‘Kumbalangi Nights’ is much more than an account of four brothers on a frenzied quest to find themselves and each other. Drenched in a matchless mix of human emotions that range from hilarity to hopelessness, it’s a superb film that drives you into raptures and which is infused with figurative undertones, structures and symbols that hold a striking mirror to the times that we live in.
‘Lonappante Mamodeesa’ is a decent, easy watch, that despite all its hitches retains its capacity to charm. It’s also an assertion as to how even the commonplace, at times, has the ability to draw and delight.
Bilahari’s ‘Allu Ramendran’ is a scaled down ‘Maheshinte Prathikaram’ that talks of how individual enmity and personal vendetta could rule and ruin human lives, when it turns obsessive and fanatical. What it lacks are the emotional nuances and that the fine sensibilities latter film had in abundance.
Brilliantly performed, visually striking and deftly structured, ‘Peranbu’ is an avowal of a fortune that we live with every day, and a prompt to remain forever thankful for the miracle called life. Beyond the personal odyssey of a dad and a daughter caught up in a whirlwind of existence, it is an exemplary exploration of faith, compassion and above everything else, acceptance.
‘Irupathiyonnam Noottandu’ has a contemporariness that is regrettably restricted to its title. Beyond that, it’s a hollow show that cinematically falls way behind its times.
The macho rhythm that Adeni attempts to work up with ‘Mikhael’ is the kind that could be passable at the moment, but forgettable soon after. Which is why despite all its attempts to be a swanky action flick, it strikes you as a charade more than anything else.
There is a short epilogue of sorts that follows ‘Praana’, that affirms that what we have watched is a fictional depiction of the reality around, and reminds us that life, after all is a bit too precious. No worries there. We are gonna pull along hopefully, despite a shaky start to the new cinematic year with an offbeat, and sadly off-track ‘Praana’.
‘Neeyum Njanum’ threads together an exceedingly prolonged strand of events that fails to have an emotional impact on the viewers. Drained of specificity, ‘Neeyum Njanum’ makes use of stock romantic situations and bundles them together as a cluttered whole.
‘Vijay Superum Pournamiyum’ has a pretty atmosphere that is accentuated with solid performances and compelling moments that glimmer here and there. But it regrettably lacks the requisite natural vibes to render it the charm that could have transferred it to the next level – that of a wholly agreeable entertainer.
Here is the list of 5 film makers in Malayalam who got us super-excited last year, with their cinematic accomplishments. Clearly headed for much bigger things, these film makers are a mixed lot – established craftsmen to novices that hold a bundle of flair within. These aren’t strict rankings of course and neither are these film makers to be viewed in a chronological order of diminishing importance. Rather, this is a comprehensive roll of five directors who shone plenty of their talents around and had us all impressed in 2018.
2018 is just round the corner, and looking back, here is a carefully picked out bunch of films that made a resounding impression during the former cinematic year. Picking the top five favourites from an expansive lot is quite a daunting task without doubt, and there are bound to be a few misses whichever way you look at it. And yet, here is the year-end list – the A-List of Five Spectacular Malayalam Films of 2018 – that comprises of five cinematic gems, not in any particular order, that made it to the screen in 2018.