‘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.
‘Forensic’ despite all its admirable intentions and terrific performances fails to offer a genuine thriller ride to its audience. Striving hard to bring in as many interest elements as it possibly can, it indulges in a profusion of twists and turns, that only partly pays off in the end.
‘Edakkad Battalion 06’ is a laborious endeavour that despite all its good intentions fails to hit the bull’s eye. This is a film that you anticipate would let out a high sounding roar, but which ends up delivering a strenuous whimper instead.
While it’s surprising that film as these continue to be made, it also has to be realized that ‘Kalki’ is more of an unapologetic testosterone show. It holds no false promises and delivers what it believes in, as inflated and incongruous as it appears to be.
‘And the Oscar goes to’ does not rise to the stature of Salim Ahmed’s former films, and while it would be unjust to indulge in a comparison as such, it is also inevitable. While it does suggest that there is nothing more magical than what could be conveyed by the medium of cinema, it delivers the said magic, but only in very brief spurts.
‘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.
The structural elements of ‘Uyare’ are bound to be familiar and the genre expectations are all in place, in that it has all the essential prerequisites of a survivor story. And yet, it’s a story that needs to be told, time and again, in a world that has turned a bit too dark with relationships that have gone all adrift.
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.
‘Ente Ummante Peru’ strikes you as a missed opportunity, with a handful of awesome performers lending their very best to a tale that does little justice to them. Despite all its earnestness it fails to connect with the viewers, and comes across as a detached, overwrought cinematic piece.
‘Oru Kuprasidha Payyan’ is undermined by quite a few problems and critically lacks the intrigue that could have made a difference. Its overwhelming generic obviousness makes it a slow sinking ship that tugs down along with it a few genuine, terrific performances as well.
Fellini’s take on a man wanting to take a final puff and chuck away a long-standing addiction is akin to the first smoke ever; drawing in a bit too much of a cloudy breath and holding it all in for a moment before the anticipated onset of the dreaded cough, throwing out a whole lot than one had bargained for, in spurts and spasms. And when peace is finally regained, the smoke or what is left of it, slowly dissipates into the air around.