‘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.
Despite all the mishaps and triumphs that mark Kuttimama’s life, this film is hardly any reason for celebration. V M Vinu’s ‘Kuttimama’ gradually and incompetently builds a hero; and by the final scene that we had talked about at the beginning of the review, the crafting, as mundane as it appears, is complete.
‘Njan Prakashan’ does not break any new ground when it comes to the tale that it narrates. And yet, it is a film that needs to be watched for the performer that Fahadh Faasil is, and as much corny as it might sound to state that the actor in him has surpassed the ruts and dips in the script yet again, it couldn’t be any closer to actual fact.
The well worn plot and the familiar characters in the film are impossible to root for. Sreekrishnan’s ‘Paviettante Madhurachooral’ strives to drive out the angst of its leads on to its viewers, but hardly scores.
‘Aravindante Athidhikal’ has a plot that is very basic, but filled with characters that are lively enough to sustain viewer attention. It might not be the most original movie ever either, but is a sweet retelling of a familiar tale, that still leaves a few giggles and a faint gulp down your throat.
‘Kalyanam’ makes a celebration of being lost in its formulaic twirls, and forces an unabashed repetition of household instances from a dozen romantic capers of yore. It’s a pretty tiresome marriage, as my fellow spectator insists, one of which, the jubilations are very unlikely to last long.
There is the final scene that for me is the very best thing about ‘Sunday Holiday’, where the tales cross over to skilfully amalgamate into one. And it is this point that leaves you rueful, and wish that the romance that had preceded it had the bite that could have smartened it up into an evenly exhilarating cinematic experience.
‘Ayal Sasi’ strikes us as a counter measure to religious bigotry and cultural hysteria. Sajin Baabu and his deliciously irreverent work promises to force no amendments; rather it revels in an odd sense of acceptance and focuses on the absurdity of it all, where in lies its absolute charm.
Despite its many flaws, ‘Honey Bee’ did manage to drive in super keyed up youngsters to the cinema halls. Something which its sequel might not be able to achieve, given that it comes across as an exhausting and mostly needless retread that shouldn’t have been attempted in the first place!
Lal Jr’s third directorial outing, ‘Honey Bee 2: Celebrations’ is a film that gawks and squints back at you, for having decided to give it a go. I have been no great fan of ‘Honey Bee’ either, which is perhaps why, the sequel struck me as an unfunny film that will probably even have fans of the original film running for cover. Continue reading “Honey Bee 2: Celebrations (2017) Malayalam Movie Review by Veeyen”