‘Kaaval’ might find great favor among Suresh Gopi’s fanbase, but might lack the knockout punch for the rest. I for one, at this point, would love to watch Gopi experimenting with roles that demand the unexplored actor in him, rather than attempt a re-run of flicks that we have animatedly watched him in and applauded for, years back.
‘Forensic’ despite all its admirable intentions and terrific performances fails to offer a genuine thriller ride to its audience. Striving hard to bring in as many interest elements as it possibly can, it indulges in a profusion of twists and turns, that only partly pays off in the end.
The humour is intermittently effective, and at times all over the place; there is so much happening on one side, and so little on the other. The context is as unreal as it gets, plenty of opportunities are missed, and grace is far from sight.
Filmmaker Vivek proves beyond doubt that he has an eye for visual detail, and even does a brave crossover to a few alien realms, but what he seriously lacks here is a compelling tale that would keep the viewers dangling on the edge. Which is why, despite all the creepy moments, and that final mandatory twist at the end, ‘Athiran’ feels like it actually set out to be so much more than what it actually turned out to be.
Prajesh Sen’s sparkling directorial debut ‘Captain’ shines the spotlight on the life and unfortunate demise of an incredible footballer, who wore unrivalled accomplishments on his sleeve. A glorious tribute to a player who eventually got worn out grappling with personal demons, Sen’s malleable biopic is a perceptive portrayal of the player, and more importantly, the man that V P Sathyan was.
Buried deep beneath the idealistic blabber on revenge and redemption is a sluggishly formulaic thriller plot that renders ‘Villain’ a banal film. Meekly proficient and mostly deflecting, it’s a prolonged rattle that isn’t exactly music to one’s ears.
It seems to be raining title misfires and Leo Thaddeus’ latest film ‘Oru Cinemakkaran’ swiftly adds itself to the club. Granted that there is the incessant talk of being in films and that the principal character is a filmmaker aspirant, and yet ‘Oru Cinemakkaran’ is as much about cinema as fulsome has to do with being full.
‘Role Models’ neatly fritters away a talented cast and comes across as more galling than humorous. This is a missed opportunity for sure, and one that lacks any real spark or spur.
Basil Joseph’s tweaking of the sport movie recipe in ‘Godha’ works wonders and lifts it up straight on to a prized zone occupied by some of its triumphant predecessors. Strikingly directed and deftly written, ‘Godha’ steps up the rules of the game and wins the combat in a superb take-down.
‘Georgettan’s Pooram’ is a festive film that has its crackers bursting all over the place, hoping to enthuse its viewers with a glittery show of sound and colours. The show over, its blankness becomes way too apparent, and only the distant reverberations of the blasts and bangs and the pungent odour of the smoke remain.
‘Alamara’ states plainly that all those that are involved in the film deserved a material much better than this. Which is why, despite an impressive line up of a cast and crew, ‘Alamara’ barely rises above the fascinating concept at its core.
Mithun Manuel Thomas’ ‘Alamara’ is a film that is dragged down by some sloppy writing and routine execution. With almost zilch inventive fun moments, ‘Alamara’ strikes a low in both style and substance.
An almirah, gifted by the bride’s parents wreaks havoc in the lives of a freshly wedded couple Arun (Sunny Wayne) and Swathi (Aditi Ravi). With their respective parents adding to the ever escalating tension, Arun and Swathi realize pretty early in their married lives, that wedlock could indeed turn out to have a bolt that isn’t easily unfastened. Continue reading “Alamara (2017) Malayalam Movie Review by Veeyen”