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Maa Nanna Superhero (2024)
Stories never get outdated. It is how they are told will.
New comer Abhilash Kankara's movie Maa Nanna Superhero is a heartwarming emotional movie about a son, his adopted father and his biological father and their journey through self-discovery and realization.
The story packs an emotional punch which may not be for everyone. However, what keeps it organic is the actors' performances by Sudheer Babu, Sai Chand and Sayaji Shinde. All three deliver a beautiful performance.
Screenplay by Abhilash Kankara, MVS Bharadwaj and Shravan Madala despite taking some cliched scenes and including some forced sequences delivers an engaging story. The movie's editing could have been better in terms of delivering the emotional impact and building the connection with the audience. It did work, but it could've been better.
The film rolls like a pleasant journey unfolding in front of your eyes. It is very inviting and feels open. It doesn't take the audience for granted and manages to close all the loose ends with an emotional high that maintains throughout.
This is a perfect family for those who love sentiments and emotions. Go watch it.
-CinephileIndia2023.
Vettaiyan (2024)
We have a blockbuster on our hands
Vettaiyan is about the philosophical difference between Athiyan, played by Rajnikanth, and Satyadev, played by Amitabh Bachchan. Both veterans played their characters with utmost sincerity and it is evident. Ritika Singh as Roopa, Fahadh Faasil as "Battery" deliver solid performances and breathed life into an otherwise underdeveloped characters.
But this movie is about Athiyan and his character arc. Writers T. J. Gnanavel and B. Kiruthika put on a solid show with their racy screenplay from start to end. Although the story gets predictive in act 2, it is the screenplay that hooks you through out. This is completed nicely with the editing by Philomin Raj who cuts the scenes appropriately to match the screenplay.
Cinematography by S. R. Kathir does a commendable job in bringing to life the vision out together by director T. J. Gnanavel.
Music by Anirudh Ravichander is subdued, unlike his past movies, and never overpowers the narrative. I like this version of Anirudh more than his previous outings.
Overall, Vettaiyan is a brilliantly done movie in all departments and despite its minor quirks delivers a solid entertainment from the first frame to the last.
-@CinephileIndia2023.
Swag (2024)
Hasith Goli and Sree Vishnu hit it out of the park
Writer, director Hasith Goli and actor Sree Vishnu teamed up for their second outing after Raja Raja Chora which was received well. In Swag, Hasith Goli deals with a much serious subject that is not only relevant in this day and age but also thought provoking.
Swag opens in the year 1551 where a king from "Swaganika" dynasty plays a second fiddle to his wife, Rukmini Devi, who is a matriarch. Rukmini's goal is to develop a matriarchal society while the king aims for a partriarchal one. This tussle continues for generations and in the present day a policer inspector named Bhavabhuti asserts male dominance in all walks of life. He later stumbled upon family inheritance and the rest of the movie is about how he tries to acquire the wealth and what role does matriarchy and patriarchy play into his quest.
This is a kind of subject that can go in any direction and can even made borderline vulgar. However, Hasith Goli demonstrates exceptional command over his story and characters. He clearly know what he set out to accomplish with this movie and that is refreshing to see from a relatively new comer. Although I wished the writing was a little bit better in the first act where the conflict is setup. The screenplay appears rushed and the editing by Viplav Nyshadam, while delivers the quirky feel that the maker was going for, cuts scenes too soon. The result is the information overload in the first act that stays with you till the end. I did wish they relaxed the first act just a tiny bit for the audience to take it all in.
Sree Vishnu plays five different characters ranging from a 16th century king to a modern day teenager obsessed with Instagram. This is his best performance yet. He is full of surprises in this movie and carries the movie with a natural ease. Female leads Ritu Varma and Meera Jasmine excelled in their respective roles and showed the variation that is needed as they play multiple roles as well.
Music by Vivek Sagar is an asset to the movie and it helped draw me in to all the drama. The production design was enough for you to lose yourself in the world of Swag.
Overall, Swag is an enjoyable movie watching experience and offers something novel and treats its audience with great respect.
-CinephileIndia2023.
Meiyazhagan (2024)
Heart touching drama about human relations
Meiyazhagan opens in 1996 in Thanjavur with the young Arulmozhi, played by Saran Shakthi, and his family losing their ancestral home due to family disputes. They bid an emotional farewell and move to Madras. Fast forward 22 years Arulmozhi, played by Arvind Swamy, now lives with his father, Arivudai Nambi played by Jayaprakash, and is married to Hema, played by Devadarshini, and has a daughter Jhanvi. As they say, the same event affects different people differently. While Jayaprakash appears to have moved on, Arulmozhi develops resentment towards his estranged relatives. However, he is still in touch with Bhuvana, his younger cousin. The conflict comes when he has to attend Bhuvana's wedding near Thanjavur. He resists going. But his love towards his sister wins and he makes plans to attend the wedding and return immediately. This when he meets a person, played by Karthi. Karthi's character is the polar opposite to that of Arulmozhi's. He is eccentric, loves people, love animals, love nature. Certain incidents happen how Karthi's attitude changes Arulmozhi forms the rest of the story.
