Prajesh Sen’s sparkling directorial debut ‘Captain’ shines the spotlight on the life and unfortunate demise of an incredible footballer, who wore unrivalled accomplishments on his sleeve. A glorious tribute to a player who eventually got worn out grappling with personal demons, Sen’s malleable biopic is a perceptive portrayal of the player, and more importantly, the man that V P Sathyan was.
Kamal’s ‘Aami’ falls short of the requisites of an elegant biopic by a mile, and plays along like an unimaginatively scripted radio show, never really drawing you in, and never really letting you leave either. There is little of that captivating life that had enamored us here, or even less of the angst and authenticity of the woman who had chosen to live and love on her own inimitable terms.
The point that ‘Rosapoo’ is trying to get at, remains elusive throughout. The dull stretches are hardly smoothed out, and while trying to achieve too much, it settles for much less. Wrapped up in a glitter cover all around, ‘Rosapoo’ is a dreary box that springs up zero surprises on you when finally tugged open; a gauche comedy gawks at you from beneath the stylish production design.
Najeem Koya’s ‘Kaly’ aspires to be testosterone fuelled. It however turns out to be little more than an expendable diversion; one that is so caught up with its own indulgences, that it rarely hits a mark or scores a point in the course of its entire running time of an unbelievably long one hundred and sixty three minutes!
It’s a fascinating subject without doubt, but one that is lost in an assorted downpour of musty jokes and sentimentalities. At best, ‘Hey Jude’ makes you yearn for the film maker who had gifted you with a gem as ‘Artist’ not long back, and fervently wish he would demonstrate to us what it means to capably blend the tragic with the terrific, yet again.
Shamdat decides to go for a partly experimental account in ‘Street Lights’, but gets stuck with mostly one-dimensional characters in underdeveloped situations. With an add-on climax that goes on a few minutes even after all the action has come to a close, ‘Street Lights’ seems and sounds a bit too contrived to be real.
There is no denying that the premise of ‘Aadhi’ is one that has been around for ages in cinematic history; you are the sole witness to a horrific incident, you get implicated in it and you run for your dear life, all the while striving to disentangle yourself from the terrible mess that you suddenly find yourself embroiled in. It has all been said and done, and Jeethu Joseph’s script of ‘Aadhi’, strictly follows the prescription, in plotting and characterization.
‘Carbon’ is a draining film; a confounding piece of cinema that requires as much an effort from the viewer to make sense of it, as from the film maker himself in its creation. This certainly isn’t its flaw, and where it tires the spectator out is in its decision to remain obstinately abstract throughout, conjuring up smoke swirls of obscurity and vagueness, and decisively dropping a cue here and there, driving the audience to connect together its disjointed pieces into a rational whole, and compelling them to hunt out the key to the puzzle.
Sugeeth in his latest film ’Shikari Shambhu’ seems to have taken to the belief that a tiger hard-pressed into a story that is as old as cinema itself could make all the difference. It gets caught somewhere between a comic book and a thriller, ending up neither.
Dijo Jose Antony’s ‘Queen’ is a flamboyant celebration of the campus, with all the colours, vigour and liveliness intact. However, beneath all this panache and flair lurks a theme that constantly shifts tone, that is imbalanced in tenor, and which carries a faint sense of familiarity all through.
‘Daivame Kai Thozham K.Kumar Akanam’ looks, sounds and seems a haphazardly joined piece that hardly manages to hold itself together. A laugh here or another one there is all that it has to offer, and for a film that runs for one hundred and fifty minutes, that is a pretty much hefty price to pay.