CobertNeede Reviews

Trance (I) (2020)

A psychedelic trip made with love, albeit dragged down by it's sub-par screenplay

[7/10 · 5 March 2020]

Trance has one of the best shot moments in the entirety of malayalam cinema. It's the scene where the film was at it's peak, only to hurdle down a never ending hill. It's not the 'perfect' in the story department, but they blew it apart technically. Every single shot in Trance is otherworldly. In a sense, even if you don't pay attention to the story, your money is gonna be well spent on the visuals alone. Amal Neerad knocked it out of the park with his godly cinematography. It's a masterclass combination is what it is. Amal Neerad-Anwar Rasheed combo was the best thing that happened to malayalam cinema this year. Anwar Rasheed has commandeered a film of a big canvas, he strutted it around long enough for the film to be 'perfect'. In a way, the screenplay dragged down a film that was worthy of becoming a classic in Malayalam cinema.

Fahadh was the limelight and he did his role justice. Viju Prasad/Joshua Calton was brought to life by his best performance in his career (personal opinion). Nazriya felt like an unneeded addition to an already spectacular cast. Soubin, Sreenath Bhasi, Vinayakan were all well utilised although having very limited screen time. Joju George appeared on screen for about 10 seconds and that is that. There was no more of Joju George in the film. I don't think there was even a name for his character. Chemban Vinod was just his persona yet again, a monotonous performance. Gautham Menon did good. Dileesh Pothan stood apart from the secondary characters as he received more screen time and dialogues as Avarachan.

Trance uses heavy display of colours. I couldn't have worded that better. Colours were popping out of nowhere. Don't watch Trance while high. You're just going to be more stoned after the film.

Trance fails hard in connecting the dots and summing up the storylines it started. Nazriya's character arc was pretty much screwed from the beginning. It almost felt that the 2nd half of the film was rushed, although that is not the case.

Trance is something that is going to be landmark in Malayalam cinema. Not because of how good it is, but because how beautiful it is. No malyalam film could compete with Trance in terms of it's visuals.

Ayyappanum Koshiyum (2020)

Machismo and... Machismo?

[6/10 · 8 February 2020]

Ayyappan Nair, a senior police officer and Koshy Kurian, a retired havildar, lock horns in a situation made to go ugly. The film is almost literally 3 hours of dog fight between Ayyappan and Koshy, leading to a abrupt, divisive climax.

Ayyappanum Koshiyum is a tough nut to crack. Mainly because the film can become a commercial entertainer to many while still being bound to the unconventional style of plot advancing that has become a 'style' among new and veteran directors. It is by no means a bad film. It's great. But kind of falls apart when you think of what the director wanted to achieve with this movie. And he nearly does.

Prithviraj And Biju Menon were class apart. It was brutal,funny and refreshing to see two big names going in a dirty rag fight in the mud. Kudos to both. Renjith was above par as the gutsy dad of Koshy, coming off as quite corny in the later half performance. All other performances were good. Considering how Sachy used the 'realism meets fantastical scenarios' tool here, it was pretty surprising how good the secondary performances were.

Jakes Bejoy went all out in this film. His soundtrack and songs could've been the best thing the film had, of all the 'best' things. I wouldn't say it was Jake's best though. Ranam was quite beautiful and still stands as his defining work.

Sachy's offbeat mass entertainer will be a game changer for the industry. Truly a saturated industry in terms of 'mass' films, Ayyappanum Koshiyum is more than just refreshing.

Psycho (I) (2020)

Hitchcock isn't gonna be pleased with this tribute !

[5/10 · 25 January 2020]

Psycho, in many ways transcends the limits that Tamil cinema has imposed on many of their 'crime thrillers'. And for that, a moment of appreciation is more than deserving for Mysskin. But for where it should've excelled, it falls flat on its face. When you take a genre of film that is notoriously saturated, at least make sure that your work stands out story wise. Psycho borrows inspiration heavily from many, many western films. And in many ways, Mysskin has created a clone of those crime thrillers that you so love in Hollywood.

All the acting was meh. Nobody's acting particularly stood out. Nithya Menon was the best among the bunch, along with Rajkumar Pitchumani (the psycho), who delivered what was expected of a role like this. Udhayanidhi Stalin was pretty okay, not really dwelling deep into his character.

With the onslaught of crime thrillers in recent times, i really expected this to stand out.

Shylock (2020)

Shylock is MASS, MASS, MASS - me, a Mammooka Fan

[5/10 · 23 January 2020]

Well, Shylock isn't exactly the film that could garner praises throughout the movie critic community. I can understand why. All these 'reviews' is purely one dimensional. They really don't understand why these 'MASS' movies are being made, with a single 'star' in mind. Movies are not just limited to films that are excelling in technical aspects. Movies are also made for a particular demographic. And if you didn't like a film just for namesake, it's better if you don't critic it as well.