Writer, director C. Premkumar banks heavily on nostalgia as evident by his previous movie 96. Meiyazhagan is no different. We get a taste of the forgotten wedding ceremonies, serving lunch to guests on a banana leaf, to some interesting characters who open up to strangers at the drop of a hat, long lost relatives who still value these relations, a small village where everyone seems to know everyone else. While these aspects are beautifully presented, Premkumar goes on a long tangential and delves into the politics of Jallikattu, the Chola empire and a lot of Tamil history and culture. These details add nothing to story or the characters that we already know a lot about by then.
Music by Govind Vasantha is astounding is pushing the emotion through. Especially the song, Yaaro ivan yaaro, by Kamal Haasan is soul stirring. Cinematographer Mahendra Jayaraju captures the beautiful country side and the wedding ceremony so convincingly that we feel part of the wedding.
Despite the brief tangential in the second half, Meiyazhagan delivers terrific movie watching experience that is filled with sentiment and nostalgia. Karthi and Arvind Swamy delivers an acting masterclass that make us, the audience, a part of their journey. We rarely get these kind of movies and I highly recommend watching this in a theater.
-@CinephiileIndia2023.
Devara: Part 1 (2024)
Would've been a disaster if not for NTR
Devara is a pirate living in a fictional(?) village called Ratnagiri along the border of Andhra Pradesh and Tamilnadu along with other pirates Bhaira, played by Saif Ali Khan, and others. During one of their pirate escapades things go south between Devara and Bhaira setting off a rivalry. Rest of the movie is about what happens to them and their rivalry and what role does Devara's son Vara plays in their relationship.
The movie is all out NTR's movie. He carried the movie on shoulders despite being an insipid and predictable storyline. Screenplay by Koratala Siva suffers terribly in establishing the conflict and elevating the emotion to the right level. Action choreography and some important sequences leading up to the action end up being duds thereby rendering the entire action dull and boring and without a purpose. The movie reads like a 3 hour long exposition as narrated by Singappa, played by Prakash Raj, with bits of action set pieces thrown in for good measure.
Cinematography by Ratnavelu is jarring sometimes even disrespecting basic shot rules in preserving the line of sight of the characters making it tedious to watch on the big screen. Anirudh's background music while decent, fails to deliver the emotional impact that the story demands. The presence of Jhanvi Kapoor is to deliver some "eye candy" and her only job is to seduce the young Vara and marry him. This is 2024 and I cannot believe big actors like NTR who got wide recognition for his role in RRR okay'd a script with cheap objectification of women.
Writer and Director Koratala Siva failed to tell a compelling story of a leader and has the audacity to tell us to wait for part-2. Will it get made now is anybody's guess. If not for NTR, this movies would've been an utter disaster in all possible ways.
--@CinephileIndia2023.
Ibbani Tabbida Ileyali (2024)
Enjoy this like your morning filter coffee
The movie is based on a short story that the writer, director Chandrajith Belliappa had written about 10 years ago it seems. Anyway, Ibbani Tabbida Ileyali is a simple love story that reads like poetry. The movie is divided into different chapters with voice over narration at the beginning of each of those enhancing the feel even more. It feels like listening to an audiobook and getting lost in the world. The story revolves around Sid who has a crush on Anahita which doesn't materialize. How this affects him much later in the life and what he does about it forms the rest of the story.
In an era where every movie needs to be an action thriller with mega budgets, heavily computerized EDM tunes and loud BGMs, Ibbani comes across as a breath of fresh air. Its simple story, human-like characters, pleasant music and background score more than suck you into the narrative. But what really pulls you in is the astounding cinematography. Cinematographer Srivathsan Selvarajan opts for a lot of tracking shots with minimal cuts to ensure that we stay with the characters. While this may come across as "lag" in a normal film, here it works wonders and only adds to the poetry that is unfolding on the screen.
I highly recommend watching this movie. This is one of those movies where you need to sit down and immerse yourselves in. If you expect fast paced action or dialogue, then this is not going to be for you. This is supposed to be enjoyed the same way you'd enjoy your morning cup of filter coffee. One sip at a time.
-@CinephileIndia2023.
Lubber Pandhu (2024)
A good drama that is worth a watch
Lubber Pandhu (Transl. Rubber Ball) is a drama about egos set against a backdrop of cricket in a villaga in tamilnadu. The story revolves around Anbu and Poomalai aka Gethu, played brilliantly by Harish Kalyan and Attakathi Dinesh respectively, and their egos of never losing a cricket game and all the complexities this behavior brings with it. I was never really a fan of Dinesh's acting, but he was a surprise package in this movie. More than these two, the female leads Swasika and Sanjana Krishnamutrhy stole the show with their presence.
