Raja Rani

My review: Raja Rani

When you watch "Raja Rani" things that go through your mind are this one is the most weakest of all the movies directed by an young debutante this year. It is blatantly unoriginal, not even a single scene which will not give you a feeling of having watched it before. Right from the first scene which is borrowed from that legendary television series "Friends" (the famous Ross' slip-of-the-tongue moment in the altar during his marriage with Emily ) till the end with the beaten to bushes airport hero-heroine reunion, movie has nothing much to boast of in terms of novelty in writing or story. They could very well named the movie "deja vu" for that is the predominant feeling one goes through while watching this movie.

"Raja Rani" is not only unoriginal, it is disturbingly inconsistent. A wonderfully written (rather inspired) and executed sequences is followed by a plain ridiculous and juvenile sequence. It happens not once or twice but almost everytime. It is not surprising that almost all these juvenile sequences has to do with comedy which has found recourse mostly to racist, misogynist or physical themes. Atlee manages to execute the emotional sequences so well that there are many sequences that will move one to tears. But the promise he shows in those sequences evaporates quickly in the so-called comical ones like those involving Nazriya's boss or her office colleague for example. 

Story is a straight lift from "Mouna Raagam". Jai's characterization is almost the same as in "Engeyum Eppodhum" only this time it is not as subtle or as seamless as in the former. Here it is very much contrived and artificial. Same goes to Nayanthara's characterization which is an amalgamation of what Tamil cinema heroines have been doing for many years, especially someone in a forced marriage. Last such character that was well executed was Parvathy Menon's in Kannada flick "Milana" couple of years back. Sathyan and Shanthanam has been doing these kind of characters since time immemorial. Only Nazriya's role has semblance of novelty to it but even it's culmination is contrived. Even the small kids in the crowd will guess what will happen when a happy smiling lady crosses the road with ice-creams in her hand. 

In spite of all the knowledge and loads of information available at the tap of your fingertip it is plain irritating to see even these knowledgeable young kids are making movies in which the cure for epilepsy is still a key bunch. We are in 2013 for god's sake, not 1970's. Grown up guys, a simple research on the net could have been useful in this regard rather then such lazy and lousy thinking. 

Except Arya, everyone else have done their parts well. It is astonishing that even after all these years he has not learnt how to emote on screen. He is mostly monotonous with plain expressions. If anyone is not able to learn the tricks of the trade even after working with Bala, he never will. Jai is good in his part, like I said earlier a continuation from where he left off in "Engeyum Eppodhum". His voice modulation has improved leaps and bounds from his "Vamanan" days. 

Nayanthara has lots of scope to perform and she has utilized the opportunity well. She is too good in all those intense scenes. Nazriya Nazim comes across as a pleasant breeze on a sunny afternoon. She is cute and at the same time effortless and casual in her performance too. Some of Shanthanam's one-liners are laugh-worthy but most of them are tiring and irritating. Sathyan does his usual hammy stuff. Sathyaraj has a dignified and understated performance.

G.V.Prakashkumar's songs are already huge hit among the youngsters. "Hey baby" and "Oda oda" are youthful bubbly numbers while "Chillena" is good melody. But the best song in the album "Angnyaade" is not there in the movie or did I miss it. Background score is mixed bag again from G.V. At some places it is jarring and hurting to the ears. 

The movie marks the debut of one of the most promising cinematographer in recent times George C. Williams. His frames are too good. He has ensured that the youthful appeal is maintained throughout by  his colorful frames.     

Atlee shows some promise especially in the emotional sequences and romantics ones. But consistency and originality is what that is lacking which he needs to work on. Otherwise it is a decent debut and a decent movie that people who were in love, who are in love and who will be in love would lap it up. 

Bottomline: Mishmash of all the romantic movies of the yore. 

2.5/5 

The Lunchbox

My review: The Lunchbox

There are films that you watch, only a few you experience. Most of the time you see actors enacting the roles written for them, only rarely you forget that it is "actors" who are enacting roles written for them. Whenever a movie evokes your interest you get hooked to it  but very rarely you become part of the it. Even the best of movies will make you laugh or cry at the proceeding but once in a while you come a movie that makes you laugh or cry along with it. "The Lunchbox" is one of those rare movies that befit the later descriptions.   

In the days of texts and emails the main theme of two totally strange and diverse persons sharing a beautiful serendipitous relationship through letters right away gets you sucked into the narrative. Once you do then it is two hours of once in a lifetime experience through the gullies, crowed trains, busy roads, and mundane government offices of Mumbai along with the protagonists. You actually get to smell the sabjis when Imran takes a sniff at the lunchbox or when Nimrat prepare them under the tutelage of her neighborhood aunty. That is the power of Ritesh Batra's writing which transforms an obscure chennaiaite watching the movie in a multiplex into a Mumbaikar. 

