‘Virus’ is an effectual ensemble piece that marvellously bonds together the pieces of a jigsaw, thereby rendering complete, a story of how fortitude eventually stamps over irrepressible fear. Emotionally pervasive and unnervingly real, It is also the kind of film that makes you go for a few extra dabs of your hand sanitizer, as you get all set to key down a review.
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.
Thattumpurath Achuthan’ looks way out of place and period as the planet gets all ready to spin its way into 2019, and leaves you unfulfilled and peculiarly droopy.
Soumya Sadanandan’s film feature debut is majorly marred by some bland writing that fails to hold itself all together. Which is why, ‘Mangalyam Thanthunanena’ strikes you as a vehicle with a flat tyre that is quite unlikely to make a move across viewer hearts.
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.
‘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.
Sugeeth in his latest film ’Shikari Shambhu’ seems to have taken to the belief that a tiger hard-pressed into a story that is as old as cinema itself could make all the difference. It gets caught somewhere between a comic book and a thriller, ending up neither.
Anil Radhakrishnan Menon’s new film ‘Diwanjimoola Grand Prix’ is a far cry from his impressive debut ‘North 24 Kaatham’; a gem of a film that we invariably go back to every time a new movie of his is released. With a script that looks all in tatters, ‘Diwanjimoola Grand Prix’ is a tired out genre flick that squeezes in oodles of talk on culture and what not, but hardly brings anything new to the table.
There are a few masterly strokes of the film maker that are on display in ‘Varnyathil Aashanka’ that point at how compelling a film it could actually have been. It’s a figure of speech that gets its act only partly right, and its hesitance to fully embrace its goofiness, renders it a much lesser movie than one anticipates it to be.
The feminist ideologies that ‘Raamante Eden Thottam’ puts to the fore accentuate that life for a woman lies further beyond the restrictive realms of a despondent marriage. There is a fierce sense of gravity that shrouds the smile on Malini’s face as she steadily walks towards the camera in the final scene; and it is probably this bright moment that would make us overlook all those detracting blotches that had marked her long journey.
The biggest realization that ‘Take Off’ leaves in its wake is the thought that even as I key in this word in the comfy confines of my study room, thousands of horrified humans elsewhere are being subjected to unimaginable terror and torment for no fault of theirs. Which is what makes Mahesh Narayanan’s film an upsetting and thorny experience, but one without which your film year is bound to remain incomplete.
As the border gates between Iraq and Kurdistan are thrown open, the worn-out Indian nurses who had been through hell fire and back hurriedly stagger across the border towards the Indian tricolour fluttering at the other side, and then break into a run, respite and joy writ large on their faces. This stellar climatic scene of Mahesh Narayanan’s ‘Take Off’ is perhaps the best that I have seen in recent years, and one that could only be watched with goose bumps all over. Continue reading “Take Off (2017) Malayalam Movie Review by Veeyen”