The film deals with a lot of human emotions, caste based discrimination without being overly melodramatic or preachy. It is these kinds of movies that remind you that despite having big action set pieces in big budget pan India movies, it is human emotions that matter in a story. This movie offers plenty of those moments. Be it a relationship between two teenagers who are in love, a wife and a husband, a mother and a son, a mother-in-law and a daughter-in-law, or a pet and its owner. These subtle emotions are visualized beautifully.
This is a sports drama, and the editing and cinematography hit it out of the park to draw us in when the characters are playing cricket. You won't get the same goosebumps inducing feeling you get when watching Lagaan, but instead the sport is staged to bring you closer to the characters. One thing I wished they spent a bit more time on was the sound design, especially during the cricket games. The production design is just right.
I recommend watching this movie if you want a nice departure from the high-octane action thrillers that have been fed us in the recent past. You won't be disappointed.
-CinephileIndia2023.
Kishkindha Kaandam (2024)
Thriller like no other. A must watch.
It is Onam season and that means Malayalam movies. Yesterday I watched Kishkanda Kaandam which tells the story of a retired military officer who loses his gun and his son's quest to find his missing son. Set in rural Kerala in a lush forest, the cinematography and sound design pull us into this intense mystery suspense thriller. Writer Bahul Ramesh wastes no time in dropping us right in the middle of the action and commands our attention from the first frame. This is one of those movies that respects the audience and doesn't spoon feed any detail. We become part of the drama and are revealed interesting tidbits of information at the same time the characters get to know them. Audience becomes a character in the story.
Although the movie starts with a simple premise of finding a missing gun, it quickly starts to unravel a lot of family secrets and therein lies the suspense part. Because the setup was so good, when we are revealed the final twist during the climax, there was nothing but shock and grief. The director Dinjith Ayyathan does a terrific job juxtaposing scenes to convey the essence of the story rather than resort to exposition. Hats off to his style for not spoon feeding information to the audience. Cinematography by Bahul Ramesh captures the beauty of a lush rain forest and at the same time delivers an eerie feel that is always in sync with the movie. Editing by Sooraj E. S. is top notch with the right amount of scene length that reveals just the right amount of information for us to take part in the investigation. Brilliant stuff right here.
Music by Mujeeb Majeed is stellar and captures the wonder and sorrow at the same time. As they say background music needs to be in the background. And stay it does. We don't even notice it sometimes. That's how organic it feels. Ajay Raghavan as retired army officer Appu Pilla, Asif Ali as his son Ajaychandran and Aparna Balamurali as Ajay's wife Aparna deliver their career best performances in this thriller.
This is a movie that must be enjoyed on the big screen. I am confident this will make it to my top 10 list this year. Highly recommend.
-@CinephileIndia2023.
35-Chinna Katha Kaadu (2024)
Not just pass marks. This one tops.
35 Chinna Katha Kaadu (Not a small story) is a story of grit, love, belief and above all trusting ones ability.
Saraswati, played brilliantly by Nivetha Thomas, is a home maker who fails high school and is happily married with 2 kids Arun and Varun to Prasad, who works as a bus conductor in the temple town on Tirupati in Andhra Pradesh. Arun always ends up getting zero marks in maths and gets bullied by his teachers and classmates. But it is Saraswati's trust in him that helps him overcome this obstacle and obtain 35 marks to get a pass in exams.
Nivetha Thomas brilliantly plays Saraswati alias Chinnu who is fighting her own demons as she failed high school. She is the ultimate motherly figure who works with the kid to teach him maths. As they say, mother is anyone's first teacher and Nivetha proved she can be.
Vishwadev as a father who cares about his family and is pragmatic brilliantly played the role of Prasad when his situations question his pragmatism.
The kids are convincing with their innocence.
While the movie had technical issues with the choice of sync sound and not so crisp editing, it never fails to draw us in thanks to the brilliantly written drama and characters that resonate with us from the get go.
This movie is award worthy. Don't miss.
CinephileIndia2023.
The Greatest of All Time (2024)
All bones, no flesh
Greatest of all time, GOAT, is a story of an Anti Terrorist Squad agent Gandhi. Story is a big word here as there is none. What we get is a 3 hour long drag fest of well knitted scenes backed by raucous music, flower pot female character and a generous sparkling of supporting characters.
Vijay as Gandhi and Jeevan was excellent and the de-aging technology worked well. Other than these two aspects, GOAT offers nothing else. The story, if any, is as predictable as sunrise. The needless call backs to Vijay's past movies were done to please the masses. They were abrupt .
The story never settles until the second half of Act 2 and suddenly we get a barrage twists, if which, you would've guessed most of them by that time.
Bottom line, this is not GOAT. This turned out to be a sheep.
CinephileIndia2023.
