Rasam 2015 Malayalam new movie review

        Rasam 2015 Malayalam new movie review

The best moment of Rajeev Nath's 'Rasam' comes at the very end of the film, when you get to see Mohanlal pour some Payasam on to a neatly laid out plantain leaf, and scoop it up with his fingers much to the amusement of a couple of Arab men sitting nearby. It is this unaffectedness that the rest of the film lacks, which makes it a watchfully cooked dish that has gone all cold.

Celebrated chef Valliyottu Thirumeni (Nedumudi Venu) is surprised to find none other than Megastar Mohanlal at his door step one fine morning, accompanied by Menon (Devan) a business tycoon from Doha. Apparently Menon's daughter Janaki (Varuna Shetty) is getting married, and Mohanlal requests Thirumeni to travel to Doha to bless the wedding with the sumptuous Sadya that he is renowned for.

After a bit of coaxing, Thirumeni does agree to travel abroad, and instructs his son Bala Shankar (Indrajith Sukumaran) and his assistant Nair (Nandu) to make the necessary arrangements. On reaching Doha, Bala Shankar discovers that Janaki is engaged to a womanizer (Nihal Pillai) and seeks Mohanlal's assistance to save the girl from an impending disaster.


After the initial half an hour when Thirumeni dwells on what makes a Sadya more than perfect, the film shifts gears to Doha, where Bala Shankar takes over the reins of the tale. From here on, it is a steep dive downward, and the more the script strives to sound profound, the less effective it turns out to be.  

As the film draws to a close, we do realize that it's an age old tale that we have been listening to all the while, with some Sambar, Sambharam and Rasam served as accompaniments. It's a very conventional climax that it leads to as well, and when the credits start rolling, you tell yourself that you knew all about it anyway.

There are a couple of songs in 'Rasam' that act as nothing but speed breakers and another one that employs some embarrassing graphics. It's not just that they look and sound totally out of place; they even serve to severe off the little emotional attachment that you have been frantically trying to build up with the plot.

It's very unlikely that you will feel for any of these characters in 'Rasam', and with no romance in the air, when an unlikely couple takes the plunge, it seems even more enforced. There is no surprise element to it however, and you may forlornly wonder as to how it all got this way.

'Rasam' is by no means a Mohanlal film, though it should be admitted that he is the only good thing about it. Mohanlal, playing himself is remarkably at ease, and even when forced to take up the role of a narrator whose lines sound all messed up, does maintain a dignified stance. Indrajith isn't offered an earth shattering role, and does an adequate job as Bala Shankar while Varuna Shetty looks and sounds a bit out of sync. Nedumudi Venu is all impressive as Valliyottu Thirumeni, even as Nandu puts up an inflated act.

'Rasam' dabbles with a done and redone recipe that has nowhere fascinating to go, and has the smell of a dud lingering all over it. Adding little novelty of its own, it ends up being a pointless cuisine exercise where nothing innovative is either cooked or served.

Picket 2015 Malayalam new movie review

Picket 2015 Malayalam new movie review

The striking visual style and the freezing landscapes in Major Ravi's 'Picket 43' do not make up for the flickering story line that threatens to blow out any minute. Major heaps in loads of patriotism, familial sentiments and some bon ami passion into a much familiar plot, and crafts a film that sparsely manages to catch your attention during its two hour run.

As he gets ready to leave home on a much longed leave, army man Hareendran Nair (Prithviraj) gets posted to the infamous Picket 43 that lies along the India - Pakistan border, from where few army personnel have made it back alive. Along with the sniffer lab Bacardi, Hari reaches Picket 43 and is welcomed by a shower of bullets from the army shack across the border.


As days pass by, the Pak army sentinel who had been hell bent on giving Hari sleepless nights is replaced by Mushraff (Javed Jaffrey), and a camaraderie evolves between the two as they discover quite a few common interests in music, cricket and Bollywood. When militants attack Picket 43, this amity is put to test with dire consequences.

As much as the film talks of this warm good will that grows between the two army men on either sides of the border, the script does not build on it to an admirable level, and instead digresses into too many distractions. Ultimately it does not stir us on any of these counts, which is why the companionship between Hari and Mushraff fails to make the impact that it should certainly have.

There is this particular cinematic mould that Major Ravi comfortably adheres to, film after film, and 'Picket 43' is no exception. It's indeed understandable that every army man who serves the nation has a family back home but Ravi has focused on it without as much as a grain of change in every film since 'Keerthi Chakra', and cinematically it does not impress.

The flashbacks talk of a love back home, and Ravi does some inept casting as well with the actress who plays the jawan's lady love. That the said scenes are banal is an added disadvantage, and the first half of the film limps considerably with a pile of sentiments ruling out any possibility of some exciting action.

There are no big surprises in store in the latter half as well, and for anyone who even has an inkling as to how a tale of cross border friendships would go, everything that is to follow should be palpably clear. They pretty much work out as you expect them to, and as the film finally draws to a close, Ravi would have handed out to you on a platter, yet another of his army films.

It escapes me totally as to why Bacardi was carelessly left behind by the troops, especially since we had been told right at the beginning that he is one of the best sniffer dogs in the military. It's good to see him back in the climax yet again, but it's difficult to believe that there could be such total disregard for an animal life.

