Baiju is certainly someone we have known from close quarters; in fact he might even be you or me, and Kumbalam might easily be that tiny hamlet where we had learned to love, lose and live, and before we ourselves knew, had grown up, leaving behind a trail of evocative memories. Clever, enjoyable, witty and poignant by turns, ‘Rakshadhikari Baiju Oppu’ is an entertaining character drama with a subtle, pertinent note concealed within its folds.
‘Sathya’ has little for genre fans , since action certainly isn’t its forte. Totally missing bite, it’s a flat misfire of a film that is dull and inert at its core, and with far better options all around, ‘Sathya’ might find it difficult to outlive the box office week.
‘Sakhavu’ is a talkathon of a movie that could inspire a few with those odd invigorating moments. And then there are people who believe that a piece of cinema should be much more than that, for whom it comes across more like an overly dramatic moral science lesson on communism, than anything else.
‘Puthan Panam’ is a film that is conspicuous by the absence of a director and a writer whom we hold close to our hearts. It’s a lackadaisical film that is as cold as the revolver around which it revolves; a tangled hodgepodge of ideas that is stretched to ridiculous extremes.
The gripes about the follies and futility of war definitely serve a purpose, but ‘1971; Beyond Borders’ sees the classic instance of too much overstating a cause messing up your case altogether. This is also the reason why the film emerges as generic, and the fascinating and inspirational real story on which the film is based gets watered down on screen.
‘Georgettan’s Pooram’ is a festive film that has its crackers bursting all over the place, hoping to enthuse its viewers with a glittery show of sound and colours. The show over, its blankness becomes way too apparent, and only the distant reverberations of the blasts and bangs and the pungent odour of the smoke remain.
Haneef Adeni displays a distinct identity as a film maker and without doubt is a noteworthy addition to the crop of promising young directors in Mollywood. And yet, if ‘The Great Father’ cannot break away from from the psycho thriller déjà vu, it’s only because of the too recognizable narrative ploys that plague its screenplay.
Despite its many flaws, ‘Honey Bee’ did manage to drive in super keyed up youngsters to the cinema halls. Something which its sequel might not be able to achieve, given that it comes across as an exhausting and mostly needless retread that shouldn’t have been attempted in the first place!
Lal Jr’s third directorial outing, ‘Honey Bee 2: Celebrations’ is a film that gawks and squints back at you, for having decided to give it a go. I have been no great fan of ‘Honey Bee’ either, which is perhaps why, the sequel struck me as an unfunny film that will probably even have fans of the original film running for cover. Continue reading “Honey Bee 2: Celebrations (2017) Malayalam Movie Review by Veeyen”
The biggest realization that ‘Take Off’ leaves in its wake is the thought that even as I key in this word in the comfy confines of my study room, thousands of horrified humans elsewhere are being subjected to unimaginable terror and torment for no fault of theirs. Which is what makes Mahesh Narayanan’s film an upsetting and thorny experience, but one without which your film year is bound to remain incomplete.
As the border gates between Iraq and Kurdistan are thrown open, the worn-out Indian nurses who had been through hell fire and back hurriedly stagger across the border towards the Indian tricolour fluttering at the other side, and then break into a run, respite and joy writ large on their faces. This stellar climatic scene of Mahesh Narayanan’s ‘Take Off’ is perhaps the best that I have seen in recent years, and one that could only be watched with goose bumps all over. Continue reading “Take Off (2017) Malayalam Movie Review by Veeyen”
‘Alamara’ states plainly that all those that are involved in the film deserved a material much better than this. Which is why, despite an impressive line up of a cast and crew, ‘Alamara’ barely rises above the fascinating concept at its core.
Mithun Manuel Thomas’ ‘Alamara’ is a film that is dragged down by some sloppy writing and routine execution. With almost zilch inventive fun moments, ‘Alamara’ strikes a low in both style and substance.
An almirah, gifted by the bride’s parents wreaks havoc in the lives of a freshly wedded couple Arun (Sunny Wayne) and Swathi (Aditi Ravi). With their respective parents adding to the ever escalating tension, Arun and Swathi realize pretty early in their married lives, that wedlock could indeed turn out to have a bolt that isn’t easily unfastened. Continue reading “Alamara (2017) Malayalam Movie Review by Veeyen”
Loaded with sensitivity, humour and wisdom, ‘C/o Saira Banu’ is an evocative take on parental care and personal bonds. And with a terrific cast at his disposal, Antony Sony makes certain that his film sticks with you, long after the show.
Antony Sony’s directorial debut is a gusty walk along the shores of life, as it follows a woman and her son grapple with an unforeseen storm that blows in. ‘C/o Saira Banu’ puts together some real sturdy acting feats from its lead actors and comes across as a competent feature debut, that works as much on emotions as it does on human experience. Continue reading “C/o Saira Banu (2017) Malayalam Movie Review by Veeyen”