Movie's characters are not that unusual or obscure beings. These are the people you and me come across everyday in our work place, neighborhood, and the public transport. A lonely grumpy widower yearning for company, emotionally dissatisfied taken-for-granted housewife, an young at time annoyingly sweet intern, intrusive at the same time helpful neighborhood aunty are the ones none of us are oblivious to have known. Especially the neighborhood aunty whom we only get to hear is one of the best supporting cast in films recently. We don't feel like we have not seen her face, Bharati Achrekar is simply awesome with her voice acting. Don't be surprised if she gets an award or two for the best supporting actress and if she gets it would go down in history as for first time any one would get award without even appearing for a second on screen which she truly deserves.  

Irrfan Khan is simply superb as Saajan Fernandes, a brooding grumpy old man on the verge of retirement. His body language, voice modulation and demeanor, everything about his Saajan is memorable. Watch out for the subtleness in his acting whether when he consciously takes a sniff at the lunchbox in the middle of a busy office or when he realizes that he is too old to play this romantic game. 

Nimrat Kaur is an excellent and exciting find to Indian cinema. She seems to have a natural flair for acting, her theater background comes to fore here. Her portrayal of Ila is so casual and effortless. Both the writer and the actor have restrained themselves from melodrama though there is ample scope for it which is a huge relief. Nawazuddin Siddiqui is a bundle of talent and once again he rocks the screen. What an actor he is turning out to be. In each every frame he is on screen he grabs the eyeballs which is no mean feat considering the stature and the performance of the co-star he shares screen space with.

Max Richter's background score adds soul to the story. Michael Simmonds' camera work captures the hustle and bustle of Mumbai's crowded trains, the route traversed by the dabbawalas, their lifestyle and the interiors of  Mumbai's middle-class households.

Ritesh ends the movie with a poetic happy ending that is open to the interpretation of the viewers. Thus rounding of a well made movie that is bound to find its place amongst the best of Indian cinema.

Bottomline: An exquisite lunch.

4.5/5

North 24 Kaatham

My review: North 24 Kaatham

 The freshness and levity in the writing is fast becoming a common creative trait of the new age Malayalam writers and directors. Yet another debutante to fall in that line is Anil Radhakrishnan Menon. His debut feature film, Fahad Fazil starrer "North 24 Kaatham" is an interesting movie with its unconventional fascinating characters, exciting backdrop and a simple story that keeps the audience under its spell for two hours. Stylishly shot and crisply presented with an undercurrent of levity that lightens up the mood "North 24 Kaatham" is yet another example of how Malayalam movies are fast becoming the best among the south Indian if not Indian cinema. 

Movie has one of the best performance from Fahad in his already powerful repertoire. His character is the heart and soul of the movie on which the its foundation is laid on. As a high functioning autistic Harikrishnan with the traits of Asperger's Fahad has lived the character. Not even at a single moment you could realize that he is enacting a movie role. He is so natural and his portrayal is so authentic that he instantaneously grabs all the eye balls and attention towards him and sustains it till the end. It is a career best performance from this immensely talented Mallu. Sad that his talent is getting restricted to Malayalam movie industry. Talent of such stature needs a pan-Indian stage and recognition.  

Coming onto Anil, his hard work in the conception and development of the character that is so eccentric and unusual is evident on screen. Except for the contrived ending, both for the movie and the character arc of the protagonist, his writing and execution is faultless. The backdrop of a hartal day in Kerala is so effortlessly visualized and seamlessly blend into the narrative. The landscape that the trio traverse makes up for a visual treat with awesome cinematography by Jayesh Nair. Govind Menon's background score and musical score further enhances the whole movie viewing experience. Such a seamless confluence of talent from all the quarters is what makes a simple movie like this special. 

Swathi Reddy as an independent social worker has a meaty role as well. She is such a talented actress who is underrated in all the three industries she is working in. When it comes to expressions and emotive skills she is second to none and right there among the best. Nedumudi Venu gets a substantial part to play after a long gap. It is a pleasure to see the veteran in full flow. 

On the whole, "North 24 Kaatham" is a beautifully made film, a must watch for Fahad Fazil's excellent acting. 

Bottomline: Road less traveled, but the travel is a pleasant one. 

