Get set for a few thrills here and there as Pullu Giri and his gang have a go at it as if there is no tomorrow. And be the least surprised if it has already fallen off your memory logs as you get set to dig your spoon at the post-movie dinner in front of you.
Most of ‘Valiyaperunnal’ ends up like the elaborately choreographed dance sequences in it – exquisite to initially look at, but exasperating after a while. This film does have a very human back-story of social exploitation that could have benefitted from some focused writing and crispy editing but as such strikes you as a slog piece that never gets to strike the target that it had originally set out for.
With an end that turns out to be superbly touching and a driving narrative that is consistently engaging, Jean Paul Lal’s film is a winner all the way. A perfect weekend watch for a family on the Christmas vacation, this is a lovely film that has both its heart and soul right in place.
‘Prathi Poovankozhi’ would be remembered for the menacing feat that Roshan Andrews comes up with, and the actor in him scores fare better than the film maker this time around. And with a theme that holds considerable power in its premise, it’s a shame that the film ultimately lives up to none of the promise that has been raised.
Despite the very obvious passion that it holds for the genre, M Padmakumar’s ‘Mamangam’ is miles away from the estimable cinematic piece that it could have been. With a tightened format and a focused script, this is a film that could have been as magnificent a fest as ‘Mamangam’ must have been, but which goes up in flames despite an exorbitant budget and a stellar cast.
‘Happy Sardar’ is a perfect example of how a probably brilliant idea on paper could evolve into a damp squib on screen. There is a fat chance that the romance in it would move you or the comedy in it would have you clutching your stomachs, and sans any real thought or notion, this Sardar and his gang brings you no joy.
‘Puzhikkadakan’ defies coherence and is a tiresome parade of clichés that one would anticipate in a film of this kind. It is a film in search of a pulse, and is a disjointed affair that mostly fritters away the talents of its leading cast.
There is what seems like a shroud of mystery all over Ranjith Shankar’s ‘Kamala’ – at least initially – that dissipates as the film progresses beyond its first hour. Eventually, it strikes you as an odd mix in which a social issue has been almost forcefully interspersed into a thriller format, but where it juts out almost like a sore thumb.