Saripodhaa Sanivaaram (2024)
A lengthy action flick that lacks any emotional connection
Vivek Athreya tries an action thriller this time with Nani in the lead. While the action parts of the story are typical of any other action movie, Vivek Athreya tried to weave in a personal story of Surya, played by Nani, and how he uses his anger for the good.
While the premise sounds exciting on paper, the execution leaves a lot to be desired. The 3 hour run time demands an engaging and emotional connection with the characters. However, the apparatus used to explain things in his typical style makes it a 3-hour long exposition. While there are no loose ends with respect to character motivations and the things they do, it never feels personal. This led to an unengaging and uninteresting mix of scenes, especially in the second half of act 2.
Although Nani, SJ Suryah, Saikumar, Priyanka Arul Mohan and Murali Sharma pulled off their characters with ease and convincingly, the lack of emotional connection with characters weighs the movie down.
CinephileIndia.
Thangalaan (2024)
Vikram and Parvathy hit it out of the park
As is the case with all Pa Ranjith's movies, he delves into politics of the caste system in this one as well. However, he deals with it in a much more poetic manner compared to his previous ones. The feels almost surreal thanks to its immersive cinematography and background music. It almost felt like GV Prakash saved all his best work for this movie.
Vikram and Parvathy Thiruvothu put up stellar performances as Thangalaan and Gengamma. The production design is top notch in showing the desert like conditions of the Kolar region. The make-up and costumes were raw and true to the world that Pa Ranjith had built. His movies are not for everyone. You either love them or hate them. I fall into the first category for this movie. I highly recommend watching it if you like Pa Ranjith's style.
CinephileIndia2023.
Kalki 2898-AD (2024)
A movie worthy story ruined by the director's lack of experience
Kalki is a story of Aswathama trying to redeem his sin he committed during the war of Kurukshetra. The mix of ancient mythology with futuristic sci-fi is a fertile ground for a kick-ass socio-fantasy. However, director Nag Ashwin failed to generate any curiosity and interest in the characters due to his inability to handle the script of this scale.
The movie runs for 180 minutes and takes a good 90 minutes to settle down. This is fine if the many characters were explored and established properly. However what we get is a disjoint piece if episodic content stitched together for 90 minutes. None of this gives us a proper insight into any of the characters making it difficult to root for any one. The audience end being mere spectators who just watch the proceedings hoping for something big.
Unfortunately that moment never comes as the screenplay feels rushed in the second half of act 2 and sprints in act 3 leaving you with more questions. I would question the director's creative choices in framing and VFX. The amount of time he spent detailing the VFX, had he spent some of it in developing the characters it would've been much more engaging. The editing was bad and couldn't come to the rescue.
Amitabh Bachchan, Kamal Hassan and Shobhana shine in an otherwise insipid plot riddled with lengthy scenes, generously littered with cameos that add no value, bland dialogues and an abysmal score.
Gaami (2024)
A missed opportunity for a story on a grand scale.
Gaami is a story of a reclusive Aghora trying to find a cure for his condition. We are introduced to three parallel plot lines, much like an anthology, and we get to see the characters struggling at various levels. The rest of the story is about whether they would be able to overcome their struggles.
While this story had a lot of potential to be a blockbuster thriller, the director's lack of conviction in handling the subject makes this an average watch. The writers take almost 45 minutes to kick start proceedings in act 2 while not giving us anything to hold on to in act 1. While transition to act 2 starts with an interesting premise, the director could not sustain that curiosity into act 3. The movie falters quite drastically in act 2 with illogical adventure set pieces that seem ridiculous.
This writing needed good dialogues but what we get instead is a bland exposition that barely creates any impact. There are too many liberties taken which dilute the seriousness of the plot. Although the movie redeems itself a little bit in act 3, by the time it gets there all the interest is lost as there are too many unanswered questions in the end.
The director focused more on the visuals instead of focusing on storytelling. We barely get any reasoning for the events happening on screen and we are expected to somehow connect emotionally with the characters which did not happen.
Bottomline, this story had a lot of scope and potential to be a spectacle in the right hands. But director Vidhyadhar Kagita fails to deliver the impact.
Malaikottai Vaaliban (2024)
The best technicians cannot fill the lack of a coherent story
Malaikottai Vaaliban follows Vaaliban(Mohanlal) and his group of mercenaries/warriors who fight other warriors in different villages and who never loses a fight. Lijo Jose Pellissey takes his own time to establish Vaaliban as a charismatic warrior with his lengthy scenes and long shots embellished with a subdued background music. The framing, the music and the theme reminds the westerners of yore. Vaaliban ends up at his native village where he fights off the Portuguese ruler who enslaves the local people. The story moves at brisk pace from here on exploring various genres with some unexpected twists, albeit uninteresting, and culminates at an inconclusive juncture.
Lijo Jose Pellissery's obsession with static frames is evident here. The movie plays out like a theater play with long pauses between scenes and overly melodramatic dialogue. The choice of instruments used to provide the background score elevates this feeling which you may love or hate depending on your mood. The movie feels like it overstayed its welcome after a certain point.