Shylock is an all in out action film. They advertised it as an action film. They know WHY it's an action film. Because the film is basically a 2 hour tribute to Mammootty. For a guy who has a career spanning over several decades, a 2 hour tribute is more than deserving.

Mammootty. Holy shit, this man. He doesn't understand the process of ageing. You are supposed to weaken as you age. But in Shylock, he has channeled performances from films like Rajamanikyam and Black. If you need a single reason to watch this movie, watch it for Mammooka's performance. You could almost say that he was a one man show throughout the movie.

But Shylock isn't the perfect action movie. It compromises a lot, for a short runtime and of course to glorify the lead. It is not the film you should watch to have fun. It can be boring. But if you like Mammootty, you'll very much like it.

Anjaam Pathiraa (2020)

Anjaam Pathiraa joins the ranks of Memories and Mumbai Police ; a superb taut thriller.

[7/10 · 10 January 2020]

For those who wondering why i gave Anjaam Pathiraa a 7 after describing the film as beyond excellent, the reason lies in the fact that Malayalam film industry, although one of the best in the country, haven't had that many crime thrillers that we can boast about. Drishyam might be your response, but hey that's just one.

Kunchacko Boban delivers yet again a Kunchacko Boban performance. Sreenath Bhasi was the most natural out of the cast ; shines as always. Indrans. Oh Indrans. He delivers a spine-chilling monologue for the film, which is quite unusual for malayalam films. If you're missing the 'monologue-esque' opening of Anjaam Pathiraa, you are missing the best scene of the film. Other performances, although average, never made me pull out of the atmosphere the film had set.

The film has its drawbacks. I'm just admitting it right away. It's not the 'perfect' crime thriller and partly the reason why critics are gonna hit on this film. I can see the 3/5 ratings a mile away (hey TOI). It's a better film than what those 3/5 reviews may make you think the film is, but it's not something that you should build your inner hype train for.

I'm not gonna stretch this review, just gonna say that Midhun Manuel Thomas did a full 180 from his previous semi-disaster flick Argentina Fans Katoorkadavu. So naturally i had quite a bit worry before going in to watch Anjaam Pathiraa.

Virus (I) (2019)

Mollywood's 'Chernobyl'

[7/10 · 8 June 2019]

I know that title may seem a little presumptuous, since a movie about the Kerala Floods is in works. But till then, the closest we have to the HBO Masterpiece is Virus. Whatever Chernobyl did to entice the audience, the same has been done in Virus. But less effectively. Whatever Chernobyl did to stay true to the story, Virus had done more. In terms of a disaster movie, Virus wouldn't be your cup of coffee. But for a survival one, it can hold and twist your nerves till the curtains draw.

It just seems that even with it's flaws, Virus could very well be a film that can demand an international audience and not many Indian films can say that with confidence. The Cast was a little too crowded but eventually everybody got their part. Soubin nailed the desperate patient role while Bhasi ( who got the most on screen time) gave a very nuanced performance that one wouldn't expect normally. Parvathy, Rima, Revathy all gave performances that was satisfactory, albiet a little too dramatic.

Sushin Shyam's haunting Soundtrack wholeheartedly deserves a special mention. If there is one thing i wouldn't have changed one bit, it's the soundtrack. And he delivered it without giving any break to the audience.

Aashiq Abu has been having a fantastic plethora of films. And it is no secret that Virus could very well be the next golden crest in his filmography. Short of a few crucial scenes, Virus could very well have been judged as a 'movie that was promising' but Aashiq has done a terrific job in crafting a movie that would've been pretty hard to make.

Real Life Events are always hard to adapt on screen, especially if it is a one that isn't as global as this. So the filmmaker's priority will be to convey the seriousness and soul in the opening scenes itself. And I'm sure the opening scenes of Virus could very well be one of the rarest, yet one of the most crucial openings in movie history.

Game of Thrones: The Iron Throne (2019) Season 8, Episode 6

Lie Down. Try not to cry. Cry a lot.

[1/10 · 20 May 2019]

I guess they kinda forgot how scripts worked.

D&D is going after SW next and i have nothing left to say.

Game of Thrones: The Long Night (2019) Season 8, Episode 3

R.I.P. Night King. We Wish We Learned Your Secrets. There's No Stakes Anymore.

[2/10 · 29 April 2019]

Perhaps the main factor that hooked me to this show was the Night King and his army of the dead. The mystery surrounding that guy is just too much to conclude with a single episode. Game of Thrones is moving on from the White Walkers and i don't like that.

