Prem Kumar weaves together an intimate love tale that probably requires a certain leap of faith, which preserves a pristine purity in its narrative. Devastating and delightful by turns, it’s a tragic tale of a man and a woman hopelessly caught in a vortex of love, continually washed towards and away from each other, with not a leeway of redemption anywhere in sight.
Roshan Andrews appears out of his depth in ‘Kayamkulam Kochunni’, and the film appears more like a misspent opportunity than the highly agreeable jaunt that it should have been. Mounted on an epic scale, this is a film where the gargantuan efforts are all conspicuous, but the results quite regrettably, patchy and uneven.
‘Mandharam’ has very little special in it, despite the individual charms of all its actors. Scratching not much deeper than the surface of its characters, it’s a film that fails to find its own voice, forget its fragrance.
What ‘Lilli’ with the double ‘L’ and ‘I’ would probably be remembered for, is the flicker of sure promise that its director Prasobh Vijayan displays. The debutante filmmaker does get all his survival thriller tropes right and crafts a terror climate with great flair, but falters in his choice of a script that thwarts his ambitions.
Vinayan’s ‘Chalakkudikkaran Changathi’ is ultimately undone by the flaws in its script. It hardly lays bare the multiple layers that made Mani’s persona appear so appealing and complex to people like us, a principal failing that leaves Mani’s screen portrait a far from perfect one.
Amal Neerad’s uncompromising portrait of disillusionment and of a paradise lost and forcefully regained is a searing piece that simply slices right through you. ‘Varathan’ is a slow burning tour-de-force that is dark and disturbing by turns and a foreboding cinematic experience that is impossible to shake away, let alone forget.
Soumya Sadanandan’s film feature debut is majorly marred by some bland writing that fails to hold itself all together. Which is why, ‘Mangalyam Thanthunanena’ strikes you as a vehicle with a flat tyre that is quite unlikely to make a move across viewer hearts.
This warfare could have been tons more fun had ‘Padayottam’ a tighter story-line to fall back on. As it is, it strikes you as a series of intermittently amusing moments, loosely looped together by a plot fabric that severely lacks a strapping context.
Sethu’s film like many of its predecessors, is one that is obsessed with the charisma of its leading star, that everything else, including the plot and the narrative are tossed into the Kuttanadan backwaters.
Fellini’s take on a man wanting to take a final puff and chuck away a long-standing addiction is akin to the first smoke ever; drawing in a bit too much of a cloudy breath and holding it all in for a moment before the anticipated onset of the dreaded cough, throwing out a whole lot than one had bargained for, in spurts and spasms. And when peace is finally regained, the smoke or what is left of it, slowly dissipates into the air around.
The ritzy shine that ‘Ranam’ sports is of a make-believe kind, and it starts wearing away if you start scratching at its exterior with your nails. And lying beneath all the pizzazz is a hoary saga of gang fights and rivalry that is as drained out as the urban blight that Detroit has become internationally infamous for.