3.5/5  

Lucia

My review: Lucia

 Pawan Kumar showed us glimpse of his immense potential with his debut "Lifeu Ishtene", which turned out to the best movie of the year 2011 in Kannada. But that movie threaded a safe path though the making was refreshing. His second venture "Lucia" was one of the most eagerly awaited movie of this year because one, everyone was curious to see whether Pawan can keep up with the good name he created with his debut flick. Two, it is the first movie made in Kannada, (if not in India) funded by audience themselves. And, three the promo posters immediately evoked curiosity when it was released due to it's bizarreness and abstractness. 

So when you enter the theater the baggage of expectations does weigh on your shoulder but 130 odd minutes later you would come out with each and every inch of those fulfilled. Pawan Kumar has gone from strength to strength from his debut movie. If "Lifeu Ishtene" was brilliant, "Lucia" is outstanding. He has dared to thread the path unexplored in Indian cinema before and has done it with aplomb. The amount of homework, acumen with which he has come out with such a "lucid" screenplay that is so simple (though a lesser mind would have ensured it ends up confusing the viewers) and comprehensible once you put the pieces together in the end, that keeps you hooked to the screen for the amount of time the movie runs, is an astounding feat. Pawan, take a bow. You are one of the future of Indian cinema. 

The clarity in the thinking with which Pawan has made this movie in spite of the financial hassles he had to go through would be a story worth celebrating. Made at a shoe-string budget of Rs 75 lakhs movie doesn't appear to have any tackiness even for a fraction of a second. This is an excellent example of how to make as much with the resources available at the disposal.  Now you wonder how come people in Tamil and Telugu movie industry are making movies with such glaring technical glitches with insane amount of money at their disposal. May be they need a crash course on this from Pawan. 

The story has many layers (literally) which keeps one engrossed. It is based on "lucid dreaming", a scientific concept in which people can remember their dreams vividly and resume it from where they left off. A condition common in people with sleep disorders, distorted sleep architecture with excessive REM sleep. If anything more is said about the story it will spoil the viewing experience of those who have not watched it yet. But one thing is sure, there is more than one surprise in store for the viewers. 

Satish Ninasam, who has played supporting role in many movies is the protagonist Nikhil. He has a challenging role to play that has many shades, layers and emotions to portray which he has managed to do with such precision. From comedy to anger to jealousy to innocence to......he has almost all the navarasas to portray. Shruthi Hariharan is another worthy addition to Kannada cinema. Not only she looks pretty, she is so natural and effortless in her acting also. Yet another actress with potential whose talents needs to be celebrated. Achyuth Kumar rocks in his supporting role. What a talent he is. Almost all the cast members have done their part excellently with natural flair. 

In Poornachandra Tejaswi's music movie has variety in its album. "Jamma jamma" is a foot-tapping dance number, "High schoolu" is an experimental number on the lines of " Yaarige Healona" while "Nee  thorebeda" is a good melody. 

Siddartha Nuni must be a talented cinematographer. With such restrictions in the movie's budget, he has managed to present to us the movie in such a glossy and suave manner. Pawan Kumar's visual sense was evident even in his first movie which gets celebrated on a higher scale this time in unison with Siddartha. Movie has a lot of shots with interesting angles that doesn't comes across as forced. 

Only glitch is Pawan's misogynistic tendencies comes out now and then which was so evident in his debut movie as well. The manner in which he has shown the protagonist's disapproval of his lover's career ambitions and later she herself repenting not listening to him in that regard and apologizing for the same is a serious glitch in an otherwise neat movie. He could have very well done without the same. In the end she becoming a "housewife" bringing lunch (albeit Pizza )  to the work place of her husband is so regressive which one didn't expect from an intelligent person who has made such a wonderful movie. 

On the whole, "Lucia" is one of the best Indian movie this year which needs all the support, a wider release and bigger reception from the pan-Indian movie loving public. After all "your small life is someone's big dream".

Bottomline: Rare gem of Indian cinema. 

4.5/5 

Mathapoo

My review: Mathapoo

"Dhinanthorum" Nagaraj's "Mathapoo" has a neat story, uncomplicated screenplay, good acting from the cast, soothing background score yet it is lost in the time warp. Movie might have worked well may be ten years back, but everything in the movie looks out of place, not in sync with the contemporary. As a result though the story keeps you engaged somehow you tend to aspire for something better. One can only wish that such talented person like Nagaraj should come out of his comfort zone and explore more. The movie and its making is redundant though it is not totally farcical either. 

