Holy smokes! 'Entry' is a film that left me totally numb, a sensation that doesn't come by way too often. But here is a preposterous story that had me dangling by the neck, before letting go and dumping me in the midst of some irrelevant clutter.
There are two parallel tracks that run in 'Entry', of which the first involves ACP Shreya (Ranjini Haridas) and ACP Rishikesh (Baburaj). The couple had been married for long, but at the moment, they are on the brink of a divorce. They share a house and a cook, and their massive egos brush against each other on personal and professional realms.
The second track has Arjun (Bhagath Manuel) leading the fray, along with a few friends. Arjun is a college student, motor mechanic and bike racer rolled into one, and he bumps into Subaida (Sija Rose) who acts mysterious. That she is seen with ACP Rishikesh and that she is being trailed by ACP Shreya adds further mystery to the young lady.
The first half of the film over, you stretch back on your seats and sigh. You realize that such mediocrity is still possible in films, and that shoddy dialogues and an incoherent story line could still make your life miserable, albeit for a short while. You tell yourself that the danger of being fired at with cliche bullets is always around.
The momentum is so lethargic that you end up wishing you were watching the DVD, that would let you keep your fingers pressed on the fast forward button. 'Entry' is a film that hasn't an inkling as to where its entrance and exit points are. I couldn't even see why the film has been titled as 'Entry', except for the fact that it marks the film entry of its lead heroine Ranjini Haridas.
You watch Ranjini Haridas fire away in her halting Malayalam, and wonder for a few moments if you are indeed inside a theatre or watching yet another season of the Star Singer drawing to a close. It's surprising that she loses out much on the dialogue delivery, with almost every other dialogue following the same intonation patterns, irrespective of the demands of the immediate situation.
Ranjini, to be fair to her, does look good as a tough cop, and displays a bit of agility too when at the climax she swings around to deliver a few punches right where they belong. However, the fight sequences are so ridiculously choreographed that you decide to get up from your seats before the final blow has been delivered.
The flexibility in her facial expressions remain minimal, and in one particular scene, which requires her to appear dejected, her expression turns out be a strange mix of some undecipherable emotions. This is followed by a scene where she sadly walks into her room and disappointedly looks at the mangal sutra that lies abandoned inside a chest of drawers. Somehow the entire sequence, ends up being downright funny, though the intention is just the opposite.
On second thoughts, this review sounds obsessed with the film's heroine, and less fretful about the pitiable quality of the film as it is. But let's face it, Ranjini might be the only reason, why you might have walked into the theatre to see the film, in the first place. And 'Entry' should be a disappointment of gigantic proportions, for her fans and detractors alike. And no, not even her shades help.
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