Aneesh Anwar's film is intermittently engaging but gets unduly protracted by the greasy emotions that come to play in it. It does win points however, for its earnestness in attempting to tell a tale that is categorically special.
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'North 24 Kaatham' is an articulation of the randomness of life; of chance and arbitrariness that brings about smiles and rekindles hopes. The emotional pitch that it maintains is mighty, which makes it a highly compassionate film that also marks a brilliant directorial debut.
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It's the kind of film that courtesy its title, makes you keep your car radio switched off on the drive back home.
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In 'Ezhamathe Varavu' M T Vasudevan Nair and Hariharan retell a story that is as old as the jungles themselves. But it's a tale that I would love to hear again, and maybe again, and again.
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Marthandan's directorial debut 'Deivathinte Swantham Cleetus' is a superhero film masquerading under the guise of a metaphoric experiment in mythology.
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The clumsy character sketches in 'Sringaravelan', and the haphazard fashion in which they are all thrown together helps affirm the notion that even the most solid of casts have their limitations, when the platform on which they are to perform is being fast eaten away by the shoddy script termites.
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The brilliant visuals aside, 'D Company' is something of a bore. Beneath its dazzling surface, the depth is missing, and so are the thrilling undercurrents that make an action film worth a solid recommendation.
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The soul stifling experience that Shyamaprasad's 'Artist' is, leads us on to a world of paints and easels, palettes and pastels, where ingenuity and inventiveness flow on, in strokes and flourishes from the tip of a brush. The painterly detail that the director has on offer for us in 'Artist' , makes it a visually sumptuous film that engrosses us with its enchanting tale.
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'Kunjananthante Kada' is a moody, character driven drama that does have its fare share of sparkling moments. However, it falls short of being a classic on account of a sensory overload that scatters its themes all across.
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Predictability could prove fatal to thrillers, and here is a classic example as to why it is.
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Happened to read somewhere recently that Fahad had almost turned down 'Olipporu'. Well...I guess his intuition, was after all, right on spot.
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I need to admit that despite the most stringent of efforts, I couldn't find any unsettling sub texts in 'Kalimannu'. It remains all wet and sopping, waiting for its creator to infuse a bit more form and plenty more life into it.
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