Story is simple has interesting moments, screenplay moves at a pace which is consistent, neither too fast nor too slow. Nagaraj is known for his witticism which is evident in his dialogues. Except for the songs, movie is realistic, almost. Some of the characters are fresh especially Sithara's is one of the most delightful "chittis" in recent times. Some scenes show the alertness and acumen of the director. Especially the one towards the climax when Sithara impulsively slaps Gayathri, then just about noticing her father standing nearby and instinctively apologizing to him by gesture. So casually and effortlessly done both by the performers and the director. There are quiet a few such well thought about sequences in the movie.

Jeyan is the new find who fits the bill as a happy-go-lucky youngster who is behind Gayathri. Except in the few emotional sequences towards the end where he is totally at sea, by and large he is confident on screen. Gayathri is one of the most talented and promising youngsters in recent times who has performed well in almost all her movie so far. She continues in that vein this time too. Movie boasts of a strong support cast led by Sithara, Geetha, Kitty, Renuka and Ilavarasu. The humongous experience these names bring along with them is evident on screen. Even few melodramatic scenes are gracefully enacted by them.

Debutant Velayutham's musical score is below average. None of the songs stay in your mind. However Sabesh-Murali have done the background score very well. It is soothing and consistent with the mood the movie. 

On the whole, "Mathapoo", you would not regret watching this movie in theater. 

Bottomline: Ten years too late. 

3/5

Grown Ups 2

My review: Grown Ups 2

Sandler and his on-screen and off-screen friends are back with another attempt to trivialize the taste of audience and to slander the genre, comedy with their apologetic movie, "Grown Ups 2". What they intended to achieve by making this horribly bad movie is difficult to fathom. Though movie has an impressive line up of proven comical talent like Adam Sandler, Kevin James, Chris Rock and David Spade, movie doesn't have much to laugh about. Only thing that makes one laugh is at oneself lamenting the bad time which would be the only reason any one would even think of going anywhere near the theater showing this movie.

Written by Adam Sandler, Tim Herlihy and Fred Wolf and directed by Sandler's constant Dennis Dungan, "Grown Ups 2" sees the quartet now living in the same place where they grew up but not yet "Grown up". Faced with their own off-springs going through what they went through during their high-school years, movie is all about how they realize the growing up of their children.

Lame writing, disgusting sequences with lots of vomitus, farts and below-the-belt jokes, inability to make the viewers smile even for a fraction of second, pathetic acting, beaten-to-death- family values , underdog vs bullies, and boring slapstick comedy, just about summarizes what this movie is all about.

This time around the energy and verve which is so typical of Adam Sandler is totally missing. He just sleep walks through the movie. Kevin James hardly gets any noteworthy sequence while Chris Rock is irritating. David Spade also gets limited opportunity. Salma Hayek in a totally forgettable role where her acting has regressed to her early television days.

On the whole, "Grown Ups 2" is one of the lamest and most disgusting movies in recent times. Watch it at your own peril.

Bottomline: Asinine 

1/5

Kunjananthante Kada

My review: Kunjananthante Kada

When your debut movie was one of the finest movies made that gained accolades from all around naturally you feel the jitters when you embark on the next project. Salim Ahamed must have gone through it when he made his second movie "Kunjananthante Kada" following his massively impressive "Adaminte Makan Abu". Starring Mammootty ( once again proving his mettle with a superbly restrained effort )  and Nyla Usha ( an impressive debut), "Kunjanan...." has its heart in the right place but has got undone by poor writing and execution this time around by Salim. 

What could have worked wonders as a short film has gotten stretched beyond its capacity, as a result the movie lacks the punch and fails to engage the viewers after a point. Since there is paucity of the written  material execution of the same becomes a problem especially if one has to maintain the same amounts of intensity for a period of 2 hours. And the strain with which the makers have tried to do it shows on screen. In the end, the movie comes across as a wannabe classic shot in the style of movies which reaches out only to the confines the air-conditioned rooms of the jury of film festivals and award committees. But this time even there I think there would not be many takers for this half-baked attempt. 

Except for the performances of the actors in the movie there is nothing much to harp about. Mammootty is splendid as an anankastic, rigid-minded, brooding Kunjananthan who is fixated with his grocery shop to the extent that he ignores his family and its happiness. He has once again reveled with the subtle acting that he is known for. Pity that in spite of his earnest performance, due to poor writing his character fails to kindle any emotions in the viewers. Nyla Usha is very impressive in her debut movie. She is so casual and natural in her portrayal of a frustrated wife whose aspirations and even minors pleasures are denied by the rigid thinking husband of her's.  Rest of the support cast have also done their parts to perfection.

Madhu Ambat's camera work is pleasant to the eyes. Especially his lighting in the night shots are a treat. M.Jayachandran's background score supports the narrative as much as it can. 