I would've wholeheartedly given a 10/10 if the Night King had survived. I wouldn't care even all the main characters died. I just wanted him alive. In the earlier seasons i was worried that my favourite characters will die. But now i'm just disappointed that my favourite characters didn't die.But hey, we got a episode that was grandeur in every way. You might feel this might be the best episode of GoT till date. But you'll also not miss my boy Night King. So, poor writing but at the same time did justice to the Great War.

Emotions galore! Great acting, great cinematography, great everything. The lighting could've been better. It was dark and frankly i couldn't make out what was happening half the time. The deaths weren't surprising but were very well handled. Melisandre was the real MVP of the episode. Didn't expect but that's what GoT is. It is still kind of weird that the Great War lasted a single episode. I'm not angry.I'm just disappointed. If all the build up for the dead across 7 seasons ended in a single episode, that is just bad writing. Hope the books will give it more justice.

If Cersie and the Golden Company is going to be the big bad in the end, i'm gonna throw up.

Customary rating - 9/10 For those who liked NK (99% do) - 0/10

Avengers: Endgame (2019)

A Pinnacle of Superhero Storytelling

[10/10 · 26 April 2019]

Rarely i can say that a film has had considerable influence over me. And even rare is when a film takes control over me. Avengers Endgame is exactly that and more.

TBH i didn't know what to expect. The slightest of mistakes and it could tip the balance ( no pun intended) and they handled it as best as they could.

Usually i go for a long and delicate review. But this time, everybody pretty much knows what they're gonna get. There is nothing you will miss. Nothing you can brash this film for.

It will sure be an experience that you're gonna remember forever.

Lucifer (I) (2019)

The dilemma of genres

[6/10 · 18 April 2019]

Lucifer is a fricking good movie. That is all the might the film holds over me. And partly for every other guy who have seen better political movies with better scenes. Period.

I could reference hundreds of good movies that have found success because of how they sticked to their special genre, rather than going places that the plot never allows you to. Prithviraj took that risk and it could've paid off, if it was handled a little bit better. Lucifer however is a well crafted movie. I admire that. Very few movies have the power to pull of a escape like this did. Lucifer had nothing to go with and has come back with a freaking jackpot. The scenes were heavy, uplifting and more importantly a sensation like nothing else for Mohanlal fans.

For a man who preaches big things, Prithviraj could've took the script a little more seriously. It's pretty clear he sidelined factors that could've made the film a lot more intriguing than 'fun' and i honestly don't know whether that was a bad or a good choice there. All other departments were sensational with the cast being the one that deserves most of the praise. The BGM, music were fine with the songs being just placement to get the action going. Second half was clearly the more superior one in storytelling while letting down on character development while the first half is the one where a political film is found rather than a full on entertainer.

Murali Gopy has wrote a script that runs for the safety of mass movies. Although i didn't expect that, it was a move that could solidify his postion in the industry. The problem of genre transition is one that is wildly found across all malayalam movies. But in some cases, handled really well. Lucifer is a such a case. If not, a close one.

Malinteso (2016 Video)

The Most Compelling piece of Cinema Ever.

[1/10 · 6 March 2019]

Malinteso stands really ahead of its time. It is a product that not only condones sexism and provides a new base for sexists to work on, but also entertains in a way you have never experienced before. As the writer and as the guy who was in when this film's inception took place, i totally tale credit for what happened. If in the far future, anybody sees this film and comments on it, i request you to take it to court. Please.

Please.

Kumbalangi Nights (2019)

Kumbalangi Nights is probably one of the most heartfelt movies that you can come across this year

[9/10 · 11 February 2019]

I'm not understating that headline.

Kumbalangi Nights is perhaps the most beautiful theatre experience i had in recent times and there was never a moment that i had to take my eye off the screen and that itself shows how much the film manages to encapsulate you into the ways and lives of Kumbalangi. The biggest plus and the film's biggest advantage is the splendid cast itself. Nobody has done a below par job here. And with all my might, i can say that Kumbalangi Nights can make you drool for a second watch.

Fahadh delivered yet again a standout performance that could have been amiss if it was handled by anyone other than him. Shammi was the character that hints a cloud of weirdness to the film. And nobody perfect to play Shammi than Fahadh himself.

The art department deserves a special mention namely because of the gorgeous frames that can leave a strong and mighty impression on you.

Kumbalangi is probably more of a film that can be categorised into the sigh - drama category. It can be exhausting at times ; the long takes, the more pressing characters getting a lot more attention than they should and more. But the pros totally eclipses the cons, and you might never notice those.

