Even if you choose not to pay heed to the believability factor, ‘Careful’ remains resolutely rooted in mawkish mediocrity. It hosts a promising idea that is mostly lost in execution, and comes across as a hurriedly scripted didactic film on traffic rules.
At three hours and sixteen minutes, director Nuri Bilge Ceylan’s film ‘Winter Sleep’ is no quick watch, and is as much a solemn psychological sketch of a wealthy columnist in Cappadocia, as it is a philosophical analysis of the disparities that exist between the wealthy and the poor.
Yeah I know. Sometimes I reach there quite late, and with Peyton Reed’s ‘Ant Man’, I should admit that an almost morbid fear of the comics-to-films genre, pulled me back from giving it a go. And yet here I was the other evening, trying earnestly to find out what the Paul Rudd film had on offer.
‘XX’ is a horror omnibus film with a tagline that goes ‘four deadly tales directed by four killer women’. Women film makers Roxanne Benjamin, Annie Clark, Karyn Kusama and Jovanka Vuckovi, direct four films entitled ‘Don’t Fall’, ‘The Birthday Party’, ‘Her Only Living Son’ and ‘The Box’ respectively, while Sofia Carrilo frames the anthology in stop motion animated segments. Continue reading “XX (2017) English Film Short Review”
This isn’t the first time that we have seen men acting like juvenile boys in Malayalam cinema, and it certainly won’t be the last. But what does one do, when a film cannot even make a respectable use of the clichés that have been garnered from all around?
Rohith VS in his debut film ‘Adventures of Omanakuttan’ tries his best to shift away from a prosaic narrative, but his earnest efforts are quashed by a script that runs a bit too long, and gets a bit too weary after a while. Flaunting sparks of a promising film maker every once in a while, it’s a movie that places its entire gamble on an innovative plot device, and partially wins.
Basil Joseph’s tweaking of the sport movie recipe in ‘Godha’ works wonders and lifts it up straight on to a prized zone occupied by some of its triumphant predecessors. Strikingly directed and deftly written, ‘Godha’ steps up the rules of the game and wins the combat in a superb take-down.
The feminist ideologies that ‘Raamante Eden Thottam’ puts to the fore accentuate that life for a woman lies further beyond the restrictive realms of a despondent marriage. There is a fierce sense of gravity that shrouds the smile on Malini’s face as she steadily walks towards the camera in the final scene; and it is probably this bright moment that would make us overlook all those detracting blotches that had marked her long journey.
It’s quite easy to see how this material might have struck the makers as possible thriller fabric, and yet it is the writing that renders the tale flaccid. It hardly retains the intrigue that it cooks up after a while, and very languidly settles into a conservative groove, from where it shows no intention to rise up again.
Aji Mathew meanders across a road paved with grey stones in Nicaragua, where a girl dressed in a flaming red poof gown sashays down. This pretty much remains a visual statement on what the film is all about ; how empty it is beyond all the ocular flair that it displays, and how fleeting the impressions that it creates are.
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.