The incidental pleasures that Dileesh Pothan’s film ‘Thondimuthalum Driksakshiyum’ offers are many, like the sardonic wisecracks and the continual cackles, while it fundamentally holds an indelible charm inside. A luminously acted rumination on the ifs and buts of life, ‘Thondimuthalum Driksakshiyum’ has enough emotional and dramatic drive to let it qualify as a class act with exceptional intelligence and grace.
It seems to be raining title misfires and Leo Thaddeus’ latest film ‘Oru Cinemakkaran’ swiftly adds itself to the club. Granted that there is the incessant talk of being in films and that the principal character is a filmmaker aspirant, and yet ‘Oru Cinemakkaran’ is as much about cinema as fulsome has to do with being full.
‘Role Models’ neatly fritters away a talented cast and comes across as more galling than humorous. This is a missed opportunity for sure, and one that lacks any real spark or spur.
‘Avarude Raavukal’ falls short of the basic dramatic tension that drives a film forward. Running for two hours and eleven minutes, it fruitlessly tries to draw out a tissue thin thought into a feature film that sloppily lands all over the place.
No prizes for guessing that its an animal world out there, and Buster Moon, the koala comes up with one last attempt to revive his dilapidated theatre. He announces a singing competition, which brings a host of prospective singers scurrying to his stage.
I often wonder why it is, that when it comes to Melissa McCarthy, my fellow film lovers are split to extremes? I for one, have had a tremendous liking for the actor, ever since I watched her in action in ‘Bridesmaids’, and thought she was nothing short of an investigator rock-star in Paul Feig’s ‘Spy’.
Fifty years after ‘The Sound of Music’, its lead actor Christopher Plummer looks a pale shadow of Captain Von Trapp. And yet, in Atom Egoyan’s ‘Remember’ Plummer is unbelievably good, and with a stunning performance, even prompts a re-watch.
Israeli film maker Yariv Mozer dabbles with sexuality in his film ‘Snails in the Rain’, and comes up with a redolent piece of film making. Based on a short story, ‘Snails in the Rain’ demonstrates how easily conventional sexual prototypes could be broken down.
Director Jafar Panahi hops aboard a taxi in Tehran, and lends an ear to his passengers, as they in turn, bare their minds to the driver. His passengers range from a vendor of pirated videos to his young niece who is all set to shoot a short film, from a human rights lawyer to a couple of women with gold fishes.
As much as I dislike films that are almost entirely shot in the dark, I should admit that the creepiness that some of them bring into their fold is admirable. Fede Alvarez’s ‘Dont Breathe’ has almost all of its action happening around the murky corners of a dimly lit old house in the dead of the night. Despite all this, I end up scared at least a couple of times, which is a good thing when it comes to films in this genre.
Timothy Conigrave’s 1995 memoir is brilliantly adapted for the big screen by Neil Armfield, through a screenplay, adeptly penned by Tommy Murphy. Ryan Corr and Craig Scott play the leads in the moving drama that runs for just a little further than two hours.