Buried deep beneath the idealistic blabber on revenge and redemption is a sluggishly formulaic thriller plot that renders ‘Villain’ a banal film. Meekly proficient and mostly deflecting, it’s a prolonged rattle that isn’t exactly music to one’s ears.
While it remains that there is little wrong with blatantly brandishing a view point through a film, to remain blind to the manifold complexities and fine nuances that do not let the real world be easily partitioned into clear cut cubicles of extremities, could prove to be fatal. This takes a toll on the believability of the film, without doubt, and strips it of the possibilities of reflection, if any.
‘Crossroad’ is a loosely screwed in ensemble, pieces of which keep falling off every time it tries to punch in a point. It’s unlikely to be remembered as a benchmark in portmanteau films, and leads you into the hum-ho zone in no time. Strike off those last three shorts, and you might literally find yourself stranded on the crossroads with this one.
A primitive allure that had been long lost makes a revisit through ‘Kaattu’, and it’s a peculiar combo of the dismal and the lyrical that Arun Kumar Aravind comes up with in his new film. It’s a complex character drama that is tonally and visually notable; a foreboding and dark tale that makes for austere viewing and told with an uncanny grace.
The very evident intent is to craft a wild and crazy run, but the character development in ‘Lava Kusha’ renders it a routine endeavour. The fleeting moments of humour aren’t enough to retrieve this middling enterprise that makes you forget even the odd smiles that it generates by the end of its agonizingly extended running time.
It’s a huge risk to dabble with anthologies, and Bejoy Nambiar takes on the task with immense ambition. But as a collective, ‘Solo’ runs with sparsely solid segments, that scores a point for its structure and format, but falls short of filling it up with germane and gripping substance.
It could only be a real zany mind that would have the nerve to start off his film the way Dominic Arun does, that within minutes has the audience dropping their jaws – either in amazement or in morbid fear of what’s in store for the next couple of hours. The effect is pretty much similar to what Terry Zwigoff accomplishes with ‘Bad Santa’, where he adeptly replaces the chubby, soft footed, white bearded old man that we have long been accustomed to, with a drunken, bad-ass, swearing champ, Billy Bob Thornton.
‘Udaharanam Sujatha’ is an agreeable tale, the logic and realism of which, could forever be questioned. And yet this is the kind of genial material with which upbeat and buoyant films as these are made, and dreams – both mine and yours – are spun.
‘Sherlock Toms’ is a daft film that is neither alluring nor even remotely interesting. Forget all the incoherence that underlies it, it’s a comedy that glumly fails to conjure up even some simple laughter that would render it memorable or worthwhile.
Arun Gopi’s debut film ‘Ramaleela’ stringently adheres to the requisites of a political thriller , and weaves a tapestry of recognized scenarios to keep the exigencies in check. He is let down by the writing though, where a palpable plot that starts off pretty well meanders into a course that offers much less cheer.
‘Pokkiri Simon’ is less of a tribute to a superstar, and beneath all the confetti, wolf whistles and blaring horns lurks a tale that’s all set to go on a detour. And when it does, it takes the entire film with it, toppling down like a pack of cards, and very soon losing its way among done-to-death plotways.