Sethu’s film like many of its predecessors, is one that is obsessed with the charisma of its leading star, that everything else, including the plot and the narrative are tossed into the Kuttanadan backwaters.
It’s quite a recognizable mystery franchise that ‘Abrahaminte Santhathikal’ lays out before you. And it’s this throwback familiarity that holds it back throughout, even as it tries hard to fit in every known thriller trope into its folds.
There is a final tornado that Sruthy’s mom rakes up at a police station in ‘Uncle’ that makes you wish the rest of the film had half the vigour that this closing scene has. The social undercurrents are laid bare, the message is served, the speeches are done and the obligatory slap delivered. Inflated to the point of having swelled beyond recognition, ‘Uncle’ could have been the riveting film that it had aspired to be, in less than half its current screen time.
‘Parole’ is a film that hardly has anything original or memorable about it. Trying hard to cash in on an actor’s stardom, it throws in liberal doses of political and familial sentiments hoping to workup the goose bumps, none of which serves any purpose.
Shamdat decides to go for a partly experimental account in ‘Street Lights’, but gets stuck with mostly one-dimensional characters in underdeveloped situations. With an add-on climax that goes on a few minutes even after all the action has come to a close, ‘Street Lights’ seems and sounds a bit too contrived to be real.
Ajai Vasudev’s ‘Masterpiece’ has snippets from writer Udayakrishna’s former films, that the latter stitches together with a banal thriller thread and a few drained out jokes, making it appear a botched up film. And yet if you are the kind who might get goose bumps galore, watching Eddie hurl away a dozen goons all over the campus playground, you are more than welcome to grab that ticket right now.
‘Puthan Panam’ is a film that is conspicuous by the absence of a director and a writer whom we hold close to our hearts. It’s a lackadaisical film that is as cold as the revolver around which it revolves; a tangled hodgepodge of ideas that is stretched to ridiculous extremes.
Haneef Adeni displays a distinct identity as a film maker and without doubt is a noteworthy addition to the crop of promising young directors in Mollywood. And yet, if ‘The Great Father’ cannot break away from from the psycho thriller déjà vu, it’s only because of the too recognizable narrative ploys that plague its screenplay.
Phew! That small teaser trailer of ‘The Great Father’ that was released along side Prithviraj’s ‘Ezra’ today has created ripples in the cyber world already. Directed by Haneef Adeni, ‘The Great Father’ was to be a Christmas 2016 release and would soon make it to the theatres. Continue reading “Meet Mr. David Ninan, the non-smoker!”
There used to be a time when fans of the two lead actors in Mollywood, Mammootty and Mohanlal, engaged in a war of words – online and offline – every time a film of either of the actors was released. One thought, things would get better as years passed by, but looks like things have only got worse. Continue reading “Aren’t we done with the number games in Mollywood yet?”
(Pic courtesy: www.timesofap.com)
The transsexual politics in South Indian cinema has been solely one-dimensional, what with the transsexuals, largely occupying the fringes of the industry as extra artistes or makeup assistants. Even when they have been offered roles in films, they have often been relegated to comic images of gaudily attired, men-thirsty vampires. Continue reading “Anjali Ameer and the Changing Transsexual Politics in South India Cinema!”