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.
There are a few masterly strokes of the film maker that are on display in ‘Varnyathil Aashanka’ that point at how compelling a film it could actually have been. It’s a figure of speech that gets its act only partly right, and its hesitance to fully embrace its goofiness, renders it a much lesser movie than one anticipates it to be.
Venugopan’s ‘Sarvopari Palakkaran’ has as much of Pala in it, as there is prose in prosody. A film that has literally nothing to do with Pala or Palakkad for that matter, Sarvopari Palakkaran’ gains its ceremonious title from the mere fact that its male lead hails from Pala.
‘Chunkzz’ is a catastrophic celebration of sexist jokes that will have you running for cover. In his second directorial venture after ‘Happy Wedding’, Omar Lulu tries his luck with the same trite formula once again, and scores further down the rung.
‘Kadamkatha’ has little to proffer apart from a few faux insights that make an appearance towards the very end. And it’s a very long wait indeed for that final statement, with a screenplay that runs along a done-to-death trail for almost all of its running time.
Saheed Arafath’s film takes it real slow, but keeps its passion intact, and works on its patience to evolve into a film that has a life of its own. Beautifully captured on screen and adroitly directed, it could very well boast of being a notable film that unfolds its tale in its own sweet time.
‘Minnaminungu’ is not a mere tale of resilience and determination. It is an estimable film, the slip-ups of which are brilliantly veiled by a terrific lead, who thereby elevates it to much loftier heights. Unhurried in pace and simple in structure, it’s also a classic case of a fine actor standing tall over material.
There is the final scene that for me is the very best thing about ‘Sunday Holiday’, where the tales cross over to skilfully amalgamate into one. And it is this point that leaves you rueful, and wish that the romance that had preceded it had the bite that could have smartened it up into an evenly exhilarating cinematic experience.