Shaji Azeez's Wolf toys with the idea of how toxic masculinity affects male-female relationships. It has an interesting premise, but the acting or the presentation does not quite make the film work. Ultimately, it all seems like just another product of lock-down boredom.
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Krishnankutty Pani Thudangi scores high in atmospherics and is gripping until about the intermission. Up to that point, it reminded me of Akam, the 2011 film starring Fahadh Faasil, in weird ways. But then, the film loses steam as the makers reveal the darker secrets of the bungalow.
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Chathur Mukham's basic elements are the same as in many old horror films, but the movie is presented in a new way. For instance, there is a newness in how the makers have adapted conventional elements like exorcism to the techno setting of this film. It is not the best film it could have been but is unique and fascinating throughout.
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Martin Prakkat's new thriller Nayattu is about a flawed law and order system where the cops are mere pawns for an authoritarian government. The film's politics may not satisfy everyone's sensibilities, whereas its lack of conventional cop film formula elements may unsettle some. But for the most part, this is a high-concept, high-octane thriller that delivers the goods.
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What makes Joji so fascinating is Dileesh Pothan's handling of the script, plus Fahadh Faasil in the titular role. Fahadh has an amazing ability to enact contrasting emotions in a matter of moments. In many moments here, he behaves like an innocent boy who lost his favorite toy as well as a menacing and conflicting person simultaneously.
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Anugraheethan Antony is a film about how all of nature's creations long for their loved ones. The movie is filled with many over-dramatic moments and fake emotions. That spoils the good intentions behind the movie, but Arun Muraleedharan's music helps the overall feel.
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Irul has a clever premise, but the film does not quite build on it. Director Naseef Yusuf Izuddin and writer Sunil Yadav pay more attention to atmospherics and wardrobe than proper character building. They keep us in the dark about Irul's mysteries for far too long only to give us a conclusion that you can see from a mile away.
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Rohit VS's Kala is an immersive theatrical experience. You do not merely watch this film unfold. Instead, you would feel like being in the midst of these characters who bay for each other's blood. Writer Yadhu Pushpakaran and writer-filmmaker Rohith give us insights into man's need for revenge and one-upmanship even in a film with more fights than anything else.
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Santhosh Viswanath's new theatrical film, 'One' is a novel attempt to break away from the formulaic elements of a standard Malayalam political film. It is also a film that may have worked better with a focus on characterization rather than its star treatment approach.
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Writer-director Jis Joy's Mohan Kumar Fans is a heartfelt tribute to the old age of Malayalam cinema. The film is often manipulative and occasionally stagy, but it works thanks to the perceptive performance of Siddique and a heartfelt center.
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First-time filmmaker Jofin T. Chacko's The Priest is a generic horror film with some inventiveness, many horror tropes and cliches. Chacko is working with certain horror genre restrictions here, like many filmmakers before him. So, if you are planning to watch The Priest on theaters, keep that in mind.
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Saajan Bakery Since 1962 is about Aju Varghese's Bobin and Lena's Betsy, siblings with many personal differences. This lighthearted entertainer has a stellar cast and terrific performances across the board, but it also lacks focus. Anyhow, it is worth watching for its cast and for how it uses food as a storytelling element.
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