This film is what the industry needs among the landfill of 'realistic' movies where the protagonist takes a dump and categorise it realistic and poignant, Kumbalangi Nights stand out from the busy crowd and earns a spot so high it can applaud for itself.

9 (2019)

9 is everything you don't need in a sci fi film and in a weird way, everything you ever wanted

[6/10 · 7 February 2019]

For a film that is marketed and promoted as a Sci-fi thriller with elements of horror, 9 may overstep the beliefs that the audience entrusts with the film's crew. 9 is that film that you really want to see succeed and wishes that something excites you in the next frame. Spoiler alert : it never happens.

9's premise and initial themes excited me. It was so damn good. And is yet again a very good example that 9 could have been in safer hands if it had been held and nurtured by a seasoned creative director than Jenuse. I've got nothing against him and i loved his execution of 100DOL, but you cannot entrust such a beautiful theme to a prospect and expect it to flourish. It may have been done before, but here it doesn't seem to lighten up. The film is deep. That is a major plus. But it doesn't present that thoughtfulness to the audience very well. There are instances in the film that questions itself why it's there. And when the film climaxes, you understand why those weird scenes were in the movie and why it mattered. And you understand that the movie forcefully included scenes that doesn't make sense so as to achieve it's ending. That realization is not a pleasant feeling.

The film's major plus is the film's visuals itself. It's one of a kind. I have to say that. The film deserves at least that. The visuals were eye popping and exciting. That itself is an understatement. The low light shots were beautifully handled and it is an example of how Hollywood level technicalities can be recreated in Mollywood too.

I would not go the length and say 9's ending and the so called 'twist' is cliché, but definitely doesn't create the impact that it should've had. The film presents the story quite expertly and it creates a strong impression early on. This was the standard with which the film's ending should've been crafted with. But although the story defcets, 9 keeps a very good pace and allows the viewer to judge the film's story from another perspective.

9's cinematography, it's characters, the exotic locations and the lead actors make it a film worth a strict one time watch. Nothing more. Nothing less.

PS - I know this review might come off as unusual considering the long list of reviews that state this film as excellent. I wanted to make it clear that this is what I could gather from the film and what i think all the general consensus thinks about the film.

Peranbu (2018)

For every Resurrection, there's a story you wouldn't want to lend you ears to

[9/10 · 1 February 2019]

Ram's Peranbu is a statement to all those films that label themselves as deep and thought provoking. He has created a masterpiece of sorts, that delves right into what the society stamps as taboo and virtually challenges the viewer into what was a film of epic proportions.

Peranbu indulges the viewer into a story that might be one of the rarest in Indian cinema. It's powerful, gripping and moreover empowers various sections of Indian society in a cleansing manner. Peranbu puts forward a Father that puts you in a state of remorse from scene one. And when it is played by Mammootty, one cannot put away the sadness that reflects on the audience. Peranbu effectively works because of the out of the box nature of Ram. The film is quick and open to themes that are particularly hard to be visualised on screen. Both ethically and professionally. The hardships that goes through a child, and the consequences of such are beautifully potrayed on screen by Sadhana. Paapa's portrayal felt slightly forced in the beginning, as mentioned by many, but later on the performance becomes solid, giving the viewer a hard time to focus on Paapa.

The film's themes are excellent and rich. It is hard to name films that have very good themes and at at the same time, an excellent depiction of the said theme. Peranbu is such a film that just excels in what it intended to achieve. The film could have had a shaky opening if it had been premiered in India. Props to the coordinators for opening it Internationally before the domestic release.

Peranbu has the power to lift you. So don't be surprised if you are 'resurrected'.

Odiyan (2018)

Odiyan is no extraordinary feat, but still could impress you should you welcome it

[5/10 · 14 December 2018]

Odiyan was the culmination of more than 2 years of intense and unwilling determination of several individuals and artists, that worked their assess of and promoted the Mohanlal starrer to sky high limits. The hype and anticipation surrounding Odiyan cannot be replicated by no other film in an industry within the same limits that Odiyan achieved it. It would take a year, nay 2 at the least to get the status and promotion that Odiyan managed to grab within its production time. By means of measuring the crew's work ethic on Promotion and Marketing, they should receive a thunderous and welcoming applause. This is also part reason why the film failed in its early screenings to get the reaction that they so badly anticipated.

Odiyan is next in the club of 'sky hype films that failed to impress'. Kammara Sambhvam, Kayamkulam Kochunni (critically), Villain, Gangster, Casanova and now Odiyan all are films that should have performed way well critically based on the aura surrounding the release and hype. It's not that the film is bad, it's partly because of the trust that they audience entrust into the hands of the Director to make their 'Star' God-like. And when they fail in that respect, they should at least utilise the power and people support that the actor possesses. Pre-release Inflated collections, Overkill tweets and media attention all were part of the Odiyan-killing fest.

