Ivan Ayr's Meel Patthar(Milestone) is a beautifully realized film about a lonely truck driver. Full of tracking shots and long conversations, this slow-burner of a film works as a compelling portrayal of a trucker's life and an uncompromising look at old age. Ayr's film requires patient viewing, but it is ultimately rewarding.
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Salman Khan and a gang of goons fight with their fists for the most part of Prabhu Deva's mind-numbing action flick. In the process, they test our patience and all of our sensory powers. If you escape this mayhem with all of your organs intact, consider yourself lucky.
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Despite the excellent performances as well as the gripping narration of the movie up to a point, Nizhal leaves a lot to be desired as a thriller. It has a preposterous plot, an overwrought climax, and some loose ends. Anyhow, Appu Bhattathiri's knack for world-building and storytelling makes it an engaging thriller.
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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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Kookie Gulati's The Big Bull is based on the life of Harshad Mehta, stockbroker and mastermind behind a big financial scam from the past. There has already been a web series based on this tale. There is a difference between what you can tell in a web series and a feature film. So, the makers of The Big Bull rush through many plot elements that show how the stock market operates and how Mehta becomes the big bull. Abhishek Bachchan is convincing as the big bull Hemant Shah, though.
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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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Mandela has an interesting premise that talks about vote-bank politics and vote canvassing all while staying within the limits of a lighthearted, satirical entertainer. The movie is a tad repetitive, but it is held together beautifully by strong performances, starting with Yogi Babu as the titular character.
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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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