Despite what you think of his latest film, there’s no denying that Lokesh Kanagaraj is one of the most popular directors in India, with a devoted fanbase of his own. After all, which filmmaker can boast a cinematic universe named after themselves - without being accused of self-indulgence? A former bank employee with a passion for short films, it was director Karthik Subbaraj who encouraged Lokesh to try his luck in cinema - and Tamil film fans have been grateful ever since. ‘Coolie’ Box Office Collection Day 1: Rajinikanth and Lokesh Kanagaraj’s Action Thriller Collects INR 151 Crore Worldwide, Beats ‘Leo’ To Become Biggest Opening for a Tamil Film! Lokesh made his feature debut with Maanagaram in 2017, a surprise hit that also won over critics. His second film, Kaithi, was a massive commercial success and one of the best thrillers in Indian cinema over the last decade, pushing Lokesh into the big league where superstars began seeking him out. He went on to make Master, Vikram, and Leo, all of which were major hits. With Vikram, Lokesh did what no one in Tamil cinema had done before - he officially launched the Lokesh Cinematic Universe (LCU). Now with Coolie, the self-professed Kamal Haasan fan has had his first opportunity to direct Rajinikanth, along with other huge stars such as Aamir Khan, Nagarjuna, and Upendra. He’s planning a film with Aamir Khan next, alongside planned LCU instalments like Kaithi 2, Vikram 2, and a standalone Rolex film. But as Lokesh climbs higher on the box office ladder, some critics argue the quality of his films has dipped - his recent releases lack the brilliance of his earlier work. Is that true? Does Coolie prove otherwise? Here’s our ranking of all Lokesh Kanagaraj films, from Maanagaram to Coolie, worst to best. 6. Coolie (Standalone) [caption id="attachment_7061016" align="alignnone" width="600"] A Still From Coolie[/caption] Sadly, Coolie is Lokesh’s weakest film to date. While Rajinikanth’s trademark swagger is put to decent use and Anirudh delivers another standout background score, the cluttered, logic-defying screenplay lets everything down. The much-hyped star cast - Nagarjuna, Aamir Khan, and even Upendra - are criminally underused, and the film’s bloated runtime only amplifies its flaws. A few 'mass' moments work, like Upendra’s entry, but they can’t rescue the mess. ‘Coolie’ Movie Review: Anirudh, Not Rajinikanth, Is Real Lifeline in Lokesh Kanagaraj’s Weakest Film to Date! 5. Master (Standalone) [caption id="attachment_7061017" align="alignnone" width="1314"] A Still From Master[/caption] Master is Lokesh’s most star-struck outing - a Vijay vehicle in which the villain Bhavani (Vijay Sethupathi) gets a richer backstory than the hero, only to later become a stock antagonist when the film enters the service of Thalapathy worship. Sethupathi can arguably be the best antagonist in a Lokesh Kanagaraj movie, and the actor steals the show. Vijay plays to the gallery, and while Lokesh does take digs at his trademark mannerisms, the film's Achilles heel lies in Master not elevating itself beyond a fan-service film and taking its sweet time to bring the two main forces to a clash. Master Movie Review: Thalapathy Vijay and Vijay Sethupathi Take Their Sweet Time To Come to Blows in Lokesh Kanagaraj’s Tiresome Entertainer. 4. Leo (LCU) [caption id="attachment_7061018" align="alignnone" width="1978"] A Still From Leo[/caption] A loose reimagining of A History of Violence, Leo feels more director-driven than Vijay’s usual star-first projects. The first half impresses with Himachal’s snowy landscapes, a restrained career-best turn from Vijay, and family beats that make the bursts of violence land harder. The second half, however, falters with bloated flashbacks, underwhelming villains in Sanjay Dutt and Arjun, and overindulgent set pieces that feel more PlayStation than cinema. While lacking a Kaithi-level showstopper, the LCU touches hit the mark, making it a roaring, if uneven, success. 3. Vikram (LCU) [caption id="attachment_7061019" align="alignnone" width="1452"] A Still From Vikram[/caption] The film that birthed the LCU. After the uneven Master, Vikram sees Lokesh back in stronger form, delivering a gripping, fun, if uneven action thriller. Kamal Haasan is used with restraint but plenty of style, especially in the standout pre-interval sequence. The second half of the film, however, reuses Kaithi’s tricks without its punch, undercuts Fahadh Faasil and Vijay Sethupathi, and pads the runtime with weaker emotional beats. Still, Anirudh’s electrifying score and Suriya’s explosive cameo leave fans excited for what’s next in the LCU. Vikram Movie Review: Kamal Haasan, Fahadh Faasil and Vijay Sethupathi’s Film Sparks With Thrills and Frills Despite a Lagging Screenplay. 2. Maanagaram (Standalone) [caption id="attachment_7061021" align="alignnone" width="1952"] A Still From Maanagaram[/caption] Maanagaram belongs to the hyperlink cinema genre, where seemingly unrelated events and characters eventually connect. Such films demand intricate screenwriting and precise direction, and for a debut feature, Lokesh passes with flying colours. Free from superstar constraints, he focuses on building engaging characters and a smart, tightly woven narrative. The result is a gripping thriller that still wows audiences. It was later remade in Hindi as Mumbaikar, starring Vikrant Massey and Vijay Sethupathi. 1. Kaithi (LCU) [caption id="attachment_7061020" align="alignnone" width="1768"] A Still From Kaithi[/caption] With Kaithi, Lokesh roared onto the scene. Even with a popular star like Karthi, the screenplay - a loose remake of Assault on Precinct 13 - is the true star. Seamlessly weaving two distinct subplots, the film remains tense and riveting even without its lead in some key sequences. Its 'mass' moments feel organic, like the now-iconic scene where the protagonist enjoys a tray of chicken biryani before heading back into action. Bollywood’s remake (Bholaa) failed to match its brilliance, proving that Lokesh’s touch is hard to replicate. Here’s hoping he remembers that in his future star-driven projects, the screenplay must remain the biggest star of all.