‘Night Drive’ sticks to a routine format and follows a wan path that leads nowhere. With a wobbly screenplay that lacks suspense and surprise, this is a Roshan Mathew film that I’m in a hurry to forget.
This oddly gruesome thriller has the bite, but just not enough of it to keep the viewers dangling on their seat edges. Which is why, despite the spine-tingling moments here and there, ‘Underworld’ eventually leaves you impassive and indifferent.
Arun directs his experienced and gifted cast quite sensitively, and rewards us with one of the most emotionally charged films of the year. This is also the reason why ‘Finals’ turns out to be my personal pick from the festival releases this year – a film that skillfully blends a heartbreaking tale with impeccable performances and some genuine, ingenious directorial vision.
The jumps and bumps that are expected in a film that falls into this genre are far from sight in ‘Pretham 2’. A jaded horror thriller with none of the fiery thrills, Ranjith Shankar’s ‘Pretham 2’ talks of a troubled spirit that barely leaves you in good spirits.
There is a final tornado that Sruthy’s mom rakes up at a police station in ‘Uncle’ that makes you wish the rest of the film had half the vigour that this closing scene has. The social undercurrents are laid bare, the message is served, the speeches are done and the obligatory slap delivered. Inflated to the point of having swelled beyond recognition, ‘Uncle’ could have been the riveting film that it had aspired to be, in less than half its current screen time.
The feminist ideologies that ‘Raamante Eden Thottam’ puts to the fore accentuate that life for a woman lies further beyond the restrictive realms of a despondent marriage. There is a fierce sense of gravity that shrouds the smile on Malini’s face as she steadily walks towards the camera in the final scene; and it is probably this bright moment that would make us overlook all those detracting blotches that had marked her long journey.