'Praana' is a supernatural thriller that turns out to be a fragile monologue of an English author in protest against the intrusion of radical groups into personal liberty. Nithya Menon's solo act converses myriad social issues that are perilous in nature. With a single actor on screen, this film faces the real burden in the narration albeit technical finesse saves the grace.
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'Neeyum Njanum' is a romantic drama that sums up the real colour of the present social milieu. It demands a strict check in our moral concepts and perspectives when the frowning eyes extend to the house of a young married woman. Anu Sithara's Hashmi is struggling to cope with the agony arising from her wait for her hubby as well as the morbid curiosity of a crowd. Despite offering such a familiar premise, this AK Sajan-directed film hardly succumbs to cliches.
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Writer-director Haneef Adeni's style statement in the making is top-notch while the screenplay stands aloof from the creative push he imparts. 'Mikhael', which tells the tale of a saviour, shies away from giving coherent answers to the viewers regarding the exploits of the characters. The racy narration and lofty dialogues place the antagonists on top in this action thriller, outpacing a half-baked script.
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'Vijay Superum Pournamiyum' is the tale of a gritty girl, who is poise even in the midst of problems, and a befuddled young man's dilemma of choosing the right decisions in life. With occasional preachy lines for motivation, the screenplay is bereft of novelty, accompanied by a drab premise. This romantic family drama shudders after confidently raising the initial hopes.
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True to the title, Kunchako Boban's Achuthan plays the saviour of a girl after witnessing her harrowing problem from the attic of her house. All the events are a paean of praise for Lord Krishna. 'Thattumpurath Achuthan' offers such a strange premise, leaving you in the midst of reality and disbelief.
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Hameed is facing emotional starvation in the absence of dear ones after the death of his father. He realises the need for finding his real mother to take life forward meaningfully. Albeit bearing a highly emotional theme, 'Ente Ummante Peru' is a refreshingly handled film that avoids melodrama and hammy situations for the good. The quest of this son is really heart-warming and delightfully emotional as well.
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'Pretham 2', the sequel to 'Pretham', hardly has genuine spooky moments instead it effuses traits of a comic caper. Ranjith Shankar's film harps on the usual settings of a horror thriller but the outcome is all the more disappointing-both in the comic and horror aspects. Surprisingly, the second chapter is a dismal conflation of horror and mentalism.
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The unwavering template of Sreenivasan's script once again zeroes in on a lethargic youth, who dreams big sans any sincere efforts. Apparently, Prakashan aka PR Akash is a replica of such characters created by the scenarist earlier. In fact, the reinvention of Sathyan Anthikad as a filmmaker in the narration and subtle treatment makes 'Njan Prakashan' an admirable and feel-good family drama.
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In 'Odiyan', Manickan, played by Mohanlal, is returning to his village with a task in mind after 15 years but the revenge drama is overpowered by inappropriate technical fripperies than an engaging substance. The triumphs of Manickan are more in a fantasy mode evoking a mixed feeling of acceptance.
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'Karinkannan' is a dreary tale of a man, who is deemed bad omen as his fiery gazing or remarks would bring aftermaths to people. Albeit Saju Navodaya as Dasan gleefully grabs the opportunity, the silly and tepid storyline mars the protagonist's efforts. It's an outdated concept soaked in nasty humour that makes one frown upon it considering the aimless execution.
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Scripted by Sreenivasan, family drama 'Paviyettante Madhurachooral' is loaded with conventional elements. The tale of a teacher couple, who is childless, with their dilemma of the sudden appearance of a teenager in their family simply lacks novelty. This predictable plot is a blend of preachy elements and lacklustre events.
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The riveting backdrop of 'Pulikali' is the backbone of this film with a clear social statement. Packaged in Thrissur dialect, 'Nervarennu Immani Cherinjoo...Ttaa..' has fits and starts in the treatment with minimal settings. One would sincerely wish that certain order had prevailed in the unravelling of incidents behind the disappearance of a youth to make it more powerful and impressive.
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