Om Shanthi Oshana
'Om Shanti Oshana' works no wonders when it comes to the tale that it narrates.
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'Om Shanti Oshana' works no wonders when it comes to the tale that it narrates.
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Anil C Menon's 'London Bridge' suffers from a repetitiveness that arises out of a triangular love tale that has nothing new on offer. With the three love poles all set, the film sets off on a highly recognizable journey down love lane, with slumber and tedium in tow.
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'1983' casts a spectacular nostalgic spell over a nation that is known to breathe cricket, and in the process gifts us with the first cinematic gem of the year. It does a magic trick that makes you smile, that breaks your heart and that inspires you to the hilt. Match splendidly won, Abrid, and further matches keenly awaited!
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After 'Mannar Mathai Speaking 2', I so much miss all of those adorable characters even more. And above everything else, I miss that shrill, echoic ring of that rotary dial desk telephone!
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Sharath Haridaasan's 'Salala Mobiles' has an unimpressive display, a flawed processor and a skimpy cell life to boot. It's a bloated and uneven attempt at crafting a romance, that is a calamity the moment you switch it on.
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The very first scene of Aadhi Balakrishnan's 'Pranayakadha' is an intriguing one, that makes your hair stand on its end. But then, it's a steady down slide of sorts, with very little of what's being told making sense.
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'Life' is a mundane tale of teenage obsession that we have already been through. The statements that it makes have already been made, and the voices in it have already been heard.
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Losing out around midway, and never quite recovering after that, Lal Jose's 'Ezhu Sundara Ratrikal' fails to generate any sensitivity beyond the baffling squabbles that are playing out on the screen. It's this prevailing bleakness that drags the film down, despite having a gifted director and an impressive cast at its helm.
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No amount of visual glitter will serve to lessen the yawns that 'Oru Indian Paranayakatha' generates.
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In 'Drishyam' Jeethu attempts a stunning mix of the real with the imaginary, and the result is an unpredictable cinematic artichoke that takes you by surprise at every turn.
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Those of you who expect 'Vedivazhipadu' to go 'Boom' might be disappointed. At best, the cracker splutters a bit before it resignedly goes dead, never to blast again.
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As of now, things are pretty much silent over here. So much so that you wish someone would at least let out a scream.
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