It’s quite a recognizable mystery franchise that ‘Abrahaminte Santhathikal’ lays out before you. And it’s this throwback familiarity that holds it back throughout, even as it tries hard to fit in every known thriller trope into its folds.
In a world that is often hostile to diversity, ‘Njan Marykutty’ brightly lights up a beacon of optimism. And in a world that has long revelled in gender jokes and gay innuendos, it all might sound a fairy tale, but then its significance lies in the suggestive reminder that it puts forth, that perhaps it’s time the transuniverse had their share of fairies as well!
There are a few things that ‘Mazhayathu’ achieves without being sermonizing and its real resonance lies in its exploration of an issue that is frighteningly real. It flashes a light on a society that thrives on suspicion, where we have lost the basic impulse and inclination to trust and hold someone – even the dearest ones around – in staunch conviction.
It’s a totally incoherent and embroidered universe that ‘Abhiyude Kadha Anuvinteyum’ lets its characters roam about it in. Shamelessly sentimental and cringingly syrupy, here is a film that misses its mark by a mile.
To title a film as ‘Kamuki’ and then have the loud mouthed girl protagonist have a bumpy landing on earth and that too in an auto rickshaw doesn’t sound that right. One of the initial precursors to a long-winding saga of extremities and stale jokes, here is a sequence that spells it out loud and clear that not everything is okay in love and war.
For long, nothing much happens in ‘Kuttanpillayude Sivarathri’ that would keep you focused. The crucial vibe of earnest storytelling arrives a bit too late here, and while it manages to work out the connections, the impact is considerably lessened.
While there has been no dearth to films set on an engineering campus of late, ‘B.Tech’ thankfully doesn’t stick to the common campus caper norms. After an easy, non-eventful former half, the film pulls out a present-day social issue out of its backpack and does a pretty okay job at brandishing it without much of a fuss.
‘Aabhaasam’ is a scathing lampoon on the disgruntlement – social, political, religious and sexual – that underlies a literate society, and is a daring overnight drive to where we stand today. It holds fast to none of the conventionalities that one would expect of a commercial pot-boiler and truly living up to its title tosses cinematic decorum right into the drains.
‘Chanakya Thanthram’ lacks the writing to be a fantastic, edge-of-the-seat thriller. It simply goes about its job, and feels like many of its unproductive predecessors, but with a variant, pertinent note thrown into a messed up plot.
With ‘Ee.Ma.Yau’ Lijo Jose Pellissery surpasses himself, asserts once and for all that he’s a master craftsman who sees his dough even in a theme that is as stiff and unmalleable as a corpse (pun intended), and astutely crafts a chimerical ode to mortality. Hauling a perfect family portrait off the walls, Lijo smashes it on the floor, leaving us horrified beside a blue, lifeless body that grows colder by the minute, a bunch of riotous, bawling mourners and glimpses of nothing less than what looks like hell opening up above, as streaks of lightning intermittently part the dark skies.
There is a final tornado that Sruthy’s mom rakes up at a police station in ‘Uncle’ that makes you wish the rest of the film had half the vigour that this closing scene has. The social undercurrents are laid bare, the message is served, the speeches are done and the obligatory slap delivered. Inflated to the point of having swelled beyond recognition, ‘Uncle’ could have been the riveting film that it had aspired to be, in less than half its current screen time.