But in the end, certain stories have a better impact if they are made as a short film. They loose their steam if stretched beyond it which is what the precise problem here with "Kunjananthante Kada". Only solace here is that the makers have abstained from being preachy or taking sides in this development-displacement debate. The ending was more naturalistic than poetic or contrived which is appreciable. 

On the whole, "Kunjananthante Kada" fails to impress in spite of good performance from its actors due to poor writing and execution. 

Bottomline: What could have been a crisp short film....

2.5/5 

Varuthapadatha Valibar Sangam

My review: Varuthapadatha Valibar Sangam

"Varuthapadatha Valibar Sangam" (VVS) is one of those movies which you would neither like it nor hate it. It is like a train journey where there is spurts of action now that wakes you from a deep slumber in between a prolonged lull. By the end of the journey you get on with your life without reminiscing anything about it. That is the exact feeling that you get after watching this movie. 

Written and directed by Ponram with dialogues by Rajesh.M, VVS is way too long for the starters. Movie could have been better off if it was shorter by  at least half an hour. Hence you kind of get restless in the second half because nothing much happens as far as the story is concerned. Scenes get redundant, repetitive and dialogues get monotonous after a point. There is a sense of detachment that engulfs you as the movie proceeds.

Not that everything is bleak, there are points during which certain sequences kindle your interest or a dialogue or two that makes you laugh. But these points are too few and far in between the larger lull that you experience. Rajesh's dialogues does provide few enjoyable one-liners and intelligent use of words to elicit laughter but on the whole it is not as funny as his previous movies. May be he needs people like Shanthanam to make his writing click with the audience. But Soori is not far behind, he does manage to create some impact but needs a lot of hard-work on his part to break the monotony in which he seems to have stuck-up with.

The romantic sequences offer some solace mainly due to the crackling chemistry between the lead pair Shivakarthikeyan and Sri Divya who look fresh onscreen. The whole track between the two is differently conceived with Sri Divya being used by Shivakarthikeyan to deliver his love-letter for Divya's teacher, Bindhu Madhavi. The interactions between the two starts off casually and in a lighter vein which is maintained throughout even in the supposed to be serious sequences which is refreshing refraining off all the melodrama.

Shivakarthikeyan is getting typecast like Dhanush was once playing the same wastrel kind of role in every other movie of his. Here too he is an annoyingly good-for-nothing guy who whiles away his time chasing girls and trying to solve petty issues in the village. There is nothing to nitpick with his performance but it would be better if he tries exploring different kind of roles with different backdrops. Sri Divya is yet another refreshing newcomer who has a very pleasant and homely looks. She does her expressions so effortlessly and her emotive skills are well rounded for a newcomer. May be the void left by Anjali can be filled by her.

The role of Sivanandi shouldn't have been much of a challenge to a veteran like Sathyaraj. It is a banal role that has an interesting twist in the end much of which is not that unguessable. Soori does a better job than in the recent "Desingu Raja" but still he also can try out varieties instead of trying to get inspiration from Vadivelu most of the time.

In Iman's music "Oodha color ribbon", "Paarkathey paarkathey" and "Yennada yennada" are goo numbers though this time he misses out on a magical number which finds it place in each of his recent albums. One wonders why should all movies these days have a misogynistic love-failure number. "Why this kolaveri di" has resulted in slew of these mindless numbers that only irritates more than anything else.

Balasubramaniem has captured the rustic landscapes of the south Tamil Nadu villages adeptly with his camera.

On the whole, "Varuthapadatha Valibar Sangam" just about manages to scarp its way towards to find a place in between mediocrity and being just about average.

Bottomline:  Strictly routine, nothing special.

2.5/5

Shuddh Desi Romance

My review: Shuddh Desi Romance

Director Maneesh Sharma seems to have caught up with his "Band Baaja Baaraat" mold. Bands, Baajas and Baaraats form the backdrop of his third movie "Shuddh Desi Romance" as does the bathroom and toilets. As the movie happens in Jaipur, every other scene you see the actors savoring various signature delicacies of the region. Maneesh seem to have oral fixation for either his characters are shown munching the street food or each others lips in alternate scenes. And after that they end up in the toilet as expected which plays an important part in the movie. 

"Shuddh Desi Romance" focuses mainly on the commitment phobia that is fast becoming very common among the urban youth of our country. Just a couple of weeks back a Telugu movie "Anthaka Mundu Aa Tarvatha " handled the subject beautifully But here Maneesh seem to have taken the convenient route  and hence as result the movie fails to make the desired impact it ought to have created otherwise if he has threaded with more seriousness. In the end the movie just passes muster ending up as an average fair, almost a comical documentary on the commitment phobia. 

