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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There is hardly any dearth of engaging moments in '369', which relates the mysterious disappearance of a physician. But the prospect of a complete investigative thriller comes undone largely due to the mediocre performances of actors.
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Appani Ravi as Chandu exudes supreme energy in this trite and monotonous tale of vendetta. The sound and fury signify nothing as there is hardly any earnest attempt to tell a good story.
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Debutant director Sampath fathoms the intensity of pain when the pride of a poor schoolboy gets hurt as he always wears a pair of ragged slippers. 'Papas', which means chappal, is a heart-warming journey exploring the inner layers of innocence and permeating myriad positive vibes. Indeed, this simple tale with austere embellishments places moral values upfront.
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'Ottakkoru Kaamukan' offers an anthology of romantic tales occurring in various situations. The messy treatment isolates the characters as it fails to generate the real waft of romance consistently. Even with the presence of established actors, this potential concept faces a roadblock at regular intervals that obviously stalls its progress.
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In 'Autorsha', Anusree plays autorickshaw driver Anitha, who carries the fire of vengeance in her mind. Director Sujith Vaassudev defines well her battle for survival but the luxury of detailing about the lives of insignificant characters soakes the fire that the protagonist bears.
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'Nithyaharitha Nayakan' depicts the series of romantic affairs in the life of a young man and its consequences. With Vishnu Unnikrishnan in the lead, the humour in the content is bereft of novelty and even the actors with better comic timing find it hard to elevate the milieu.
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Meant for a social cause, 'Joseph' sounds well in the convincing presentation of the eponymous protagonist's personal life. Joju George as a shattered soul makes his mark by stupendously portraying Joseph. Unfortunately, such an intensity and impression is absent in the execution of the plot.
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Ladoo' is laced with attractive hues but it takes you for a bitter ride in major portions. The tedious narration of a tenuous story shows how much want of efficacy and unimaginative efforts have gone into the creative process. The helter-skelter action of a bunch of talented young actors to get a registered marriage done evokes little laughter.
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Everything is a low key affair in 'Vallikudilile Vellakkaran' that never takes you to a conflict zone. Colourful frames and occasional flashes of minuscule humour are the hallmarks of this film. Amidst the passive viewing, one would wonder why the writers are reluctant to harness the possibilities of a striking element that crops up in the plot.
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'Oru Kuprasidha Payyan' has an interesting backdrop, but the screenplay fails to induce some energy in the vital sequences. Director Madhupal's treatment gives a cluttered feeling while trying to unravel a murder mystery. The missing punch affects the tale that relates the framing of an innocent youth as a murder accused by the police.
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