The A-list when it comes to fantastic performances from women actors in Malayalam in 2017, comprises of five actors, three of whom are fresh faces that hold a lot of promise. Here they are!
The A-list when it comes to spectacular performances from male actors in Malayalam in 2017, comprises of five actors, all of whom have made massive splashes with their whopper acts in one or more films. Here goes.
In ‘Mayanadhi, director Aashiq Abu, armed with a dexterously penned screenplay, settles down to sensitively sketch a doomed tale of love. An impeccable reconstruction of an age-old narrative in an untested realistic setting, ‘Mayanadhi’ is the kind of film that holds a depth of meanings in those abstract gazes, a profundity of emotions in those unuttered words, and which leaves an inexplicable, seething sting at the upshot of it all.
Ajai Vasudev’s ‘Masterpiece’ has snippets from writer Udayakrishna’s former films, that the latter stitches together with a banal thriller thread and a few drained out jokes, making it appear a botched up film. And yet if you are the kind who might get goose bumps galore, watching Eddie hurl away a dozen goons all over the campus playground, you are more than welcome to grab that ticket right now.
An honourable try without doubt, but one which is strangely superficial, ‘Vimaanam’ strives to be exuberant, but turns out to be sluggish instead. A film that has its heart all over the place, this is an airplane that takes a while to take off, and which when it finally does, struggles to smoothly touch ground again.
‘Aana Alaralodalaral’ tries to make the best of what it has, but the sad thing is it doesn’t have much, and the little it has, has an outmoded air to it. The ultimate result of this trumpet that lasts for a couple of hours but which seems and sounds much longer, is nothing but mediocrity, and that too, stacks of it.
‘Aadu 2’ takes off not decidedly from where its former part had left off, since definitiveness certainly isn’t something that ‘Aadu Oru Bheekara Jeeviyanu’ could pride itself on. It’s a celebration of nothingness again, and through all the noise, clamour, hoots and wolf whistles, Paappan and his team vanish, perhaps to reappear a couple of years later, in another sequel.
With all the human presence, it’s the loud honking, smoke puffing monster centipede of a truck that grabs and keeps your attention all along. Despite a very odd guess-the-man game that plucks the fun out of it, ‘Overtake’ is a daring visual adaptation that does have its few moments.
It’s a nothing plot that evolves into nothing that messes up ‘Goodalochana’. Strange and sad, since all that colour, energy and flair that it had in store, looks regrettably frittered away in this stratagem sans a strong spine.
‘Vishwa Vikhyatharaya Payyanmar’ is a dismayingly frivolous affair that should disappear into oblivion much faster than it probably thought it would. Quickly running out of charms, it’s a disposable cinematic experience that is peeled and tossed away, the moment you walk out of the theatres.
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.