Initially the language, the backdrop, the setting  and the light-hearted feel kindles interest in the viewers. But as the movie progresses into the second half, everything becomes repetitive, monotonous and redundant, hence movie gets a bit boring. In the end, the  makers have opted for a convenient ending which totally goes out of place from the promising start.   

Sushanth Singh Rajput is good as a naive, confused and at times irritating Raghuram, a small town youth in eternal state of dilemma. Parineeti Chopra actually steals the show, overshadowing everyone else with her sparkling screen presence and  performance. Vaani Kapoor is pleasant looking and does her part credibly. Rishi Kapoor gets lots of good one-liners that makes the audience laugh at many places. 

"Gulabi" is an awesome melody that is already ruling the youtube and the music charts. Rest of the songs are usual routine Bollywood fare. Music is by Sachin-Jigar. 

After a slew of impressive line-ups Jaideep Sahni's writing slips a bit this time. Though the movie somehow manages to grab the eyeballs throughout the length of it, one does gets a feeling of missing something in the end. May be this itself might eventually be enough for the movie to click at the box-office, considering some of the most awful movies like "Yeh Jawani hai Deewani" and "Chennai Express" have made it big this year already.

On the whole, "Shuddh Desi Romance" is better then some of the dreadful blockbusters of the year so far but still falls way short of what it promises in the beginning due to a redundant screenplay.

Bottomline: A story of bands, baajas, baaraats and toilets. 

3/5

Memories

My review: Memories

After string of flops, Prithviraj's career turned for the better following his unexpected hit "Ayalum Njanum Thammil", followed by couple of hits "Celluloid" and "Mumbai Police". On the lines of "Mumbai Police", Prithviraj's latest movie "Memories" is also a detective suspense thriller written and directed by Jeethu Joseph who himself is riding on his successful "My Boss", one of the biggest hits in Malayalam last year. The now successful combo have maintained their position with "Memories" too. 

Neatly written and well executed, "Memories" is an engrossing thriller that keeps you guessing throughout the two and half hours you are in front of the big screen. Jeethu has struck a beautiful pace which is neither breakneck nor lackadaisical but the story travels at a pace that is just perfect for this story. As a result you are able to absorb the storyline, try to assimilate the hints and clues and at the same time don't feel that you are left far behind because of the pace at which things happen. As you start to travel along with the characters in the movie you get so lost in the story that you hardly notice the time spent. 

Part of the success should go to the actors who have all put in more than decent performances. Prithviraj leads the way with a dignified portrayal of an alcohol police officer on a long leave after the murder of his wife and daughter at the hands of one of his encounter victim's brother. He shows various shades of his character from a loving husband, father and son to a forlorn, brooding alcoholic to an astute investigator who gets into the case reluctantly after being pushed into it by his mother. He has consolidated his position in the industry with his acting with each of his recent movies that have given ample scope for him to perform.   

It is solely a Prithviraj movie for he is there in almost each and every frame of the movie while rest of the cast have nothing much to do except to provide adequate support. Meghna Raj looks gorgeous in her cute cameo while Mia George has scope to perform. Nedumudi Venu, Vanitha, Vijayaraghavan, Sreejith Ravi, Suresh Krishna, Sreekumar and the rest all have done their parts well.

Anil Johnson's  background score is brilliant aids in supporting the script in eliciting the thrills. Sujith Vasudev's cinematography is world class. It is one of the well shot Malayalam movies in recent times, technically astounding. Major part of the credits should go to Sujith. 

Jeethu Joseph has tried to focus on the story refraining from undue distractions. This has resulted in an engrossing movie that can be savoured by the movie going public. 

On the whole, "Memories" is one of the best detective suspense thriller in recent times on the lines of "Grandmaster" if not better. 

Bottomline: Engrossing and entertaining.

3.5/5   

Kalimannu

My review: Kalimannu

Blessy's "Kalimannu" has been in the news for a long time for all the wrong reasons which might have actually worked in favour of this movie in the end. The curiosity it has kindled in the minds of the movie goers has resulted in the good opening it has got but to sustain it, it should have good content. Whether it has that to sustain is a big question altogether. 

Unlike "Artist" where each and every twist and turn in the movie looked seamless and natural course of action the characters ought to take which resulted in the instant emotional connectivity, in "Kalimannu" it is more of each and every character, their destiny and life course everything seems to be forced in as an after thought once the finale has been conceived. Hence it is difficult to emotionally engage with the characters in the movie, main blame wrests with contrived writing by Blessy. That is nothing to take away from the lofty theme that he has thought off as an eye opener for the larger public about the unexplored possibilities in the medical field of conceiving after the brain death of the male partner with his sperm. 