Odiyan works in parts in its own way. It becomes grounded and closer to reality than you probably expected. It was presented well, as a folklore, a mystery but what we came down to was some guys earning money by scaring other dudes. But it wasn't BAD. It's all about perspective and probably the only thing one can say to console themselves.

Odiyan excels in its songs, the technical aspects, the powerful and excellent BGM and most of the lead performances. Manju Warrier's performance was meh. It wasn't too good nor too bad. It was just Manju Warrier playing Manju Warrier generic roles. Sana Althaf did her part right. And the supporting cast just yells excellence. From Siddique to Prakash Raj, the lead cast is often tipped over by the overflowing supporting casts. The direction was fine. The handling of the script and putting together the film could have been way, way better. It just shows why a debutant can't make miracles, let alone handle one. I can't say if Mohanlal is used completely here. He does evoke all the necessary emotions at the right time and deserves to be the spotlight. But the lack of characters that has actual lines in comparison to characters that are so one dimensional they are just there to glorify and praise Mohanlal.

Praise be to the crew. They did what they could do and did wonders. The VFX, the other technical aspects were all fine and doesn't give any hiccups to spare. Shrikumar Menon is the central figure that everyone is gonna throw stones at. And Odiyan just might be something that we may never 'forget'.

Odiyan's strong start and strong finish barely makes it a strict one time watch. Watch it for Mohanlal and the brilliantly crafted atmosphere for which i applaud the Cinematography for. Odiyan is no film that achieves wonders. But it is still a film made with good intentions, ain't?

Kayamkulam Kochunni (2018)

Kayamkulam Kochunni is the reality that all historical movies should face up to.

[5/10 · 13 October 2018]

This review is going to be long, untidy and absolutely rigorous. Because an effort massive as this should not be degraded without a well written explanation as to why it's bad/good. And partially because this film had such a wide release, an unbelievably humongous budget and a need to satisfy all types of viewers. I understand all this. I almost sympathize with the crew because they wanted the film to be like this, even though they could've done a lot better. Deep within, even Roshan Andrews might have felt a little guilty.

Kayamkulam Kochunni begins on a note of despair. The lead is getting his verdict of his life, there is much commotion to the life of Kochunni and there is a ample yet a good build up to what i expected to be a decade defining film. Expected. I was wrong to do that. I shouldn't have. I really shouldn't have had that much expectation within the film's start. Bear that in mind while i go in depth to the film.

The film thrives on something that normally no film normally would. That is, folklore. Kochunni is so a memorable character that has touched us through the years, in TV, in movies and of course through stories. To market on that is a very, very simple task. Gokulam Gopalan deserves a high five for that alone. The film as so many things wrong and so little things right. The film has a very good quality of making, something that is very common around malayalam films these days. A distinguishable sense of ambition, an excellent DOP and a skilled cast. Where it goes wrong, is the rest. Nivin did a decent job. Mohanlal stole his thunder and kept that until he left. Ithikkara Pakki might be a great character and Mohanlal did do justice in that regard, but as the film goes, Nivin Pauly's Kochunni is still the limelight of the film.

The film has a song so misplaced that you would wonder how the heck it got there in the first place. Forgettable character include all of Kochunni's romantic tales (avoided, it could've have been), the songs could have been toned down to suit the theme of the situation and the wish that Kochunni could have been a massive cult hit but instead a messy and lackluster piece of BO hungry film.

Kayamkulam Kochunni could have been so, so much more. It really could've been. Under Roshan, it should've been better. But hey, it doesn't bore you to death and it doesn't compromise on the audience factor either.

Kudos on the crew for making yet another successful BO venture, meh for making such a memorable character a forgettable one.

Varathan (2018)

This is what Amal Neerad does to you

[7/10 · 20 September 2018]

When this film is reviewed, there are certain mandatory guidelines that should be followed before breaking down the pros and cons of the movie. The first one is that it is a freaking Amal Neerad movie. Forget your fast paced thriller scenes. Forget clichéd wide shots. Forget plot advancements. Forget TIME. Amal demands your patience. His films has an extensive use of slo mo shots. So much that it can actually extend the film by 20-30 minutes. These might be things that you would criticize about his movies. It could also be pros of the movie. But either way Amal creates every single one of his movies this way and Varathan is no different. It steers clear of some of Amal's stereotypical themes. It's actually a step high of CIA and a step down from Iyobinte Pusthakam.