Mohanlal as Vaaliban shines with his ever-expressive eyes and flawless portrayal of an arrogant mercenary. Harish Peradi gets an important and meaty role as Vaaliban's mentor which he portrays with finesse. The true star of the movie is the cinematographer Madhu Neelakandan who captivates the audiences with his immersive frames and color. You rarely say that camera work is the main highlight of a movie, and this is one of those.
But in the end, as the saying goes, even the best technicians cannot save a movie with barely any story to hold on to.
Garudan (2023)
A mind blowing investigative thriller that is worth a rewatch
Garudan is a new movie directed by debutant Arun Varma. Written by Midhun Manuel Thomas of Anjaam Paathira fame with Suresh Gopi and Biju Menon playing the lead characters. Jakes Bejoy scored the music. Simply put, Garudan is a satisfying crime investigative thriller with some twists that I have never seen before.
To delve into the story, a college student is raped on a rainy night in an under construction building. The culprit barely gets a glimpse by a drunk construction worker under the flash of a lightning. However, the police fail to nab the culprit and seven months pass by. Finally, the police get a breakthrough and make an arrest. The court sentences the culprit to life imprisonment. After 7 years, the culprit is released early from jail due to good behavior. In the meantime, the police who handled the case is getting ready for retirement. The culprit files a petition in court to reopen the case to prove his innocence after serving his sentence. Why did he do that? Was he really the culprit? If not, who was? What happens to the police who handles the case and his retirement? Will the system ever find out who the real culprit was? All of these questions will be answered in the remainder of the movie.
Suresh Gopi played the cop who investigates the case and Biju Menon plays a college professor who has a PhD in finance and who gets blamed and goes to jail for rape. They are supported by Siddique, Abhirami and others. This is a Biju Menon show through and through. Suresh Gopi is at his usual best as playing a cop is nothing new to him. But it is Biju Menon who steals the show with his act.
Jakes Bejoy scored the music for this movie and it is apt and feels organic and contributes to the suspense. It is good.
The real star of the movie is Midhun Manuel Thomas. The screenplay keeps you engaged from start to finish. You become part of the narrative and you know you have a winner when this happens. The first half ends on a high and you feel the energy is dipping in the second half. However all of this is justified in act 3 which is about 20 minutes long. The pay off is worth the wait. You will probably guess who the real culprit is but you will convince yourself you are wrong because of the emotional connection to the characters. And yet something happens in the end that you couldn't have guessed.
Very rarely do you feel like rewatching a suspense thriller because you know what the suspense is. This is one of those movies. I will gladly rewatch Garudan.
Leo (2023)
Story with immense potential marred by the LCU obsession.
When Lokesh Kanagaraj announced a movie with Vijay after the massive success of Vikram and the official launch of the Lokesh Cinematic Universe (LCU), I was genuinely excited. The teaser did show glimpses of a potential LCU connection which added to my excitement. However, as things turned out, Leo is a convoluted mess of forced LCU connections that suffer from poor writing from the get go.
The movie starts off in a small town in Himachal Pradesh where a hyena is wreaking havoc on the streets. We see Joshy, played by Gautam Vasudev Menon, a forest officer calling Parthiban, played by Vijay, to help him subdue the hyena. Without going into too much specifics, Parthiban successfully tranquilizes the animal. The entire sequence was definitely well shot, despite being devoid of any logic. I attribute this to the typical massy introduction to our hero Parthiban.
Simultaneously, we notice the local collector and his family being murdered in their home by a gang from Tamil Nadu. In Himachal Pradesh. We are then introduced to Parthiban who runs a coffee shop and has been living in this town for about 20 years with his wife Sathya, played by Trisha, his son Siddhu played by the Malayalam actor Mathew Thomas and his daughter Mathi. We learn that Joshy and Parthiban are friends. It so happens that Parthiban happens to cross paths with the gang that killed the collector earlier in the movie. Due to some circumstances Parthiban ends up shooting everyone in that gang in his coffee shop to protect his daughter and an employee. Joshy ends up arresting Parthiban and places him on a 15 day remand. Then during the court proceedings, the judge rules that this is an act of self-defense and acquits Parthiban and also nominates him for the National Bravery Award.
This is where all logic is thrown out the window. The judge orders the police to verify whether Parthiban is a sharp shooter or not. They do this by bringing in random people from the street and ask them to shoot at dummy targets. Of course, everyone fails but Parthiban hits the bullseye every time. There is no explanation on how a person's past has any bearing on an act of self-defense. This entire sequence exists only to elevate Parthiban and serves no purpose whatsoever.
