After three impressive directorial ventures that could possibly be as distinct from each other as they could be, Abrid Shine tries his hand at an action caper this time around, with ‘Kung Fu Master’ that however misses its mark by a mile. Barring a few riveting action sequences in the latter half, ‘Kung Fu Master’ is mostly a disappointing show that does little justice to the superb efforts put in by its leading cast.
‘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.
‘Anjaam Pathira’ elevates itself much higher than the usual plains occupied by a standard murder mystery, and is a thrilling ride that is gripping to the core. With a whopper winner as this hitting the screens as January just about gets under way, looks like we might have a superb film year coming up this time around!
With the New Year cheers having barely faded out, we head out to the theatre to watch Omar Lulu’s ‘Dhamaka’, a dire sex comedy that has infinitesimally low doses of both its mandatory requisites. Running for a couple of hours, it starts off with its leading actor’s voice expressing his expectations regarding the film in a radio interview, which however are dashed in no time, when the film gets off to a not-so-dhamakedaar start!
Get set for a few thrills here and there as Pullu Giri and his gang have a go at it as if there is no tomorrow. And be the least surprised if it has already fallen off your memory logs as you get set to dig your spoon at the post-movie dinner in front of you.
Most of ‘Valiyaperunnal’ ends up like the elaborately choreographed dance sequences in it – exquisite to initially look at, but exasperating after a while. This film does have a very human back-story of social exploitation that could have benefitted from some focused writing and crispy editing but as such strikes you as a slog piece that never gets to strike the target that it had originally set out for.
With an end that turns out to be superbly touching and a driving narrative that is consistently engaging, Jean Paul Lal’s film is a winner all the way. A perfect weekend watch for a family on the Christmas vacation, this is a lovely film that has both its heart and soul right in place.
‘Prathi Poovankozhi’ would be remembered for the menacing feat that Roshan Andrews comes up with, and the actor in him scores fare better than the film maker this time around. And with a theme that holds considerable power in its premise, it’s a shame that the film ultimately lives up to none of the promise that has been raised.
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.