Brilliantly performed, visually striking and deftly structured, ‘Peranbu’ is an avowal of a fortune that we live with every day, and a prompt to remain forever thankful for the miracle called life. Beyond the personal odyssey of a dad and a daughter caught up in a whirlwind of existence, it is an exemplary exploration of faith, compassion and above everything else, acceptance.
‘Irupathiyonnam Noottandu’ has a contemporariness that is regrettably restricted to its title. Beyond that, it’s a hollow show that cinematically falls way behind its times.
The macho rhythm that Adeni attempts to work up with ‘Mikhael’ is the kind that could be passable at the moment, but forgettable soon after. Which is why despite all its attempts to be a swanky action flick, it strikes you as a charade more than anything else.
There is a short epilogue of sorts that follows ‘Praana’, that affirms that what we have watched is a fictional depiction of the reality around, and reminds us that life, after all is a bit too precious. No worries there. We are gonna pull along hopefully, despite a shaky start to the new cinematic year with an offbeat, and sadly off-track ‘Praana’.
‘Neeyum Njanum’ threads together an exceedingly prolonged strand of events that fails to have an emotional impact on the viewers. Drained of specificity, ‘Neeyum Njanum’ makes use of stock romantic situations and bundles them together as a cluttered whole.
‘Vijay Superum Pournamiyum’ has a pretty atmosphere that is accentuated with solid performances and compelling moments that glimmer here and there. But it regrettably lacks the requisite natural vibes to render it the charm that could have transferred it to the next level – that of a wholly agreeable entertainer.
Thattumpurath Achuthan’ looks way out of place and period as the planet gets all ready to spin its way into 2019, and leaves you unfulfilled and peculiarly droopy.
‘Ente Ummante Peru’ strikes you as a missed opportunity, with a handful of awesome performers lending their very best to a tale that does little justice to them. Despite all its earnestness it fails to connect with the viewers, and comes across as a detached, overwrought cinematic piece.
The jumps and bumps that are expected in a film that falls into this genre are far from sight in ‘Pretham 2’. A jaded horror thriller with none of the fiery thrills, Ranjith Shankar’s ‘Pretham 2’ talks of a troubled spirit that barely leaves you in good spirits.
‘Njan Prakashan’ does not break any new ground when it comes to the tale that it narrates. And yet, it is a film that needs to be watched for the performer that Fahadh Faasil is, and as much corny as it might sound to state that the actor in him has surpassed the ruts and dips in the script yet again, it couldn’t be any closer to actual fact.
‘Odiyan’ is a film that needs to be analysed for what it was to be, and what it actually turned out to be. It’s a film that lets a captivating folklore wash effortlessly down a drain, its magic mercilessly muddled by the murk and mud around.