Anyway, this news spreads and Parthiban is in the news despite him trying to fly under the radar. This news about Parthiban reaches Harold Das, played by Arjun, who is in the state of Telangana and Harold Das relays the information to Antony Das, played by Sanjay Dutt, who is Harold's older brother. For some reason, they are searching for a man named Leo who resembles Parthiban. The rest of the story is how Antony and Harold track down Parthiban. How is Parthiban related to Antony and Harold? And more importantly who is Leo and what happened to him?
The entire 2 hour 45 minutes runtime is full of brilliantly choreographed action sequences. Especially a fight sequence that happens in a warehouse post-interval, where we get a single shot bird's eye view of the action that draws you in. That was brilliantly done. All the actors play their part well. One aspect that I appreciated is that despite being a mass hero, Vijay is shown as a family man with a wife, a teenage kid and a younger daughter. This is a welcome change in the industry where we see 70 year old actors romancing actresses the age of their own daughters. And Trisha playing Parthiban's wife is just a cherry on top.
This is where the good things end. What could've been a grand spectacle was marred by sloppy writing through and through. The movie is littered with scenes, characters and subplots that are illogical. For example, Parthiban requests police security. He lives in Himachal Pradesh however, he requests a highly ranked police officer from Tamil Nadu and, somehow, the judge obliges his request. I didn't know you could request a specific police from a specific state for protection anywhere in India. There is no explanation how and why a forest officer has so much power to investigate a case that is beyond his jurisdiction. Again, I don't know the details of how the system works but I can tell that this is not how it works.
Then there is the story itself. There is no mention of Parthiban cooking up chocolate anywhere in the movie despite hyping up chocolate. The coffee shop exists only for action sequences. There is no significance to it whatsoever and that is fine. However, this calls for scrutiny when this setup is hyped in the teasers and trailers. The villains are riddled with silly motivations that are, at times, laughable. Both Arjun and Sanjay Dutt have little to offer in their respective characters that were poorly written.
The movie is an out and out action movie for which music is the key. Anirudh has single handedly carried some movies with his background score. But I am disappointed to say that his music is starting to become repetitive and in this movie it is comical. The score and scenes felt like an attempt to force north and south poles of a magnet to stick. It is the same old techno trance music that Anirudh likes to give but this time the lyrics are downright childish.
Then there is this forced insertion of characters from the LCU. The addition feels inorganic and only there to build up the hype on the franchise. I thoroughly enjoyed Khaithi and Vikram. But after watching this movie, I wonder if Lokesh Kanagaraj is a one hit wonder. Kaithi may have been an exception to the rule and Vikram may have been a fluke.
Despite all this, the film did have a racy screenplay in the first half which takes a nosedive in the second half.
Kaala Paani (2023)
An illogical soup of unnecessary sub-plots that drags beyond its boiling point.
Kaala Paani is billed as India's first survival drama series by Netflix. Kaala Paani is about people, their relationships and their connection to nature and history during the onset of a deadly bacterial infection in the Andaman and Nicobar Islands. Set in the year 2027, the characters are familiar with dealing with an epidemic because they all lived through the COVID-19 pandemic. While Kaala Paani boasts an intriguing premise, it falters in its execution by over-indulging in its numerous subplots.
Kaala Paani or Dark Water as the name suggests is the name given to the bacteria infected waters of a lake on one the Andaman islands. On the one hand you have the native Oraka tribe who are actively trying to help people from the bacteria and on the other we have humans, both good and bad, trying to advance their agenda in their own way.
In the year 2027, a mysterious disease starts spreading in the Adaman islands with peculiar symptoms. First, a set of black patches appear on the necks of the infected persons accompanied with fever. Then the symptoms subside for two to three days and suddenly there would be an acute onset of hiccups after which the infected persons die within a few hours. As you have it in a typical movie trope, there is a dedicated yet secretive medical doctor researching the cause of this mysterious illness. She doesn't trust even her colleagues to uncover the cause. Then you have a loyal medical practitioner who follows rules and protocol to the T. You have an evil corporation with the help of an evil policeman trying to profit off of a large-scale festival celebration in the islands post COVID-19. You also have a well-intentioned politician who sees this event as an opportunity to boost tourism to the islands and thereby putting some money in the pockets of the local population.
Also, you have a family with a teenager who travels to the islands from mainland India for sightseeing. The teenager, being a teenager, wants to attend the festival while the parents want to go sightseeing as they don't like to attend the party. While tourists are pouring into Port Blair, you have environmentalists fighting to protect the land and hence the Orakas who are the tribes native to the island. Next, you have the evil corporation itself trying to profit off of anything and everything headed by a boss whom we never see.
If all these characters sound cliche to you, then they are. You get to see every cliche you have ever seen in any movie or a TV show. As the disease intensifies, one doctor makes a shocking discovery that the water was infected by an ancient bacteria but sadly succumbs to an accident on her way to alert people. This paves the way for a young immunologist and epidemiologist to continue the research and discover a cure while fighting off strict rules from her superiors in the government.
