The one take back that the film does offer is courtesy Berny Ignatious and the very beautiful number ‘Puthumazhayayi Vannu Nee’ from the original film is played yet again in the sequel. The rest of it is however, just a misaligned combo of horror tropes that lie scattered all over the place.
‘Ittymani: Made in China’ lives up to its title in that it strikes you as a disastrous duplicate, and a trite one at that. Preposterous and preachy to the core, this is a film that does no justice to the talented thespians that it has on board.
It goes without saying that it’s a miracle that the film makers believed that a theme as this could work wonders in 2019. And it’s even a greater marvel that they got several sensible heads to give a nod to this project that could have probably made a ripple a good fifteen or twenty years back.
Appearing laboured and disconnected, and carrying very little intrigue, ‘Love Action Drama’ is a perfect example of what could be termed as fluff entertainment. There is barely a silent moment in this almost two and a half hour long sight and sound blast, and all you keep wishing for amidst all the cacophony is that it had a sound story to tell as well.
Bilahari’s ‘Allu Ramendran’ is a scaled down ‘Maheshinte Prathikaram’ that talks of how individual enmity and personal vendetta could rule and ruin human lives, when it turns obsessive and fanatical. What it lacks are the emotional nuances and that the fine sensibilities latter film had in abundance.
‘Irupathiyonnam Noottandu’ has a contemporariness that is regrettably restricted to its title. Beyond that, it’s a hollow show that cinematically falls way behind its times.
There is a final sewing up of the loose pieces that is expected to do the film good, but you are hardly concerned by then. The boat has already been missed, and the dock has been long closed.
Despite a premise that is loaded with possiblities that I’m sure most viewers would have taken to eagerly with a bit of inquisitiveness, ‘Bobby’ reaches nowhere near any of its triumphant predecessors. It lacks the tastefulness that could have done it tons of good, and instead strikes you as a dramatic overstatement on love that attempts to defy age constraints.
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.