Amal Neerad’s ‘Bheeshma Parvam’ is an epic opera mounted on a gargantuan canvas that talks of bonds and betrayals and reeks of blood. With sprawling subject matter that rightly captures the ambition of its writers, ‘Bheeshma Parvam’ is a delightful ode to some of the best mobster cinematic works to have come out this side of the world.
‘Paapam Cheyyathavar Kalleriyatte’ is mostly like the character John (Madhupal) in it who spends almost all his screen time idle, smoking away in his room. But when he finally opens his mouth to indulge in a sermon of sorts, you wish he was smoking instead. The film too has a lot of powerhouse tactics in mind, but little bite to go with it.
For long, nothing much happens in ‘Kuttanpillayude Sivarathri’ that would keep you focused. The crucial vibe of earnest storytelling arrives a bit too late here, and while it manages to work out the connections, the impact is considerably lessened.
‘Crossroad’ is a loosely screwed in ensemble, pieces of which keep falling off every time it tries to punch in a point. It’s unlikely to be remembered as a benchmark in portmanteau films, and leads you into the hum-ho zone in no time. Strike off those last three shorts, and you might literally find yourself stranded on the crossroads with this one.
‘Sherlock Toms’ is a daft film that is neither alluring nor even remotely interesting. Forget all the incoherence that underlies it, it’s a comedy that glumly fails to conjure up even some simple laughter that would render it memorable or worthwhile.
‘Parava’ is a charming coming-of-age tale with a liberal dose of backtales thrown in. It does gallantly buck time-honoured storytelling strategies with innovative modes of its own, and yet leaves you with that faint regret that despite all its artistry and ambition, it’s not that absolute, flawless piece of cinema that would have left you in a daze.