Mass, double mass, and triple mass; all said and done, the final scene of ‘Madhura Raja’ is all suggestive – that ‘Minister Raja’ will follow. So much has happened and the next time, I tell an exhausted self – you should probably think of taking down notes.
In Sujith Vasudev’a ‘Autorsha’ there is an abundance that spills over, literally and which overflows along the seams. Brimming over with characters left, right and center, ‘Autorsha’ is a film that apparently has plenty to tell, and even does so, but which in the process, tips out its contents all over the place.
There is a final sewing up of the loose pieces that is expected to do the film good, but you are hardly concerned by then. The boat has already been missed, and the dock has been long closed.
There is no denying that the premise of ‘Aadhi’ is one that has been around for ages in cinematic history; you are the sole witness to a horrific incident, you get implicated in it and you run for your dear life, all the while striving to disentangle yourself from the terrible mess that you suddenly find yourself embroiled in. It has all been said and done, and Jeethu Joseph’s script of ‘Aadhi’, strictly follows the prescription, in plotting and characterization.
‘Daivame Kai Thozham K.Kumar Akanam’ looks, sounds and seems a haphazardly joined piece that hardly manages to hold itself together. A laugh here or another one there is all that it has to offer, and for a film that runs for one hundred and fifty minutes, that is a pretty much hefty price to pay.
It seems to be raining title misfires and Leo Thaddeus’ latest film ‘Oru Cinemakkaran’ swiftly adds itself to the club. Granted that there is the incessant talk of being in films and that the principal character is a filmmaker aspirant, and yet ‘Oru Cinemakkaran’ is as much about cinema as fulsome has to do with being full.