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.
There is without doubt tremendous cinematic material in the momentous life that YSR lived, but this film has none of the masterful strokes or moments that it demands.
Brilliantly performed, visually striking and deftly structured, ‘Peranbu’ is an avowal of a fortune that we live with every day, and a prompt to remain forever thankful for the miracle called life. Beyond the personal odyssey of a dad and a daughter caught up in a whirlwind of existence, it is an exemplary exploration of faith, compassion and above everything else, acceptance.
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.