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.
The brilliant source material is what makes Ajith Kumar’s directorial debut a forceful watch that depicts the tragic underside of a land that forever leaves fresh streaks of blood all over itself even before the older stains have dried off. It’s a sobering, significant film that draws you right into the turbulence that it depicts, and which throws a multitude of questions on your face leaving you tussling with the gruelling answers.
Anil Radhakrishnan Menon’s new film ‘Diwanjimoola Grand Prix’ is a far cry from his impressive debut ‘North 24 Kaatham’; a gem of a film that we invariably go back to every time a new movie of his is released. With a script that looks all in tatters, ‘Diwanjimoola Grand Prix’ is a tired out genre flick that squeezes in oodles of talk on culture and what not, but hardly brings anything new to the table.
It’s been a phenomenal film year without doubt, that saw Mollywood rise up to several fresh talents that came its way, while the hardened stalwarts and the standout film makers got busy doing what they have always been best at – crafting glorious cinematic pieces out of their singular visions and laying them out before the world. Here are five amazing film makers who have astonished us this year with the overwhelming manner in which they have reshaped the medium that is cinema.
The A-list when it comes to fantastic performances from women actors in Malayalam in 2017, comprises of five actors, three of whom are fresh faces that hold a lot of promise. Here they are!
The A-list when it comes to spectacular performances from male actors in Malayalam in 2017, comprises of five actors, all of whom have made massive splashes with their whopper acts in one or more films. Here goes.