‘Android Kunjappan Ver 5.25’ is moving and intelligent, and is bound to take your breath away with the shine on its treatment of a much documented theme. This is a deeply resonant film that is truly life affirming and which is humorous and heartbreaking by turns.
At the end of it all, ‘Nalpathiyonnu’ strikes you as a film that does only partial justice to the storyline that deserved a much better treatment. As it is, it is more of a fable, the potential of which has only been partly explored.
Geethu’s refusal to stick to stereotypes and her affecting reading of a love tale that tears up the social tapestry earn for ‘Moothon’ a distinctive place amidst the sparsely lit up landscape of queer cinema in the country. The howls and catcalls and the loud sniggers and the off-colour jokes in the cinema halls notwithstanding, it’s a cinematic composition that needs to be appreciated for its compassionate and unapologetically adult take on human sexuality.
This oddly gruesome thriller has the bite, but just not enough of it to keep the viewers dangling on their seat edges. Which is why, despite the spine-tingling moments here and there, ‘Underworld’ eventually leaves you impassive and indifferent.
The one take back that the film does offer is courtesy Berny Ignatious and the very beautiful number ‘Puthumazhayayi Vannu Nee’ from the original film is played yet again in the sequel. The rest of it is however, just a misaligned combo of horror tropes that lie scattered all over the place.
‘Edakkad Battalion 06’ is a laborious endeavour that despite all its good intentions fails to hit the bull’s eye. This is a film that you anticipate would let out a high sounding roar, but which ends up delivering a strenuous whimper instead.
There are bound to be several viewers out there who would consider ‘Aadya Rathri’ as undamaging, passable entertainment, which indeed it is. But it has nothing new or fresh to bring to the genre, and seriously suffers from the limitations of its imagination.
Pretty much similar to the unproductive climactic sequence that involves man and a shark and the ultimate finale that follows, ‘Pranaya Meenukalude Kadal’ tells a story that hardly transcends. With waves and waves of clichés lapping against its shores, this is a sea that appears as bland as it is blue.
Lijo Jose Pellissery’s ‘Jallikkattu’ is a searing reminder of how primal we still remain and how readily the facades of culture and civilization topple down all around us, when the primordial instincts within us, run riot. Uncompromising to the core and often beguiling the viewer, this is a fascinating film set on an astonishing momentum that reaffirms the director’s reputation as a fabulous film maker who ruthlessly shreds up and throws genre conventionalities to the winds.
There is no way in which we could turn our faces away from the pertinence of the theme, and its truer than ever today that as technology overwhelms our lives, a button press could wreck a series of lives, including ours. In addition to the significant stream of thought that it offers, ‘Vikruthi’ is also is a decently appealing film that has its bountiful share of charming moments.
‘Manoharam’ has those sparks that you cannot definitely miss, but leaves you wanting for much more. It’s surely not without its charms, and yet it rarely rises above the level of its conventional premise.