‘Odiyan’ is a film that needs to be analysed for what it was to be, and what it actually turned out to be. It’s a film that lets a captivating folklore wash effortlessly down a drain, its magic mercilessly muddled by the murk and mud around.
The well worn plot and the familiar characters in the film are impossible to root for. Sreekrishnan’s ‘Paviettante Madhurachooral’ strives to drive out the angst of its leads on to its viewers, but hardly scores.
In Sujith Vasudev’a ‘Autorsha’ there is an abundance that spills over, literally and which overflows along the seams. Brimming over with characters left, right and center, ‘Autorsha’ is a film that apparently has plenty to tell, and even does so, but which in the process, tips out its contents all over the place.
M Padmakumar’s ‘Joseph’ would be remembered for long for the actor that Joju George is, and belongs to the category of films, where an actor towers over everything else around with an astounding performance that overwhelms.
Efforts are made to keep the fervour level hitting the ceiling, and it possibly even means well, but ultimately ‘Ladoo’ ends up a film that doesn’t deserve any hate, but is hard to like as well.
‘Nithyaharitha Nayakan’ is a heap of stereotypes that have piled on, most of which are ill-conceived. Jumbled and disconnected to the core, ‘Nithyaharitha Nayakan’ flounders all along, and in jaded circumstances as these, what use is a talented cast determined to do an honest job?
‘Oru Kuprasidha Payyan’ is undermined by quite a few problems and critically lacks the intrigue that could have made a difference. Its overwhelming generic obviousness makes it a slow sinking ship that tugs down along with it a few genuine, terrific performances as well.
‘Drama’ has an impressive line-up of actors led by a dapper Mohanlal, none of whom have anything spectacular to dish out. It’s an inept satire that lacks the bite that whirls and wheezes all the while, trying vainly to get its stage, settings and actors all in place.
K B Maju’s ‘French Viplavam’ is a rebellion gone all awry, though it dabbles with a theme that holds plenty of contemporary significance. Satire is what the film has in mind, but what it ultimately turns out to be is a drab cinematic piece that has neither the vigour nor the vitality that characterizes a raging revolution.
‘Johny Johny Yes Appa’ is neither funny nor edgy and leaves you high and dry at the end of its running time. Undermined by emotional incoherence and comic incompetence, this is an unfocussed film that fails to hit its target by a hundred miles.
‘Dakini’ has none of the inventiveness that its trailer so blatantly suggested the film might have. At best it merely strikes you as a collection of cardboard caricatures that flit around on stage, with plenty of empty talk and emptier circumstances that leave you tremendously worn out at the end of the day.