The movie starts off in a laid back fashion with nothing much happening in the first hour except for the contrived twist that  befalls Biju Menon's character that is the harbinger for the second half to unfold. Second half starts off promisingly with the issue of post-mortem sperm donation throwing up exciting debates, views and counter-views. Though these portions does have a documentary feel to it, it is one of the most engaging set of sequences in the movie. But sadly after the issue fizzles out, so also the rest of the narrative. The story turns into a documentary on child birth and the anti-natal care.    

If the movie works is spite of the contrived plot and writing, it is because the credibility the actors give to their characters. Shwetha Menon has literally lived the character of Meera, a bar dancer turned item-dancer cum budding actress who fights for her right to bear a child with her slain husband's sperms. It is easily one of her career best performance. Kudos to the conviction and courage she has on the medium and her devotion to her profession. Biju Menon lends admirable support while Suhashini is dependable as ever. 

With "Laali laali" already creating a sensation on youtube, M.Jayachandran's music has a refreshing feel to it. Background score is soothing while the songs except for "Laali laali" are okayish. Satheesh Kurup's cinematography is replete with technical finesse which render the visuals with classy and grand feel.

On the whole, "Kalimannu" is watchable once for the performances of the actors which stand out and masks the ineptitude of the writing. 

Bottomline: Celebration of the motherhood, a contrived perspective. 

3/5

Arikil Oraal

My review: Arikil Oraal

"Arikil Oraal" is a well made suspense thriller built on an interesting premise. It is based on a mythological as well as a scientific phenomena of "doppelganger" where a person starts experiencing doubles of living persons. Whether Sunil Ibrahim has alluded to the mythological or the scientific interpretation is for you to see in the big screen but the execution of the same deserves kudos. 

It is a taut thriller which moves at an optimum pace that keeps you engaged for the two hours (107 minutes to be precise) it runs. Though the tag line goes "Its complicated" in actuality movie gets straightforward once the knot is untied in the end. Even up-till that point there is nothing that is complicated. Sunil has made a movie that keeps the suspense and leaves you thrilled though the presentation is forthright and uncomplicated. 

It is one of those movies where the writing with all the substance and juice is translated with aplomb on screen backed by wonderful casting, good performances and brilliant making. Though there are certain instances where the writer would have been better off if he had succeeded in wading off brief cliched moments but they are few and far in between.  On the whole, the movie looks fresh, engaging and entertaining all the same.

Indrajith is brilliant in an understated and restrained portrayal of Siddharth tormented by Nivin Pauly's double. It is praise-worthy all the more because there is ample scope for going over-the-top with histrionics at numerous occasions in the story but he has keeps it subtle. He comes to his own during the final moments of the movie. Nivin is good too with his mysterious characterization getting all the eyeballs throughout the narration. Not only Indrajith, even Nivin, for that matter almost all the characters with exception of Pratap Pothan have done their parts with great deal of restrain. Remya Nambeesan lends a neat support act though she doesn't have much to do. It is refreshing that the movie refrains itself from having a romantic angle in it though it has a female in between two guys in it. 

Gopi Sunder's music and background score is an added strength to the movie. He keeps up with the demands of the suspense and thrills of the narrative. Krish Kymal who has handled the cinematography is the man behind the rich look of the visuals. The making is grand and technically movie is classy.

On the whole, "Arikil Oraal" is a short, neat and taut suspense thriller that is thoroughly engaging and entertaining. 

Bottomline: An uncomplicated suspense thriller 

3.5/5

Ponmalai Pozhudhu

My review: Ponmalai Pozhudhu

It is astonishing how when a movie with a particular theme is released and successful, it is followed by slew of movies on similar themes. Here though it is more of a co-incidence that "Ponmaalai Pozhudhu" is released couple of weeks after "Aadhalal Kadhal Seiveer" that deals with almost similar issue albiet from different viewpoints. Bud sadly the honesty and conviction of the latter seems to be a casualty in "Ponmaalai Pozhudhu". Rookie A.C.Durai's inexperience and jitters at wielding the megaphone shows on the end product which lacks the punch and proficiency of a professional. 

Movie is inconsistent at many levels. Story is not focused with many transgressions that dilute the main plot that director wants to present. Screenplay is haggered swaying all over the place with stretches of  inanity that tests your patience. Even the characters and their performances are inconsistent. Heroine's father character is one of the most crude and theatrical characterization in recent times with a loud Aruldoss making it worse. And Kishore's is the other end of the spectrum as the hero's father who is so compliant and understanding that it reeks out artificiality in spite of a dignified and honest effort from him. In fact the scenes involving Kishore and Anupama Kumar as his wife are the one of  the very few instances the movie is bearable with almost having a poetic tinge to it.  

