‘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.
‘Ayal Sasi’ strikes us as a counter measure to religious bigotry and cultural hysteria. Sajin Baabu and his deliciously irreverent work promises to force no amendments; rather it revels in an odd sense of acceptance and focuses on the absurdity of it all, where in lies its absolute charm.
At the end of an extremely long narration, vice is vanquished and righteousness triumphs. And you look back at it and what you see is an overly self indulgent film that never really knew where to knock it off, and which has instead evolved into an easily foreseeable experience that is obsessed with its own importance.
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.