There is no way in which we could turn our faces away from the pertinence of the theme, and its truer than ever today that as technology overwhelms our lives, a button press could wreck a series of lives, including ours. In addition to the significant stream of thought that it offers, ‘Vikruthi’ is also is a decently appealing film that has its bountiful share of charming moments.
‘Manoharam’ has those sparks that you cannot definitely miss, but leaves you wanting for much more. It’s surely not without its charms, and yet it rarely rises above the level of its conventional premise.
A story that could have struck gold a couple of decades back, Mammootty in a role that does justice neither to him nor to the hundreds of thousands of his admirers all over the world and slipshod film making that is all over the place – Ramesh Pisharody’s ‘Gana Gandharvan’ is best summed up in these three terse statements.
‘Rubaru Roshni’ is a stark reminder of the arbitrary ways traversed by the human mind and its immense potentiality to heal and be healed. Brimming with subtle nuances it narrates three heart wrenching tales that should serve as visceral memoirs of the immense power to forgive, if not to forget, and the indomitable goodness that we all sport within.
Arun directs his experienced and gifted cast quite sensitively, and rewards us with one of the most emotionally charged films of the year. This is also the reason why ‘Finals’ turns out to be my personal pick from the festival releases this year – a film that skillfully blends a heartbreaking tale with impeccable performances and some genuine, ingenious directorial vision.
‘Ittymani: Made in China’ lives up to its title in that it strikes you as a disastrous duplicate, and a trite one at that. Preposterous and preachy to the core, this is a film that does no justice to the talented thespians that it has on board.
It goes without saying that it’s a miracle that the film makers believed that a theme as this could work wonders in 2019. And it’s even a greater marvel that they got several sensible heads to give a nod to this project that could have probably made a ripple a good fifteen or twenty years back.
Appearing laboured and disconnected, and carrying very little intrigue, ‘Love Action Drama’ is a perfect example of what could be termed as fluff entertainment. There is barely a silent moment in this almost two and a half hour long sight and sound blast, and all you keep wishing for amidst all the cacophony is that it had a sound story to tell as well.
‘Porinchu Mariam Jose’ does not have specific points where it starts losing its way. Rather the antique tale that it narrates usurps both the aspirations of its maker and the efforts of its terrific cast, rendering it a stylized cinematic piece that is bracing to look at, but which sounds obsolete to the core.
‘Ambili’ lacks the beautiful dexterity that had made the director’s ‘Guppy’ a one of a kind experience. But it does pick up the brush and in a few masterful strokes leave a beautiful painting on screen that leaves you all impressed by the artful flourishes on show.
While it’s surprising that film as these continue to be made, it also has to be realized that ‘Kalki’ is more of an unapologetic testosterone show. It holds no false promises and delivers what it believes in, as inflated and incongruous as it appears to be.