Varathan on the outside, is a clear cut thriller film. It could be categorized as a drama/action/thriller film. The genres that has undergone mixing are great ones and that is in itself a great pro. Amal Neerad has commanded attention from the very first shot. Something many directors find it hard. Varathan succeeds on so many levels. It's perhaps a unique find in malayalam mainstream cinema. It's a breath of fresh air. The plot is lazy. That's usually the case for an Amal Neerad film. Style over substance. Varathan is that with the exception of the first hour and a half. The first half is so damn thrilling that you would wonder whether it's a Amal movie or not. The second half's 30 minutes into the finish prove to us that it is indeed an Amal Neerad film. The performances were pretty good. All of them. Some tonal inconsistencies in the first half. Incorporating songs just for the sake of it and some glaring holes about the philosophy of violence in this film. But well, it's an Amal Neerad Movie.

Fahadh, Aiswarya and probably every one of the supporting cast gave a splendid, convincing performance. The only thing that i had a clear cut problem was the action scenes. I completely understand Amal's style. But the fight scenes could have been a little bit better. A LOT better, actually.

Varathan is an adaptation of the 1971 film Straw Dogs. In terms of similarity in making, both of them are vastly different. But the ideas, the themes that arise are pretty much the same. A great adaptation in short.

Varathan is a treat for all of those who adore film in it's raw form. Amal Neerad makes sure that you're hooked and if you ain't he's got a big title card at the end that says 'AN AMAL NEERAD FILM'. I'm sure everybody will be hooked to that.

Ranam (2018)

If Ranam's first 10 minutes doesn't do it for you, the rest wouldn't.

[8/10 · 13 September 2018]

The hype around Ranam by the time it was slated for release was huge. It was on the same level as of Kammara Sambhavam(2018), which could be compared to Ranam admist all the mixed feedback the film is receiving. When i checked the reviews after the premier shows, i was disappointed. It could have been the game changer for Mollywood. And so could have Kammara Sambhavam and Double Barrel. The two films that i had on the 'great/good films that didn't get the response that it deserves' list was these two. Now the third entry sports 'Ranam'.

Ranam's execution and plot greatly resembles the 2011 Ryan Gosling film, Drive. To be honest, i expected it. The hammer, the slow and ambient music, the color palette the film uses and a getaway driver. All of this hinted at a huge inspiration for the debutant from Drive. And it delivers almost.

The characters are thick and has some appreciable depth. The songs, music was well placed and added to the overall pros the movie constitute. Now in any other situation, if i watched Ranam under the banner of 'Hollywood', i would be calling this a millennial disaster. It's the perfect recipe for a 21st century cinema bomb. But the situation is vastly different. Ranam is an attempt and i strongly impose the word 'attempt' here. From inspired films comes with a lot of mistakes. And Ranam has everything of that sort. But the director has pulled of an almost impossible task of recreating that feel and atmosphere the film Drive(2011) gave. Drive is a good film. I don't particularly like it or hate it either. I just know that it is a well executed movie. Ranam on the other hand has a special place in the cinemaholic inside me. I know it might not be great as the original one but still i would appreciate a film that comes with possibly a 1/10th of the budget Drive had.

Ranam establishes the narrative style in the first 5 or 10 minutes itself. If you are not liking the way film goes in the beginning itself, it's better to just walk out. The film doesn't compromise on any ground. It just flows. Much like many other films that tries to mix genres so that everyone can like it, Ranam doesn't do that. It has a nature of its own. The lead performances were fine. It's fine. There is nothing admirable about it. Prithviraj's previous outing 'Koode' had a great performance from him. Ranam's demands doesn't bode well with any of the supporting cast either.

The plot, the pace and the over use of the theme music are the biggest negatives Ranam houses. I could've ignored the blant plot. And perhaps the slow pace too. But the music was so damn annoying. The music was GOOD. The repetition WASN'T. They could've at least mixed things up. Jeez.

Ranam is a very delicate drama/thriller that can disappoint you if you don't pay attention to the quick fire dialogues popping at you. Or if you fall asleep at the slow pace the film goes through.

Nirmal Sahadev, i beg you to make more movies in Mollywood. Don't be a shadow in the coming years. The direction was the best part of the whole film. Even if everything else would fall below the line, the will to hold all of those thin lines together is a mammoth task. And you pulled off that relentlessly.

Ranam is yet another one of those 'Malayalam' films that you can witness only once in blue moon. Make sure you don't become a part of the crowd that are blind to the color blue.

Koode (2018)

Koode will be hard to top, 2018.

[8/10 · 14 July 2018]

Anjali Menon proves yet again why she's the master at depicting relationships, whether that be between blood bonds or pure love. Koode is another one in her list of exemplar movies. It tops her best film before Koode, Manjadikuru.

