All said and done, ‘Shylock’ could strike you as the ultimate entertainer if you happen to be a die-hard fan, looking forward to watching his screen idol in an indomitable avatar. For the rest, it is hardly anything beyond a much-told tale that has been re-stitched with bits of pieces of star adulation intended to fit the towering charisma of its star.
‘Al Mallu’ would be another mediocre entry into the genre of films that has every intention to take upon grave issues related to women, but end up fooling themselves. By the time it’s over, neither the film nor the subject that it had concerned itself with remains in your memory, and all that you are left thinking about is how the film had hit the bottom.
On retrospect, there is hardly anything redeeming in Siddique’s ‘Big Brother’ that would leave you exhilarated or even mildly energised. All this film does manage to do is bring back fond reminiscences of those wonderful films that the film maker had once gifted us with, and dwell on how remote and futile his recent cinematic endeavours had emerged to be.
Despite the very obvious passion that it holds for the genre, M Padmakumar’s ‘Mamangam’ is miles away from the estimable cinematic piece that it could have been. With a tightened format and a focused script, this is a film that could have been as magnificent a fest as ‘Mamangam’ must have been, but which goes up in flames despite an exorbitant budget and a stellar cast.
‘Happy Sardar’ is a perfect example of how a probably brilliant idea on paper could evolve into a damp squib on screen. There is a fat chance that the romance in it would move you or the comedy in it would have you clutching your stomachs, and sans any real thought or notion, this Sardar and his gang brings you no joy.
The fine intent notwithstanding, ‘Shubharathri’ does not seem to acknowledge the tremendous transformation that has occurred to cinema in this corner of the world. A bit too aged to make an impression on today’s viewers, it’s a film with a valid message that unquestionably deserved a much finer treatment.
‘And the Oscar goes to’ does not rise to the stature of Salim Ahmed’s former films, and while it would be unjust to indulge in a comparison as such, it is also inevitable. While it does suggest that there is nothing more magical than what could be conveyed by the medium of cinema, it delivers the said magic, but only in very brief spurts.
The structural elements of ‘Uyare’ are bound to be familiar and the genre expectations are all in place, in that it has all the essential prerequisites of a survivor story. And yet, it’s a story that needs to be told, time and again, in a world that has turned a bit too dark with relationships that have gone all adrift.
Barring its protagonist who has a stammer-with-a-reason for a change, ‘Kodathi Samaksham Balan Vakeel’ is a swing and miss that plays a safe game throughout.
‘Ente Ummante Peru’ strikes you as a missed opportunity, with a handful of awesome performers lending their very best to a tale that does little justice to them. Despite all its earnestness it fails to connect with the viewers, and comes across as a detached, overwrought cinematic piece.
‘Odiyan’ is a film that needs to be analysed for what it was to be, and what it actually turned out to be. It’s a film that lets a captivating folklore wash effortlessly down a drain, its magic mercilessly muddled by the murk and mud around.