As the plot thickens, we see the disease, LHF-27, spread from a mere 10 people to an entire settlement triggering calls for isolation and sheltering in place. Tourists are trapped where they are, families scattered on the islands, more people getting infected and doctors and politicians trying to contain the spread of the disease.
While this sounds like the COVID-19 pandemic situation, Kaala Paani mixes this chaos with subplots highlighting the struggles of each of the characters and how this situation brings out the best and worst in them. You have a father longing to reunite with his children, a young scientist trying to find a cure, a politician trying to protect people. You name a character and a motivation, you get to see that here. And this is where Kaala Paani gets it wrong. This is where it over indulges in each character's backstory and fires off a subplot. While the reasoning provided is meaningful, it completely derails the main story and focuses too much on the subplots making it feel like the boredom we've all experienced during the pandemic.
Too many unnecessary plot points ruins the mood. It makes it difficult for the audience to anchor the emotions on a character. Some characters are killed for no reason. Some situations could've been avoided with a simple dialog. Character arcs and emotions seem forced upon us. All this while, people continue to die and somehow finding a cure takes a back seat for a good chunk of the narrative. It is only in the penultimate episode or so the characters finally realize that there is an epidemic and discover a cure. However, the narrative quickly shifts back to the characters and how the situation has changed them over the course of the 8 episodes.
In the end, we are left with no conclusions to anything or anyone. This is the classic example of "much ado about nothing". Had the makers focussed on fewer characters that drive the story forward in finding a cure, then this would've been an excellent watch. It felt like the makers wanted to make an Indian version of The Lost set in the post-COVID era and ended with a mess of characters and subplots. At times Kaala Paani appears preachy with its message about Orakas, their connection to nature, how humans destroyed their habitat, etc. This is all fine but this series fails to get its priorities straight.
All the while, one question kept coming back to me as much as I wanted to resist. When an epidemic situation arises in an India territory, especially after COVID-19, what was the Indian government doing? We get no mention of the Indian government anywhere. No mention of the WHO. Nothing. Instead we get fed in the narrative that the burden rests solely on a young scientist to discover a cure without any help purely based on intuition.
Despite the obviously lengthy and illogical plot, Kaala Paani keeps us engaged due to its outstanding cinematography that captures the beauty of the Andaman islands and also the trauma of an epidemic. The actors have done well in their roles and the music, although loud at times, is apt to build the tension.
In essence, while Kaala Paani had potential, its lack of focus and overwhelming subplots dilute its core message and tension.
Kaala Paani is streaming on Netflix.
Pachuvum Athbutha Vilakkum (2023)
"Pachuvum Athbutha Vilakkum" Shines Amidst Incongruities
"Pachuvum Athbutha Vilakkum" is a thought-provoking Malayalam language film that showcases the transformative journey of its protagonist, Pachu, portrayed brilliantly by Fahadh Faasil. Directed by Akhil Sathyan, who also serves as the film's writer and editor, this film delves into the depths of humanity, presenting a simple yet profound tale that captivates the audience from start to finish.
One of the film's greatest strengths lies in its storytelling. Through Pachu's eyes, we witness a compelling character arc that takes him from being an opportunistic individual to someone driven by a genuine desire to help others. The narrative skillfully weaves together numerous sub-plots that gradually unfold, providing us with a comprehensive understanding of Pachu's remarkable journey.
The performances in "Pachuvum Athbutha Vilakkum" are commendable across the board, with Fahadh Faasil delivering an exceptional portrayal. As Pachu, Faasil effortlessly immerses himself in the character, breathing life into every nuance and emotion. However, it is also worth mentioning the noteworthy performance of Anjana Jayaprakash as Hamsadhwani, the lead actress in the film. Anjana played her role with conviction, effectively complementing Pachu's character arc.
Hamsadhwani, named after the melodic raaga in Carnatic music, adds an intriguing layer to the film. Often sung as a beginning raaga in performances, Hamsadhwani's name could hold hidden meaning, symbolizing the start of a new chapter in Pachu's life. Anjana Jayaprakash portrays the character of Hamsadhwani with conviction, effectively complementing Pachu's character arc. Her portrayal adds depth and emotional resonance to the narrative.
While the film is engaging, it does suffer from a few incongruous sequences that detract from its overall impact. For instance, there are instances where certain sub-plots seem disconnected from the main narrative, adding unnecessary length to the film. These sequences, while not adding substantial value, divert the attention from the central story and undermine the film's cohesiveness.
Furthermore, there is a particular instance involving an encounter between Pachu and a child on a train. Initially, the child speaks in English but is instructed to speak in Malayalam. This inconsistency in language use seems out of place and could have been addressed more effectively through thoughtful dialogue. These incongruities hinder the film's thematic cohesion and detract from its otherwise strong narrative.
Directed by Akhil Sathyan, "Pachuvum Athbutha Vilakkum" skillfully explores the intertwining journeys of Pachu and Hamsadhwani. The intricate character dynamics and their development throughout the film contribute to its overall impact. The synergy between Fahadh Faasil and Anjana Jayaprakash brings an added layer of authenticity to the narrative, further enhancing the viewing experience.
