This is a remarkable directorial debut from Chidambaram that absolutely justifies its running time. Nurturing all kinds of delicate emotions and topping them all with some whimsical humour, ‘Janeman’ is an insightfully directed modern fable that totally wins us over with its astute writing, quaint setting, delightful narration and above all, real grounded performances.
‘Kettiyolaanu Ente Maalakha’ is the kind of film that warms up the cockles of your heart. A film with a real pulse, ‘Kettiyolaanu Ente Maalakha’ keeps you hooked from moment to moment, and yes, Nissam Basheer seems to have a winner in his hands!
‘Manoharam’ has those sparks that you cannot definitely miss, but leaves you wanting for much more. It’s surely not without its charms, and yet it rarely rises above the level of its conventional premise.
Dinjith Ayyathan’s ‘O.P.160/18 Kakshi Amminipilla’ has a few pitfalls without doubt, but is also a film that would be discussed for the very valid theme that it purports. There is a charm to the old school style of film making that he so assertively flaunts, and an appeal in his confidence to bank on substance over style.
‘Nithyaharitha Nayakan’ is a heap of stereotypes that have piled on, most of which are ill-conceived. Jumbled and disconnected to the core, ‘Nithyaharitha Nayakan’ flounders all along, and in jaded circumstances as these, what use is a talented cast determined to do an honest job?
This warfare could have been tons more fun had ‘Padayottam’ a tighter story-line to fall back on. As it is, it strikes you as a series of intermittently amusing moments, loosely looped together by a plot fabric that severely lacks a strapping context.
I wonder if Sanal had any intention to subvert the horror norms with ‘S Durga’, but in crafting a terrorizing film that takes you on a night ride with the beasts that assume human shapes, he has precisely done so. In the process, he has compellingly stripped a stained society of its genteel masquerade and makes it stand stark naked before you, unleashing the uncontainable fiends that wordlessly roam within, whom you had guardedly kept your gaze away from, all your life.
In ‘Mayanadhi, director Aashiq Abu, armed with a dexterously penned screenplay, settles down to sensitively sketch a doomed tale of love. An impeccable reconstruction of an age-old narrative in an untested realistic setting, ‘Mayanadhi’ is the kind of film that holds a depth of meanings in those abstract gazes, a profundity of emotions in those unuttered words, and which leaves an inexplicable, seething sting at the upshot of it all.
Basil Joseph’s tweaking of the sport movie recipe in ‘Godha’ works wonders and lifts it up straight on to a prized zone occupied by some of its triumphant predecessors. Strikingly directed and deftly written, ‘Godha’ steps up the rules of the game and wins the combat in a superb take-down.