‘The Great Indian Kitchen’ deserves brownie points for its demand for democratization in the household, that should essentially commence from the kitchen. But its overzealous attempts to take quite a few pigeons with a bean, is what leaves it not as great a film as it should have been!
‘Sufiyum Sujathayum’ achieves just about half of the dramatic intensity that it originally sets out to attain, and would be remembered best for the mellifluous musical score by M Jaychandran and some remarkable cinematography by Anu Moothedath. Not denying its impeccable visual quality, ‘Sufiyum Sujathayum’ comes across as a monotonous succession of scenes that strive to blow the dust away from its worn-out theme in vain.
‘Choked’ is in many ways Kashyap’s most underdone film as yet, and while it remains that some of his former works have been applauded for their purposive lack of refinement, this would probably be not. Rather, it’s one of those films that sets out to do a lot more than what finally appears on screen, and which strangulates itself in its endeavours to do so.
There is every reason for you to believe that the Korean film ‘Burning’ might be just another love triangle in the offing, but director Chang-dong Lee dispels the notion in no time. There is no doubt that the narration remains uneven throughout, but the film does carry its own sweet rewards that are eventually revealed to the audience. Continue reading “Burning (2018) Korean Movie Short Review”
‘Forensic’ despite all its admirable intentions and terrific performances fails to offer a genuine thriller ride to its audience. Striving hard to bring in as many interest elements as it possibly can, it indulges in a profusion of twists and turns, that only partly pays off in the end.
‘Paapam Cheyyathavar Kalleriyatte’ is mostly like the character John (Madhupal) in it who spends almost all his screen time idle, smoking away in his room. But when he finally opens his mouth to indulge in a sermon of sorts, you wish he was smoking instead. The film too has a lot of powerhouse tactics in mind, but little bite to go with it.
‘Trance’ does address a theme that is radically important and proffers a compelling investigation into the unexplored realms of religion, faith and belief. But it’s also a movie that eventually gets choked by the mistiness that pervades its plot and design, and ends up a pale shadow of the head turner flick that it should have been.
The dramatic pressure is way too grim, and the film grinds on persistently, finally ending up a riveting piece. ‘Ayyappanum Koshiyum’ remains without doubt a commendable endeavour, whichever way you look at it, but it just falls short of entering my top favourite list, because it does take a bit too long to get where it wants to be.
While it remains that both Anoop Sathyan – debutante director – and Dulquer Salman – debutante producer – choose to play the safe game with their film ‘Varane Avashyamundu’, it cannot be denied that they have stuffed the film with moments aplenty that will have the family audiences asking for more.
All said and done, ‘Anweshanam’ does move beyond the routine and warrants your attention to a great extent with its unpredictability. That it allows itself to be ingested by its own sense of intrigue is where it starts losing its feet on the ground, and where it tumbles down as a verbose thriller that it should never have been.
All said and done, ‘Shylock’ could strike you as the ultimate entertainer if you happen to be a die-hard fan, looking forward to watching his screen idol in an indomitable avatar. For the rest, it is hardly anything beyond a much-told tale that has been re-stitched with bits of pieces of star adulation intended to fit the towering charisma of its star.