In conclusion, "Pachuvum Athbutha Vilakkum" impresses with its thought-provoking storytelling and remarkable performances. Fahadh Faasil shines as Pachu, while Anjana Jayaprakash leaves a lasting impression as Hamsadhwani. Directed by Akhil Sathyan, this film beautifully captures the essence of its characters and their transformative arcs. While some incongruous sequences hinder its cohesiveness, "Pachuvum Athbutha Vilakkum" remains a commendable cinematic experience that resonates with its exploration of humanity and personal growth.
2018 (2023)
Everyone is a hero.
"2018" is a cinematic triumph that tells an emotional story of the Kerala floods and the way humanity came together in the face of devastation. This is an outstanding movie that delivers an immersive and unforgettable viewing experience, with exceptional sound design, top-notch acting, stunning cinematography, and expert direction.
The screenplay is brilliantly crafted, presenting a multi-dimensional story with complex characters and engaging dialogue that draws the audience in from the first scene. Director, Jude Anthony Joseph, showcases exceptional direction throughout the film, expertly weaving together the different elements of the story to create a captivating and emotionally charged narrative.
The cinematography is breathtaking, capturing the scale and impact of the floods with remarkable accuracy. The camera work showcases the beauty and destruction of the floods, drawing the audience in and making them feel like they're experiencing the tragedy firsthand. The editing is seamless, maintaining the pace of the story and ensuring that the audience is fully invested in the narrative.
The production design and art direction are remarkable, creating an authentic and immersive world that perfectly captures the destruction caused by the floods. The attention to detail is impressive, from the ruined buildings to the debris-strewn streets, everything is realistic and perfectly captures the feeling of chaos and loss.
The acting is top-notch, with every member of the cast delivering an exceptional performance. The actors expertly portray the range of emotions experienced by those affected by the floods, capturing the heartbreak, resilience, and hope that define the human experience in the face of tragedy.
Overall, "2018" is one of the best survival thrillers to ever come to the big screen. It's a powerful and moving story that highlights the strength of the human spirit in the face of adversity. The exceptional sound design, expert direction, outstanding acting, and breathtaking cinematography all come together to create an unforgettable cinematic experience. This is a must-see film for anyone who loves great storytelling and exceptional filmmaking.
Virupaksha (2023)
Worth a watch despite being a bit tedious
Virupaksha is about saving people from evil.
The 144 minute runtime feels a bit dragged on. However, the payoff in the end makes it worthwhile. The director ensures that the audience are hooked. Despite an occasional drop in the proceedings and a lengthy first half, the movies succeeds in engaging the audience. It does have it flaws and some open ends left unanswered but overall, the story and screenplay are tight.
The movie offers a terrific sound design and cinematography that are a feast for the ears and eyes respectively. The actors are decent in their respective roles. However, some characters in the movie felt unnecessary. The story dwells too much on certain aspects every now and then which makes it a bit tedious at times.
Overall an enjoyable movie.
Neelavelicham (2023)
An average show that overstays its welcome.
The sound design and cinematography were fantastic. Tovino did an excellent job. However, this is the classic case of a movie overstaying its welcome. I did not watch the original and haven't read the story before. So, I went in with a fresh perspective. The fact that they marketed this as a Horror is what killed it for me. This is a Drama through and through. There's no horror.
A lot of scenes dragged on for no reason. I was told that this is a faithful remake of the original. But because something is old doesn't make it good. TBH, had the movie paced a little faster it would've been more engaging. Most of the movie focused on Basheer befriending Bhargavi. There was no emotional connection with Bhargavi or Sasi Kumar. You don't feel invested in their characters. There was no emotional connection to Basheer either. No explanation given on what makes Basheer not to be scared of the ghost. Sure, we do understand that he is a soft-spoken character. At least one scene that establishes him would've gone a long way in establishing that emotional connection. They could've cut short the first half and spent a little bit more time on Bhargavi and Sasi Kumar's relationship.
Overall, a very average movie.
Fidaa (2017)
A snooze fest
At the core this is just a boy meets girl, misunderstanding, patch-up love story. No surprises here.
The whole movie revolves around Bhanu. Bhanu is the hero of the script and Varun is a supporting character. Technically, there is no villain but in a strict sense of the script, Bhanu's will/ambition is the villain. The lead actress portrayed the character with conviction. The lead actor got the job done but his characterization is very weak. In fact, all the characters are very two dimensional and predictable, like any other Indian movie. The characters keep contradicting themselves time and again and they act out of character in every other scene.
Then there is editing. Badly done editing job makes this movie a drag fest. The scenes are long for no reason and some scenes are too short to take anything away from it.
If not for the lead actress, this movie would've been a disaster. She made this movie somewhat bearable.