‘Vikadakumaran’ does not manage to work wonders with the slender thread of promise that lies at its core. This one has a plot that gets creakier with time, and at two hours and ten minutes, it huffs and puffs along, before eventually running out of steam.
‘Kuttanadan Marpappa’ tries to make do with the done-to-death romantic tropes and ends up a much less assured version that it originally must have set out to be. The leaden comic touches do not much help either, and it isn’t a wonder that it ends up in the water, quite like many of its characters who literally do in the film.
Heartbreaking, hilarious and hopeful by turns, ‘Sudani from Nigeria’ is a glorious triumph whichever way you look at it, be it the exemplary performances, the proficient scripting or the competent direction. Words would probably do little justice to this gem of a film, that should not, at any cost be missed in the theatres.
I wonder if Sanal had any intention to subvert the horror norms with ‘S Durga’, but in crafting a terrorizing film that takes you on a night ride with the beasts that assume human shapes, he has precisely done so. In the process, he has compellingly stripped a stained society of its genteel masquerade and makes it stand stark naked before you, unleashing the uncontainable fiends that wordlessly roam within, whom you had guardedly kept your gaze away from, all your life.
The intrigue that shrouds the title ‘Ira’ barely makes its ways into the film. It is less about victims or even victimization and more a customary plot on the hunters and the hunted; a generic fare that simply isn’t rousing enough to have your hair standing on its ends.
In an age when exaggeration and embroidery reign supreme, Abrid Shine silently strides onto a Youth Festival venue, unleashes his cast and crew on the fest grounds, and crafts a tiny gem of a film that exhorts what a distinct film maker he is. ‘Poomaram’ has none of the baloney that gets carted under the pretext of campus films these days, and instead hauls you back right onto those college grounds, where a massive expanse of a verdant tree stands tall, copiously shedding a splatter of blue flowers and fragrant memories, every time a breeze decides to blow by.
A mute cleaning woman falls in love with an amphibious creature of human proportions that she runs into at a high security government laboratory. She feeds it eggs and music, before deciding to ship it out of the ghastly tank where it lies chained, awaiting a future that appears a bit too bleak. Continue reading “The Shape of Water (2017) English Movie Short Review”
There is little that seventeen year old Elio (Timothée Chalamet) doesn’t know about, as Oliver (Arnie Hammer), a much older American graduate student who has arrived to spend the summer of ’83 in Italy, amusedly discovers. Elio takes upon himself the task of showing an all too independent Oliver around, and as the summer wears on, the two men find themselves falling inseparably in love. Continue reading “Call Me by Your Name (2017) English Movie Short Review”
John Hillcoat’s post-apocalyptic thriller throws a nameless man (Viggo Mortensen) and his son (Kodi Smit-McPhee) onto the road, along which they trudge on, with supplies getting shorter by each passing day. The coast is what they are on the lookout for, where the father hopes it would be warmer. Continue reading “The Road (2009) English Movie Short Review”
The premise of Trey Edward Shults’ ‘It Comes at Night’ reeks of a familiar dread, and the post-apocalyptic setting sees a family of three – father, mother and son – holed up in a house somewhere deep in the forests, where they await an intruder breaching into their peace any moment. Continue reading “It Comes at Night (2017) English Movie Short Review”