‘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.
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.
‘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.
While it remains that there is little wrong with blatantly brandishing a view point through a film, to remain blind to the manifold complexities and fine nuances that do not let the real world be easily partitioned into clear cut cubicles of extremities, could prove to be fatal. This takes a toll on the believability of the film, without doubt, and strips it of the possibilities of reflection, if any.
This isn’t the first time that we have seen men acting like juvenile boys in Malayalam cinema, and it certainly won’t be the last. But what does one do, when a film cannot even make a respectable use of the clichés that have been garnered from all around?
‘Sathya’ has little for genre fans , since action certainly isn’t its forte. Totally missing bite, it’s a flat misfire of a film that is dull and inert at its core, and with far better options all around, ‘Sathya’ might find it difficult to outlive the box office week.