"Romancham" (goosebumps) is a film so funny that it will have you rolling on the floor, laughing. It is an incomplete film, or a prequel, that works mainly based on moments of sheer improvisation. Perhaps Romancham II will give us the goosebumps that the title promises.
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The movie does not recognise that a police encounter is a bad thing, because it only proves the failure of the judicial system to deliver its duties. I am all for movies celebrating mass vigilantism, but Christopher is not a good advertisement for it.
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In Thankam, director Saheed Arafath and writer Syam Pushkaran offer an engaging police procedural that plays out as an investigation film. The movie is about the ins and outs of gold dealing in Thrissur. What works best here is the authenticity in the treatment of its characters.
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Usually, films that celebrate male bonding show the passing of time so well. But the characters in Saturday Night hardly grow old enough on screen for us to feel the effect of passing time. This is a major issue that deprives the film of its authenticity.
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Lijo Jose Pellissery's Nanpakal Nerathu Mayakkam is a film so brilliant and bizarre that it is best enjoyed if you submit to it. In this film about dual identities, the characters and even the audience make a detour to a world that is mysterious.
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There is scope for a strong drama in Ayisha. There is some novelty and sincerity in the story, besides a genuine awe for the real-life character that the film is based on. But the incompetent acting and corny treatment never allow the film to soar above a soapy level.
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This film is a dark comedy and the celebration of a psychopath. Vineeth Sreenivasan uses his voice to express his thoughts with a scary sense of callousness. His spiteful little jokes about humanity are equal parts funny and scary.
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The makers of Malikappuram succeed in mining heartfelt emotions out of this simple material. At no point does it feel like our emotional buttons are being pushed.
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Kaapa is a familiar, somewhat predictable, and entertaining gangster film. There is more style over substance here, but the makers give us at least something for us to chew on.
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Mahesh Narayanan's Ariyippu does not have any big dramatic moments. It is subtle and understated, unlike your usual Malayalam film. Even the most aggressive moment in the film ends with a brief period of deafening silence.
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Roy is a thriller with a lot of promise and a great build-up that gradually becomes weak. Like a slow-burn novel, we get tidbits scene by scene, and the level of intrigue in the script makes us want to watch the whole thing. However, the climax is preposterous.
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There is no major drama in Saudi Vellakka, a moving film about the judicial system that takes its sweet time to arrive at a conclusion over a lawsuit. Director Tharun Moorthy shows how this long-drawn-out procedure and the passage of time affect the parties concerned.
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