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.
A bearded, sombre looking Colin Farrell plays a cardiac surgeon in Yorgos Lanthimos’ ‘The Killing of a Sacred Deer’ – Dr. Steven Murphy – who befriends a young teen named Martin, for reasons best known to the two. As Martin inches his way closer to the doctor’s family and starts treading and trampling ever so softly on his life, a concerned Anna (Nicole Kidman), Steven’s wife, insists that she knows what it is that binds the man and the boy together. Continue reading “The Killing of a Sacred Deer (2017) English Movie Short Review”
‘Aalorukkam’ tackles the complexity of the issue that it confronts with élan, and does not flounder around in dramatics as is usually the case. And for once, the promise is kept; perhaps it’s the first of its kind, at least thematically, in cinema in this corner of the world.
‘Oraayiram Kinakkalal’ lives on material that has pretty much exhausted itself long back, and strikes you as a wasted opportunity more than anything else. The actors deserve better, and so does the audience, since these are dreams and plans gone awry in unimaginably slapdash ways.
‘Parole’ is a film that hardly has anything original or memorable about it. Trying hard to cash in on an actor’s stardom, it throws in liberal doses of political and familial sentiments hoping to workup the goose bumps, none of which serves any purpose.
Tinu Pappachan in ‘Swathanthryam Ardharathriyil’ seeks to craft an ultimate jailbreak film, and constructs a sweaty, scorching hell of a prison at Kottayam for the purpose. He then gets his inmates ready for the final getaway on a midnight express, and takes us along on their trail to escape, that has its fair share of moments and a few non-moments.
‘Vikadakumaran’ does not manage to work wonders with the slender thread of promise that lies at its core. This one has a plot that gets creakier with time, and at two hours and ten minutes, it huffs and puffs along, before eventually running out of steam.
‘Kuttanadan Marpappa’ tries to make do with the done-to-death romantic tropes and ends up a much less assured version that it originally must have set out to be. The leaden comic touches do not much help either, and it isn’t a wonder that it ends up in the water, quite like many of its characters who literally do in the film.
Heartbreaking, hilarious and hopeful by turns, ‘Sudani from Nigeria’ is a glorious triumph whichever way you look at it, be it the exemplary performances, the proficient scripting or the competent direction. Words would probably do little justice to this gem of a film, that should not, at any cost be missed in the theatres.
I wonder if Sanal had any intention to subvert the horror norms with ‘S Durga’, but in crafting a terrorizing film that takes you on a night ride with the beasts that assume human shapes, he has precisely done so. In the process, he has compellingly stripped a stained society of its genteel masquerade and makes it stand stark naked before you, unleashing the uncontainable fiends that wordlessly roam within, whom you had guardedly kept your gaze away from, all your life.
The intrigue that shrouds the title ‘Ira’ barely makes its ways into the film. It is less about victims or even victimization and more a customary plot on the hunters and the hunted; a generic fare that simply isn’t rousing enough to have your hair standing on its ends.