – The actor. He aces the emotional, dramatic, comic and heroic scenes with perfection and has a screen presence that very few in Indian can command. The film rides on Rajinikanth’s shoulders and they are strong enough to take the film through.

Vinayakan is menacing in his part of a dangerous antagonist, Verma and does well to be the baddie alongside a force like Rajinikanth. Mohanlal has a stellar cameo and his appearance is sure to be greeted with seeti’s and taali’s all across the board, especially in Kerala. He has a dynamic presence. Same for Shiva Rajkumar, who gets an excellent introduction to this tale. Jackie Shroff is decent in his appearance. Ramya Krishnan has limited screen time, but she does well in the allotted role. Same for Mirnaa Menon and the child artist, Ritvik. Tamannaah’s cameo is decent, but her track is a complete let down.

Jailer Movie Review: Final Verdict :

Jailer works, but in parts. When it’s good, it’s very good. But when it’s bad, it just drags. Nelson succeeds in his attempt to celebrate the stardom of Rajinikanth and blends it with a performance driven character, however, the film warranted a better screenplay to drive the proceedings. It’s a decent entertainer that works due to the aura of Rajinikanth in mass blocks alongside the dynamic cameos by Mohanlal and Shiva Rajkumar. Jailer has enough moments to emerge a box office winner. 

ALSO READ:   Gadar 2, Jailer, OMG 2, Bhola Shankar set to gross 300 crores on Independence day weekend at Indian box office

Film Journalist

Film Journalist and trade analyst. With over 9 years of experience, every day, Himesh attempts to be credible with exclusive and authentic news breaks in the era of click baits. With an MBA in Finance, he believes numbers bring in an element of objectivity in life. At Pinkvilla, he reports and analyzes the box office collections of feature films and has broken over 1000 exclusive stories. In the past, Himesh has worked with Mumbai Mirror, Catch News, and Bollywood Hungama.

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Jailer Movie Review: Rajinikanth, Even Without Physics-Defying Stunts, Delivers A Paisa Vasool Film

Updated Aug 10, 2023, 14:41 IST

Jailer Movie Review: Storyline

Jailer movie review: performances and direction, jailer movie review: conclusion.

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jailer movie review

Jailer is a critically acclaimed Indian film directed by Anurag Kashyap. The film stars Amitabh Bachchan, Aamir Khan, Manoj Bajpayee, Tabu, and Nawazuddin Siddiqui in pivotal roles. The film was released in May 2019 and it has been one of the most talked-about and critically acclaimed films of 2019. It tells the story of four prisoners in a jail and how their lives become intertwined with each other. The film also explores the themes of justice, guilt, and redemption.

Overview of the film

Jailer is a powerful drama that deals with complex themes of justice, guilt and redemption. The film is set in a prison and follows the lives of four inmates and their struggles to cope with life in prison. It explores the different ways in which these prisoners cope with their circumstances and how their lives become intertwined. The film also touches upon the theme of justice and how the judicial system works in India.

Plot Summary

Jailer follows the lives of four prisoners in a jail. They are all convicted of different crimes but have also been subjected to different forms of justice. The story focuses on the lives of these prisoners as they come to terms with their current situation. It also looks at how the judicial system in India works and how it affects the lives of prisoners.

The story starts with the arrival of Javed (Amitabh Bachchan), a retired judge, who is sent to investigate the death of a prisoner. Javed meets the other prisoners and starts to investigate. He soon discovers that the death is connected to a conspiracy involving the other prisoners, who are all connected in some way .

The story follows Javed as he delves deeper into the conspiracy and uncovers the truth. He discovers that the prisoners have been victims of a corrupt system and that they are all innocent. He also discovers that they are all connected in some way and that they have a common goal .

Jailer is an intense drama that examines the theme of justice, guilt, and redemption. It is powerful in its exploration of the flaws in the Indian judicial system and how it affects the lives of the prisoners. It is also effective in its exploration of the different ways in which the prisoners cope with their situation and how their lives become intertwined.

The film is driven by its characters and their struggles. It is well-acted and the performances of the cast are excellent. Amitabh Bachchan and Aamir Khan deliver powerful performances as Javed and the other prisoners respectively. The supporting cast is also good, with Manoj Bajpayee, Tabu, and Nawazuddin Siddiqui all delivering strong performances.

Direction and Cinematography

Jailer is beautifully shot and directed by Anurag Kashyap. He is able to capture the atmosphere of the prison and the emotions of the characters effectively. The cinematography is excellent and helps to create a powerful atmosphere for the film.

Acting and Characters

The performances of the cast are excellent. Amitabh Bachchan and Aamir Khan deliver powerful performances as Javed and the other prisoners respectively. The supporting cast of Manoj Bajpayee, Tabu, and Nawazuddin Siddiqui are all strong in their roles. The characters are well written and the actors are able to bring them to life effectively.

Music and Soundtrack

The music and soundtrack of Jailer are excellent. It is composed by Amit Trivedi and it helps to create a powerful atmosphere for the film. The music helps to convey the emotions of the characters and the atmosphere of the prison.

Impact and Legacy

Jailer is one of the most critically acclaimed films of 2019 and it has had a significant impact on Indian cinema. It is a powerful film that examines the flaws of the Indian judicial system and how it affects the lives of prisoners. The movie has also made an impact beyond India, as its themes are relevant to any society.

Jailer is a powerful drama that examines the flaws of the Indian judicial system and how it affects the lives of prisoners. The film is well-acted, and beautifully shot, and its soundtrack is excellent. It is a film that has had a significant impact on Indian cinema and its themes are relevant to any society. It is a powerful and thought-provoking film that should be seen by all.

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