The first half is artificially conceived and presented in a contrived manner. Due to the weak first half one is not able to invest in the characters emotionally and as a result the better second half suffers. Due to the tortuous and contrived screenplay movie doesn't evoke any emotions from the viewers in the end. In fact even half way into the first half one can see the audience becoming restless in their seats. The poorly placed songs confounding the matter further.  

Aadhav Kannadasan makes his debut with this flick but has a long way to go before he can pass muster. However his footwork in the song sequences are quiet good for a new-comer. Gayathrie, one of the few promising young actresses who can confidently dub herself has done a decent job. Kishore and Anupama Kumar are good in their roles as understanding parents of Aadhav while Arul Doss is irritating in an over-the-top theatrical role as Gayathrie's father.

Music is the only redeeming aspect of this movie. In Sathya's music movie boasts of a hit album. "Adikadi mudi" in Hariharan's honey coated voice after a long time is the pick of the album while "Iravugalil" is not far behind. 

On the whole, "Ponmaalai Pozhudhu" tries a "Thulluvatho Ilamai" but it is neither honest enough nor bold enough, as a result destined to fall by the wayside. 

Bottomline: Not a pleasant experience.

1.5/5 

Artist

My review: Artist

Written and directed by Shyamaprasad, Fahad Fazil -Ann Augustine starer "Artist" is one of the best movies that graced south Indian cinemas this year. It is the kind of movie where everything has fallen into their places exactly they ought to be. The story unfolds in such a lucid manner and it remains so for the rest of the time, culminating with a very emotional ending that thugs at your heartstrings. 

Unlike movies where you find scenes are forced into the narrative, characters manipulated with to create the melodrama that is intended to shake the viewers intentionally, in "Artist" each and every  turn that happens, changes that the characters undergo, twists that happen in the lives of the protagonists happen in such a seamless manner that one gets the feeling of being there with them when while their lives go through all those that happens. And hence due to the emotional evocativeness of the narrative the movie elicits the amount of emotional investment from the viewers that at the end one can't but get emotionally afflicted in the end. 

Shyamaprasad deserves all the credits for keeping it simple and straight-forward.  What could have ended up as an over-the-top melodrama fest due to his temperate treatment has evolved into a poetic symphony of myriads of emotions. Many movies that romanticize the relationship of a struggling and disadvantaged protege and angelic woman behind his success had always been a fairy-tale stuff sugar coated to the extent of revulsion. But this is one of those honest take on reality of such a relationship which need not always have a fairy-tale ending. And it does quiet makes sense since a relationship that too a non-committal one with a eccentric almost maniacal artist with ever occurring mood swings and impulsivity and his devout, almost revering girl friend who endures all pain and hardships to ensure that he has a comfortable living so that he can pursue his artistic endeavors is writ with its own pitfalls in the long run. Hence the ending is quiet naturalistic though it gets you emotionally shaken a bit. 

It not that usual in the recent times to have Fahad Fazil in a movie and he being overshadowed by his co-star by a large margin. And one has to applaud the man for it, the conviction he had in the movie and the story that he has readily accepted to do a role that is a second fiddle to the lead actress. Fahad has delivered his role with such conviction that he readily evokes anger on his character from the viewers. His mood swings, his unapologetic selfishness, the misery he undergoes soon after realizing the handicap that has befallen on him and his yearning for redemption from that are all portrayed with gusto by the leading young actor of Malayalam industry. 

But the movie belongs to Ann Augustine. She is the heart and soul of this movie. Though titled "Artist" her role is the central cog around which rest of the characters and the story unfolds. She is damn brilliant as Gayatri who stands by his partner ( live-in relationship) all through the struggle that he undergoes in search f his artistic masterpiece while all along throwing away her academics, family, friends and career. She earns all the viewers sympathy by the cruel play of fate that befalls on her in the end. It is Ann's career best so far. 

Bijipal's music is pleasant and seasons the narrative with a fragrant flavor. Movie is technically brilliant with  the cinematographer Shamdutt Sainuddin leading the way with crystal clear visuals with astute of use of the lighting at points which mandates it.

On the whole, "Artist" is a must watch where a simple story is brilliantly presented complemented by outstanding performances from the lead actors.

Bottomline : An Ann Augustine film with Fahad Fazil in it. 

4/5