At its start, ‘Pada’ does purport to be a story of the four men at the centre of action, but eventually widens up until it reveals itself to be an exemplary treatise on the displaced tribal populations across the world, who have fought injustice for years and continue to do so. As such, it is a much valued cinematic piece that advocates for a deeper consideration on our part and prompts us to come up with our own versions of the truth.
‘Naaradan’ succumbs to the blurred and hazy screenplay and suffers from a lack of depth in writing. Even with invigorated performances and top-notch production values, Abu’s film appears strangely superficial and severely lacks the searing impact that you crave from it.
Jibu Jacob’s film had almost everything going for it, including some real terrific actors and a staunch technical team. And if it still fails to resonate with the viewers, it only has its severely predictable, mawkish story to blame.
‘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!
At the end of it all, ‘Nalpathiyonnu’ strikes you as a film that does only partial justice to the storyline that deserved a much better treatment. As it is, it is more of a fable, the potential of which has only been partly explored.
‘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.
The fine intent notwithstanding, ‘Shubharathri’ does not seem to acknowledge the tremendous transformation that has occurred to cinema in this corner of the world. A bit too aged to make an impression on today’s viewers, it’s a film with a valid message that unquestionably deserved a much finer treatment.
‘Virus’ is an effectual ensemble piece that marvellously bonds together the pieces of a jigsaw, thereby rendering complete, a story of how fortitude eventually stamps over irrepressible fear. Emotionally pervasive and unnervingly real, It is also the kind of film that makes you go for a few extra dabs of your hand sanitizer, as you get all set to key down a review.
‘Dakini’ has none of the inventiveness that its trailer so blatantly suggested the film might have. At best it merely strikes you as a collection of cardboard caricatures that flit around on stage, with plenty of empty talk and emptier circumstances that leave you tremendously worn out at the end of the day.
‘Aabhaasam’ is a scathing lampoon on the disgruntlement – social, political, religious and sexual – that underlies a literate society, and is a daring overnight drive to where we stand today. It holds fast to none of the conventionalities that one would expect of a commercial pot-boiler and truly living up to its title tosses cinematic decorum right into the drains.
‘Aalorukkam’ tackles the complexity of the issue that it confronts with élan, and does not flounder around in dramatics as is usually the case. And for once, the promise is kept; perhaps it’s the first of its kind, at least thematically, in cinema in this corner of the world.