‘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.
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.
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.
‘An International Local Story’ is a sparsely funny attempt that will not have connoisseurs of comedies laughing their hearts away in merriment. Notwithstanding the efforts of its director, it hardly has anything on offer except a harmless chuckle or two that you might encounter on the way.
In Sujith Vasudev’a ‘Autorsha’ there is an abundance that spills over, literally and which overflows along the seams. Brimming over with characters left, right and center, ‘Autorsha’ is a film that apparently has plenty to tell, and even does so, but which in the process, tips out its contents all over the place.
‘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.
‘Johny Johny Yes Appa’ is neither funny nor edgy and leaves you high and dry at the end of its running time. Undermined by emotional incoherence and comic incompetence, this is an unfocussed film that fails to hit its target by a hundred miles.
Najeem Koya’s ‘Kaly’ aspires to be testosterone fuelled. It however turns out to be little more than an expendable diversion; one that is so caught up with its own indulgences, that it rarely hits a mark or scores a point in the course of its entire running time of an unbelievably long one hundred and sixty three minutes!
Saheed Arafath’s film takes it real slow, but keeps its passion intact, and works on its patience to evolve into a film that has a life of its own. Beautifully captured on screen and adroitly directed, it could very well boast of being a notable film that unfolds its tale in its own sweet time.