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.
‘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.
Prithviraj Sukumaran’s much awaited directorial debut ‘Lucifer’ is more than anything else, a blatant celebration of the star actor that Mohanlal is, and in laying out a feast that caters to the colossal stardom of its leading star, everything else, including inventiveness takes a back seat.
‘Odiyan’ is a film that needs to be analysed for what it was to be, and what it actually turned out to be. It’s a film that lets a captivating folklore wash effortlessly down a drain, its magic mercilessly muddled by the murk and mud around.
‘Drama’ has an impressive line-up of actors led by a dapper Mohanlal, none of whom have anything spectacular to dish out. It’s an inept satire that lacks the bite that whirls and wheezes all the while, trying vainly to get its stage, settings and actors all in place.
Roshan Andrews appears out of his depth in ‘Kayamkulam Kochunni’, and the film appears more like a misspent opportunity than the highly agreeable jaunt that it should have been. Mounted on an epic scale, this is a film where the gargantuan efforts are all conspicuous, but the results quite regrettably, patchy and uneven.
‘Neerali’ is quite like the vehicle that latches on to a tree trunk, hanging on for its dear life. It’s only a matter of time before the trunk gives way and the final drop down ensues; carrying down with it a script that is more of a slog, dialogues that are corny to the core and performances that are utterly misplaced in all the chaos.
Yahiya’s film is at best a cinematic accolade to Mohanlal, but far from a glorious one. It strikes you more as an animated and keyed up rant on how much Lalettan is adored all over, but does little justice to the deep ingrained adulation and esteem that we hold for this terrific performer and person, or to the spectacular emotion called Mohanlal that leaves numerous generations of Malayali film lovers, all over the world, hopelessly enthralled.
Buried deep beneath the idealistic blabber on revenge and redemption is a sluggishly formulaic thriller plot that renders ‘Villain’ a banal film. Meekly proficient and mostly deflecting, it’s a prolonged rattle that isn’t exactly music to one’s ears.
The gripes about the follies and futility of war definitely serve a purpose, but ‘1971; Beyond Borders’ sees the classic instance of too much overstating a cause messing up your case altogether. This is also the reason why the film emerges as generic, and the fascinating and inspirational real story on which the film is based gets watered down on screen.
There used to be a time when fans of the two lead actors in Mollywood, Mammootty and Mohanlal, engaged in a war of words – online and offline – every time a film of either of the actors was released. One thought, things would get better as years passed by, but looks like things have only got worse. Continue reading “Aren’t we done with the number games in Mollywood yet?”