‘Udaharanam Sujatha’ is an agreeable tale, the logic and realism of which, could forever be questioned. And yet this is the kind of genial material with which upbeat and buoyant films as these are made, and dreams – both mine and yours – are spun.
‘Sherlock Toms’ is a daft film that is neither alluring nor even remotely interesting. Forget all the incoherence that underlies it, it’s a comedy that glumly fails to conjure up even some simple laughter that would render it memorable or worthwhile.
Arun Gopi’s debut film ‘Ramaleela’ stringently adheres to the requisites of a political thriller , and weaves a tapestry of recognized scenarios to keep the exigencies in check. He is let down by the writing though, where a palpable plot that starts off pretty well meanders into a course that offers much less cheer.
‘Pokkiri Simon’ is less of a tribute to a superstar, and beneath all the confetti, wolf whistles and blaring horns lurks a tale that’s all set to go on a detour. And when it does, it takes the entire film with it, toppling down like a pack of cards, and very soon losing its way among done-to-death plotways.
‘Parava’ is a charming coming-of-age tale with a liberal dose of backtales thrown in. It does gallantly buck time-honoured storytelling strategies with innovative modes of its own, and yet leaves you with that faint regret that despite all its artistry and ambition, it’s not that absolute, flawless piece of cinema that would have left you in a daze.
‘Matchbox’ hardly manages to strike up a flame that is blown out in no time, in a sturdy gust which draws in a heap of romance truisms that land all over the place. Looks like a damp box, this one, which is very unlikely to set the box office afire.
Ambition does not necessarily always result in achievement, and ‘Karutha Joothan’ leaves us wishing that the director had displayed a better flair to spin a fine yarn. It is one of those films that weighs so much and yet holds inside much less, and a film that unquestionably gets lost in a fog of smugness that it has created around itself.
Had it been as judicious in the selection of its fundamental plot line as it had been in the choice of its design, ‘Honey Bee 2.5’ could have worked wonders. As such, it remains a film that never fully explores the limits of its own absurdness and instead makes do with a crackpot try-out that leaves an underdone taste in your mouth.
Despite a premise that is loaded with possiblities that I’m sure most viewers would have taken to eagerly with a bit of inquisitiveness, ‘Bobby’ reaches nowhere near any of its triumphant predecessors. It lacks the tastefulness that could have done it tons of good, and instead strikes you as a dramatic overstatement on love that attempts to defy age constraints.
As dispiriting as it sounds, ‘Clint’ is a film that only partially does justice to the incredible life that has inspired it. I would have loved it had it been an uncompromising and moving feature as it should ideally have been, instead of the too straight paper-to-screen adaptation that it has turned out to be.
‘Thrissivaperoor Kliptham’ is a zigzagging account of petty gang warfare at Thrissur, which despite a distinguished ensemble of actors at its helm doesn’t get its act right. There is far too much going on here and yet far too little that actually matters, that makes it a film that often gets muffled by its own ambition.