Aabhaasam (2018) Malayalam Movie Review – Veeyen


‘Aabhaasam’ is a scathing lampoon on the disgruntlement – social, political, religious and sexual – that underlies a literate society, and is a daring overnight drive to where we stand today. It holds fast to none of the conventionalities that one would expect of a commercial pot-boiler and truly living up to its title tosses cinematic decorum right into the drains.


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Ee Ma Yau (2018) Malayalam Movie Review – Veeyen


With ‘Ee.Ma.Yau’ Lijo Jose Pellissery surpasses himself, asserts once and for all that he’s a master craftsman who sees his dough even in a theme that is as stiff and unmalleable as a corpse (pun intended), and astutely crafts a chimerical ode to mortality. Hauling a perfect family portrait off the walls, Lijo smashes it on the floor, leaving us horrified beside a blue, lifeless body that grows colder by the minute, a bunch of riotous, bawling mourners and glimpses of nothing less than what looks like hell opening up above, as streaks of lightning intermittently part the dark skies.


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Uncle (2018) Malayalam Movie Review – Veeyen


There is a final tornado that Sruthy’s mom rakes up at a police station in ‘Uncle’ that makes you wish the rest of the film had half the vigour that this closing scene has. The social undercurrents are laid bare, the message is served, the speeches are done and the obligatory slap delivered. Inflated to the point of having swelled beyond recognition, ‘Uncle’ could have been the riveting film that it had aspired to be, in less than half its current screen time.


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Aravindante Athidhikal (2018) Malayalam Movie Review – Veeyen


‘Aravindante Athidhikal’ has a plot that is very basic, but filled with characters that are lively enough to sustain viewer attention.  It might not be the most original movie ever either, but is a sweet retelling of a familiar tale, that still leaves a few giggles and a faint gulp down your throat.


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Mohanlal (2018) Malayalam Movie Review – Veeyen


Yahiya’s film is at best a cinematic accolade to Mohanlal, but far from a glorious one. It strikes you more as an animated and keyed up rant on how much Lalettan is adored all over, but does little justice to the deep ingrained adulation and esteem that we hold for this terrific performer and person, or to the spectacular emotion called Mohanlal that leaves numerous generations of Malayali film lovers, all over the world, hopelessly enthralled.


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