Koode is magical at times, pulling the viewers in for a experience that will stay with you for a long, long time. Prithviraj encompasses a role that is difficult, hard and almost painful to portray and combine that with wonderfully woven characters, you get Koode. Nazriya is not a plus, she is the soul of the film. Her comeback is certainly a very well made one. Koode is not a emotional roller-coaster that gives you all the chills and tears. It's perhaps a rare sight in Malayalam cinema where dark, subtle characters get treatment that even complex ones don't.

Koode's depiction of brother-sister relationship is spot on. All the awkwardness, the fights, the emotional aspect , all meet together in the Nazriya-Prthvi combo. The songs, the score were pretty neat, considering that the score does play a important part aside from the conversations.

Koode's main selling point is the 2 and half hour content the film presents. The pace is slow but engaging to an extent where you will forget that you're actually watching an almost 3 hour movie.

Koode is the best from Malayalam in 2018 ; so far. It will be hard to top. Really, really hard to top.

Neerali (2018)

Neerali is the best example of why experimental films are never a sure shot success.

[3/10 · 14 July 2018]

After almost 7 months of nothing, Mohanlal is back with a thriller, well sort of. Neerali works in parts. It's a great 'cliff hanging' movie, if you're into that sort of stuff and can make you sleep paralytic within minutes.

Neerali is so bad that 1 hour into the film you will adjust your inner film critic to the quality of the film so that subconsciously you will be satisfied that your money didn't go wasted just like that. Mohanlal was barely 'acting'. He was almost literally in pain throughout the dialogue deliveries and other dull plot devices. Suraj offers some amount of comic as well as 'acting' relief. Nadia Moidu was not even in the 'zone'. Casting was miles off. Young, energetic options were certainly available.

For a film that includes a 10cr + budget for VFX alone, Neerali is a sure disaster. The positives range from appreciable VFX work, great score and brilliant yet small subtleties that give this hard and unimpressive film a chance.

If Mohanlal continues this kind of performance in Odiyan, which is possibly the most hyped film of 2018, it is going to be really hard for fans to cheer for it.

Abhrahaminte Santhathikal (2018)

Abrahaminte Santhathikal is well made, stands out but still suffers from too much of nothing.

[5/10 · 19 June 2018]

It's halfway through this year and Mammooty has delivered 4 films already. Of which 3 are better left unspoken. While Streetlights and Uncle comes in with a breath of fresh air and some good moments, it fails to en-capture the real popularity Mammooty films could get. Abrahaminte Santhathikal which marks the debut of Shaji Padoor as a director and Haneef Adeni's next feature, but this time as the head writer.

Perhaps in comparison, the writing department has had more success in the film that the visual. The cinematography is slick and grandiose but the inconsistency between the frames and music is too big that it won't go unnoticed. But the praise goes to both the departments. Alby has found a great deal of attention to his gorgeous frames in Gangster(2013), which also stars Mammooty, although a terrible outing for him. Gopi Sundar has yet again produced a pleasing and not the usual trumpet sounds that is overly done in mainstream films. The BGM is perhaps one of the most appreciable positives of the film, making it even more great.

Abrahaminte Santhathikal could have been another Masterpiece, minus the actual 'storyline' and an engaging on screen performance. But the film holds it together, with the Director cleverly taking advantage of Mammooty's stardom as well as his efficiency to handle tough characters. Anson Paul handles his side good, albeit some amount of lazy moments. The female characters introduced has no major contribution and suffers from put out. Ranji Panicker delivers yet again a strong performance with a clever and safe outing for Kalabhavan Shajon.

Abrahaminte Santhathikal could have gone either way. If the film could have used more of the brother-brother storyline than some moments to amp things up, it would have been considerably better. The film in terms of the story told and the themes brought up, is a gem in Malayalam cinema. But as things go, the execution should have been way better.

Mahanati (2018)

What makes the Telugu industry so interesting again ? Mahanati.

[8/10 · 21 May 2018]

From a person who has almost zero knowledge about the telugu film industry and its upbringing, Mahanati's aura and atmosphere will always be distant from me. But even from that itself i was able to witness an epic, drawn from a simple script and effort that makes this a great, if not , a must watch.

Telugu film industry is probably considered by many as the place that houses simple, no nonsense mass masala films. But recent times has proven us wrong. From Rangasthalam , Baahubali and Arjun Reddy, it has proven itself to be able to sustain well executed, brilliant films as well.

