‘Kurup’ does get bogged down considerably by the endless trivia that lie strewn all along the narrative. The extra final explorations that it indulges in sound hollow, and while it remains an anodyne watch, there is hardly anything more that is offered.
There is without doubt, way too much going on in ‘Kanakam Kaamini Kalaham’. And despite all this if the film strikes you as an empty experience, and sputters and drags for what seems infinity, it has only the aimlessness and buffoonery of its script to blame.
I am yet to see a film maker in recent times who has crafted a tale, a universe and its characters with as much finesse as Hegde, and his tact and sensitivity renders ‘Thinkalazhcha Nischayam’ an exquisitely premeditated movie. It’s a whole lot of fun as well, brimming with the film maker’s flourishes that are worked out with extraordinary deftness and tact, and the result is a stunning cultural construct for all to see.
This is a collective that offers three films in the increasing order of effectiveness, starting off with quite passable stuff at one end and ending with an engaging component at the other. As such, it does not spin off much in an interesting fresh direction, and for the most part makes do with some disposable stuff that tries to pass off as observations on gender equations.
‘Haseen Dilruba’ leaves you a bit bored, and least bothered. It tries to be steamy and yet sinks like a rock, and could very well be remembered as a botched-up thriller that had got both its romance and mystery wrong.
Watched Tanu Balak’s ‘Cold Case’, and here are the ten vital questions that have troubled me ever since.
‘Sherni’ easily has to be one of the most hard-hitting Bollywood films that I have seen in recent times, and here is why. For one, its one of those films that affects you on multiple levels, and yet leaves no trace of an effort to do so behind; the pertinent notes that it passes across are discreetly subtle and the strategies adopted quite refined.
It gets increasingly difficult with every passing year to get the tropes of a supernatural horror flick right. Debutante director Jofin T Chacko, must for sure have known what he was getting himself into, and his film ‘The Priest’ strains to achieve what many of his predecessors had set out to. But Jofin’s ambitious film never really springs to life, and there are quite a few reasons why it doesn’t.
‘Love’ attempts a horrific vivisection of a dysfunctional marriage and deftly works on the seeds of depressive confusion that it sows. Confronting their primal fears, the couple in ‘Love’ has a go at each other desperately, almost hysterically, letting us take a sneak peek at the monsters that lurk within them, that would stop at nothing until they have struck down their adversary dead. Another triumph from Khalid Rahman, this one!
‘The Great Indian Kitchen’ deserves brownie points for its demand for democratization in the household, that should essentially commence from the kitchen. But its overzealous attempts to take quite a few pigeons with a bean, is what leaves it not as great a film as it should have been!
‘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.