‘Oru Adaar Love’ and the love potion that it lays out on a platter, comes as no surprise to someone who has watched the director’s earlier films. Missing the mark by a mile, this adaar love tale and the wink that never made it beyond the teaser, would fall nowhere under the radar of fine cinema, or some fine entertainment for that matter.
There is without doubt tremendous cinematic material in the momentous life that YSR lived, but this film has none of the masterful strokes or moments that it demands.
‘9’ could have done immensely better had it kept its focus on the sci-fi element that is probably one of the most unexplored realms in Malayalam cinema. What ruins it is the psychological drivel that it succumbs to, and the subsequent concoction that emerges that pleases fans of none of the genres.
‘Kumbalangi Nights’ is much more than an account of four brothers on a frenzied quest to find themselves and each other. Drenched in a matchless mix of human emotions that range from hilarity to hopelessness, it’s a superb film that drives you into raptures and which is infused with figurative undertones, structures and symbols that hold a striking mirror to the times that we live in.
‘Lonappante Mamodeesa’ is a decent, easy watch, that despite all its hitches retains its capacity to charm. It’s also an assertion as to how even the commonplace, at times, has the ability to draw and delight.
Bilahari’s ‘Allu Ramendran’ is a scaled down ‘Maheshinte Prathikaram’ that talks of how individual enmity and personal vendetta could rule and ruin human lives, when it turns obsessive and fanatical. What it lacks are the emotional nuances and that the fine sensibilities latter film had in abundance.
Brilliantly performed, visually striking and deftly structured, ‘Peranbu’ is an avowal of a fortune that we live with every day, and a prompt to remain forever thankful for the miracle called life. Beyond the personal odyssey of a dad and a daughter caught up in a whirlwind of existence, it is an exemplary exploration of faith, compassion and above everything else, acceptance.
‘Irupathiyonnam Noottandu’ has a contemporariness that is regrettably restricted to its title. Beyond that, it’s a hollow show that cinematically falls way behind its times.
The macho rhythm that Adeni attempts to work up with ‘Mikhael’ is the kind that could be passable at the moment, but forgettable soon after. Which is why despite all its attempts to be a swanky action flick, it strikes you as a charade more than anything else.
There is a short epilogue of sorts that follows ‘Praana’, that affirms that what we have watched is a fictional depiction of the reality around, and reminds us that life, after all is a bit too precious. No worries there. We are gonna pull along hopefully, despite a shaky start to the new cinematic year with an offbeat, and sadly off-track ‘Praana’.
‘Neeyum Njanum’ threads together an exceedingly prolonged strand of events that fails to have an emotional impact on the viewers. Drained of specificity, ‘Neeyum Njanum’ makes use of stock romantic situations and bundles them together as a cluttered whole.