Mahanati will be a film that has the potential to be a classic. But not all biographies achieve the reach and attention that Mahanati so easily gets. It's not about the making, but how the story is told that makes it so damn exciting. From the loose opening to the grandeur ending, Mahanati is a gift to all those who embrace film in its raw form : to tell a story.

Biographies often have the tendency to fictionalize certain events for dramatic purposes. And i don't know how much Mahanati is fictionalized. As much as i can differ between those which are fictionalized and those which are real, Mahanti has done that expertly. The fictionalization is on spot. It can be compared to, perhaps as a event that is to emphasize something more, rather than just a blunt scene.

Mahanati's biggest plus might be its cast. Keerthy Suresh has grown from a simple, 'cute' actress to someone who can wield powerful performances, if demanded. Dulquer, Samantha all provided the performance that everyone expects. It is sure a economical casting. Dulquer has his roots in Malayalam. So does Keerthy. Samantha has established herself a prominent actress in the whole of south India and Vijay Deverakonda's next film is sure to make the counters ticking.

The cinematography does need some mention. The frames were slick, moving and fast. It doesn't sacrifice space for sub-par elements. Though the comedic scenes were bit of a mess. Perhaps it appeals to the region based film critics.

Mahanati is south India's answer to a legend. And it sure is one.

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Avengers: Infinity War (2018)

Marvel's end game sure doesn't feel like one ; but still is a job well done

[9/10 · 27 April 2018]

Infinity war had a lot of expectations to live up to. When those expectations contain some characters being written off, they should abide that (pretty sure all the dead ones are gonna be back for the next part). Marvel's epic outing could have been better, if provided with some more drama and plot rather than jokes. The previous Marvel movies had that to its advantage, the jokes and comedic reliefs weren't forced. In IW, it just feels out of place.

Russo brothers might have created a perfect mix and a lesson on how to bring a vast amount of characters into a 2 and half hour movie. Infinity war isn't Marvel's best, but it surely grabs a spot at the top. If IW gonna be praised, praise it. But only for Thanos. Marvel had their long term villain problem fixed with Black Panther. They just took it a step further with Thanos. Thanos might not be the villain that can encompass moral values. He isn't Killmonger. He isn't Vulture. Each had a physical weakness rather than a emotional one.

Although Thanos's reason for erasing half the universe is pretty dumb, the way in which the reason is reached out to the audience is where IW succeeds. IW feels like something just took out what the film should've stood for. For Marvel fans who said that there's gonna be so much weeping in the theaters, i can assure you there was none. If any, they laughed. Marvel yet again delivered one of the most cheesiest one-liners throughout. Although it didn't spoil the seriousness of the movie (try telling that to a DC fan), Marvel should really work on the jokes thing. If marvel wanted to do a comedy movie, bring in Waititi to direct. Apart from a pretty straightforward plot and storyline, IW suffers from too much jokes and one-liners. All these drawbacks might be stomped down by a jaw - dropping ending (provided they stick with it). Marvel, you did it again.

IW isn't the superhero film of the decade, nor is gonna be any competition to the present classics. It is EPIC, DARING and pretty AMBITIOUS. Nothing more, nothing less.

Parole (2018)

Parole isn't a party film and it doesn't pretend to be one

[3/10 · 17 April 2018]

Mammooty is now renowned for releasing films in quick succession, much to acknowledge his love for debutants. With his year kick-started with his cop drama, Street Lights , an above average thriller, i could say he is off to a pretty great start.

Parole is a mediocre debut from Sharrath, with the same prison drama pattern repeated all over. With scenes that lag all the way through, save for some great scenes towards the end of the first half, Parole doesn't work at all in the way the director wishes to.

Mammooka's peformance towers over any other positives of the flick and in a way, saved it. All the other performances were above par, but still isn't the type of script that demands strong performances, except the lead.

The true story tagline should have been used to its advantage, although it never feels like one.

A strict one time watch.

Panchavarnathatha (2018)

Terrible ; a failed, miserable slapstick comedy

[4/10 · 17 April 2018]

Pisharody's on screen presence and enigma could not be more embarrassed through Panchavarnathatha. For an average viewer, who has expectations as high as the sky, mainly due to the fact that Panchavarnathatha is Ramesh Pisharody's debut.

Becomes funny at times, but that phenomenon is not a sight that would satisfy the audience who actually pay to see this. Jayaram becomes the only possible positive that at least delivers his share of performance, that nearly saves the film from being a complete disaster. Kunchacko Boban played a crucial part in making the film a tad good, but again the story, the sub-par performances from the supporting cast and the produce that comes from the combined lot is not much, even nothing.

In the end, the film is all about the one guy, who is all sweet, has a tragic backstory and has some great deed to complete before his going. Be sure to expect the death sequence.