M Padmakumar’s ‘Joseph’ would be remembered for long for the actor that Joju George is, and belongs to the category of films, where an actor towers over everything else around with an astounding performance that overwhelms.
Efforts are made to keep the fervour level hitting the ceiling, and it possibly even means well, but ultimately ‘Ladoo’ ends up a film that doesn’t deserve any hate, but is hard to like as well.
This warfare could have been tons more fun had ‘Padayottam’ a tighter story-line to fall back on. As it is, it strikes you as a series of intermittently amusing moments, loosely looped together by a plot fabric that severely lacks a strapping context.
‘Neerali’ is quite like the vehicle that latches on to a tree trunk, hanging on for its dear life. It’s only a matter of time before the trunk gives way and the final drop down ensues; carrying down with it a script that is more of a slog, dialogues that are corny to the core and performances that are utterly misplaced in all the chaos.
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.
The year is about to draw to a close, and it’s that time of the year when you loll on the couch and recount the best cinematic experiences that you have had in the course of the past twelve months that had swiftly flitted by. It has been one eventful year for sure, that saw many an appealing and inventive film, making it to the theatres and readily being applauded and acknowledged as first-rate efforts. What follows is anything but a comprehensive list, and what it endeavors to do instead, is to lay out five films that I deem as movies that are certainly not to be missed, and which make it to my final December chart this year!
The incidental pleasures that Dileesh Pothan’s film ‘Thondimuthalum Driksakshiyum’ offers are many, like the sardonic wisecracks and the continual cackles, while it fundamentally holds an indelible charm inside. A luminously acted rumination on the ifs and buts of life, ‘Thondimuthalum Driksakshiyum’ has enough emotional and dramatic drive to let it qualify as a class act with exceptional intelligence and grace.