‘Sufiyum Sujathayum’ achieves just about half of the dramatic intensity that it originally sets out to attain, and would be remembered best for the mellifluous musical score by M Jaychandran and some remarkable cinematography by Anu Moothedath. Not denying its impeccable visual quality, ‘Sufiyum Sujathayum’ comes across as a monotonous succession of scenes that strive to blow the dust away from its worn-out theme in vain.
‘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.
‘Paapam Cheyyathavar Kalleriyatte’ is mostly like the character John (Madhupal) in it who spends almost all his screen time idle, smoking away in his room. But when he finally opens his mouth to indulge in a sermon of sorts, you wish he was smoking instead. The film too has a lot of powerhouse tactics in mind, but little bite to go with it.
‘Trance’ does address a theme that is radically important and proffers a compelling investigation into the unexplored realms of religion, faith and belief. But it’s also a movie that eventually gets choked by the mistiness that pervades its plot and design, and ends up a pale shadow of the head turner flick that it should have been.
The dramatic pressure is way too grim, and the film grinds on persistently, finally ending up a riveting piece. ‘Ayyappanum Koshiyum’ remains without doubt a commendable endeavour, whichever way you look at it, but it just falls short of entering my top favourite list, because it does take a bit too long to get where it wants to be.
While it remains that both Anoop Sathyan – debutante director – and Dulquer Salman – debutante producer – choose to play the safe game with their film ‘Varane Avashyamundu’, it cannot be denied that they have stuffed the film with moments aplenty that will have the family audiences asking for more.
All said and done, ‘Anweshanam’ does move beyond the routine and warrants your attention to a great extent with its unpredictability. That it allows itself to be ingested by its own sense of intrigue is where it starts losing its feet on the ground, and where it tumbles down as a verbose thriller that it should never have been.
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.
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.