K B Maju’s ‘French Viplavam’ is a rebellion gone all awry, though it dabbles with a theme that holds plenty of contemporary significance. Satire is what the film has in mind, but what it ultimately turns out to be is a drab cinematic piece that has neither the vigour nor the vitality that characterizes a raging revolution.
Roshan Andrews appears out of his depth in ‘Kayamkulam Kochunni’, and the film appears more like a misspent opportunity than the highly agreeable jaunt that it should have been. Mounted on an epic scale, this is a film where the gargantuan efforts are all conspicuous, but the results quite regrettably, patchy and uneven.
‘Pokkiri Simon’ is less of a tribute to a superstar, and beneath all the confetti, wolf whistles and blaring horns lurks a tale that’s all set to go on a detour. And when it does, it takes the entire film with it, toppling down like a pack of cards, and very soon losing its way among done-to-death plotways.
‘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”