‘Porinchu Mariam Jose’ does not have specific points where it starts losing its way. Rather the antique tale that it narrates usurps both the aspirations of its maker and the efforts of its terrific cast, rendering it a stylized cinematic piece that is bracing to look at, but which sounds obsolete to the core.
‘Ambili’ lacks the beautiful dexterity that had made the director’s ‘Guppy’ a one of a kind experience. But it does pick up the brush and in a few masterful strokes leave a beautiful painting on screen that leaves you all impressed by the artful flourishes on show.
While it’s surprising that film as these continue to be made, it also has to be realized that ‘Kalki’ is more of an unapologetic testosterone show. It holds no false promises and delivers what it believes in, as inflated and incongruous as it appears to be.
Despite the showers having finally arrived after playing tardy for a while and the chill in the air around, film maker Girish A D props up a ripe watermelon right before you and slices off its sturdy top, unravelling the bright red pith that lies within, studded with glistening black seeds. Snatching a ladle off the shelves, he drives it straight in, scooping out oodles of mushy melon and dropping them straight onto a pitcher, even as you sit and watch in amazement, your mouths all set for a ship sail and your throats a tad drier than usual.
There are two things that will continue to baffle you after a screening of Sanil Kalathil’s ‘Marconi Mathai’, the first one being the courage to decide to film a screenplay as this. The second one is much more confounding and involves the almost unbelievable participation of a judicious actor as Vijay Sethupathi in it.
‘Sathyam Paranja Vishwasikkuvo’ does resolve with a certain degree of elegance, but leaves you wishing that it had a bit more polish to it. Affable and bland by turns, it has its fair share of thought worthy moments that float around in a pool of happenings and non-happenings.
The question that ‘Evide’ harbours in its title is answered in no time by its sheer obviousness. And for a mystery thriller as this, it could prove fatal, and expectedly leads to its crack-up in no time.
Despite all the flamboyant oratory that most of the characters abundantly indulge in, ‘Pathinettam Padi’ offers you an ascendant climb that is draining to the core. And what’s most disappointing is that there is nothing much awaiting you right on top, out there at the end of the strenuous climb.
The fine intent notwithstanding, ‘Shubharathri’ does not seem to acknowledge the tremendous transformation that has occurred to cinema in this corner of the world. A bit too aged to make an impression on today’s viewers, it’s a film with a valid message that unquestionably deserved a much finer treatment.
Dinjith Ayyathan’s ‘O.P.160/18 Kakshi Amminipilla’ has a few pitfalls without doubt, but is also a film that would be discussed for the very valid theme that it purports. There is a charm to the old school style of film making that he so assertively flaunts, and an appeal in his confidence to bank on substance over style.
The opening frames of Arun Bose’s directorial debut ‘Luca’ are nothing short of brilliant; a montage of vibrant frames that are pre-emptive of a gala ocular delight to follow. It does live up to those expectations – at least visually – and is a film that is estimably captured on camera, but which falters playing with ideas that keep wavering in intensity and depth.