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.
‘And the Oscar goes to’ does not rise to the stature of Salim Ahmed’s former films, and while it would be unjust to indulge in a comparison as such, it is also inevitable. While it does suggest that there is nothing more magical than what could be conveyed by the medium of cinema, it delivers the said magic, but only in very brief spurts.
Khalid Rahman’s ‘Unda’ is intelligent film making, and the ideological vantage point that it roots for, is one that has its fingers directed at the political scenario of one of the biggest democracies in the world. Never for a moment pretending to be erudite, ‘Unda’ is loaded with terrific insights that are fired away in quick succession, rendering it one of the most thought provoking Malayalam films in recent times.
Ashraf Hamza’s ‘Thamasha’ will remain one of my favourite films this year, thanks to its very unique shimmer and shine. Uproarious, tender, thoughtful and touching, it’s a warm hearted affair with a disarming genuineness that should not by any chance, be missed in the theatres.
‘Virus’ is an effectual ensemble piece that marvellously bonds together the pieces of a jigsaw, thereby rendering complete, a story of how fortitude eventually stamps over irrepressible fear. Emotionally pervasive and unnervingly real, It is also the kind of film that makes you go for a few extra dabs of your hand sanitizer, as you get all set to key down a review.