Prithviraj lends his heart and soul to his portrayal of the army man, and his extremely persuasive act is what elevates a mediocre script above the ordinary. He is ably supported by a stellar performance by Javed Jaffrey as his comrade under stress. Jomon T John's splendid frames make 'Picket 43' a delectable visual treat.

And despite all this, for all the jawans who are out there at this moment safeguarding the security of our land, as I contentedly key in these words in the comforts of my cosy living room, I would give 'Picket 43' an Above Average rating. Perhaps for once, it's the venerable thought behind it that I choose to honor, than the film itself.

Mariyam Mukku 2015 Malayalam new movie review

       Mariyam Mukku 2015 Malayalam new movie review

Script writer James Albert falters big time as a director with 'Mariyam Mukku', and fails to hold together the strands of a tale that we are already much familiar with. Striking no new ground, Albert chooses the easy way out, opts for a time-honored story line and sets it up in a coastal village called Mariyam Mukku.

It's at Mariyam Mukku that Felix (Fahadh Faasil) grows up all alone after his parents pass away, under the supervision of his godfather Aasaan (Manoj K Jayan). Felix leads Aasaan's thug gang, and while in hot pursuit of an assailant runs into Mother Mary herself. Little does he realize that it's Salomi (Sana Altaf), his childhood friend who has returned home, after a long stint at Chennai.

Salomi sows the seeds of love in the man's heart, much to the chagrin of Aasaan. The entire village is vexed when Mother Mary makes an appearance yet again, and miracles are performed. In no time, Mariyam Mukku is flooded with pilgrims, and the lives of the villagers are altered beyond recognition.

Here is a premise that has been dug deep into in a million ways, and there is no way in which the underlying banality could pass off as insightfulness. The movie doesn't tell us anything that we haven't already seen, and it fails to go anywhere with its routine observations. The spurned guardian is as evil as he has always been and his scheming as vile as ever.

It's an elaborate canvas that Albert paints his picture on, and it teems with characters, several of whom sound hollow. The airless atmosphere that pervades all over, makes them go round and round in circles, with little startling movements in the plot.

There is often a life altering moment that brings about a sea change in an individual and for Aasaan, it arrives right at the climax. Bingo, he is a new man, and calls it a truce. Lloyd (Aju Varghese) who is added midway through as an adversary to the protagonist gets pulled out of the plot as quickly as he had been pushed in.

The ensemble cast that 'Mariyam Mukku' can easily boast of, has little in their hands with the subpar material that they are offered. The enjoyable moments are meager, and the sappy fable that we get to see on screen is merely a commonplace addition to the much explored romantic film genre.

Perhaps the sole relief amidst all the non-happenings in the film are the performances by the leading pair. Fahadh reminds you of Rasool yet again, but Felix is a much scaled down version that the actor effortlessly adapts himself to. Sana Altaf, makes a sparkling debut as Salomi, and charms you with a naivete that emanates straight out of her eyes.

Maoj K Jayan is his usual self as Aasaan, while Joy Mathew and Prathap Pothen are around in significant roles as well. 'Mariyam Mukku' does have a delectable musical score by Vidyasgar and some stunning cinematography by Gireesh Gangadharan.

'Mariyam Mukku' is a routine romance that has been excruciatingly stretched out beyond endurance levels. It's quite hard to get all excited about the happenings at 'Mariyam Mukku', and with its formula having grown extremely stale its screen life could indeed be incredibly short as well.

Mili 2015 Malayalam Movie Review

                             Mili 2015 Malayalam Movie Review

           

Rajesh Pillai's 'Mili' is far from faultless and even uneven at times, but at the core of its experience is a theme that shakes you out of your weekend slumber. Peppered with genuinely poignant moments, 'Mili' is a heartwarming film that feels good and feels right.

From a reclusive teenager who is never able to match up to her dad's (Saikumar) expectations, Mili (Amala Paul) grows into a diffident young school teacher, whose prime pastimes are stalking her crush on Facebook and making the lives of her roommates a hell. On being fired from her job, she decides to end her life, but finds a surprising supporter in a jolly bear waste bin.

When her local guardian Nancy (Praveena) insists that she try out something new, Mili is hesitant. But aided by the supportive words of Naveen (Nivin Pauly), Nancy's brother, she sets out on a fresh venture that transforms her life beyond recognition.

'Mili' is a film that exhorts you to push aside the indolent procrastinator within you and to decide once and for all to do what you have always been wanting to do. In the process, it will help you rediscover yourself, and to shed off those layers of uncertainty and indecision that have been pulling you back all along.

 The world that Mili inhabits is populated by individuals who are black and white, and at times grey. Her dad, a college professor by profession is devastated that his daughter has ended up nowhere, while his student Nancy is more empathetic towards Mili's plight. Naveen, being an HR trainer himself, pulls the right chords and gets Mili on track in no time.

It's heartening to see that a character that is once grey does not remain so throughout the entirety of the film. They undergo transformations as normal people like you and me do, and when Mili's once tormented roommates strike up a fresh rapport with her, we can rest assured that they are only being human. When a concerned mother (Sangeetha Mohan) insists that Mili be thrown out of the school that she works in for her heedlessness, it almost seems impossible that she will ever smile at Mili again. But smile she does, which makes her downright human as well.

'Mili' does falter a bit when it comes to the transformation that occurs in her life, particularly in it being a bit too sudden. Overnight, Mili emerges a new girl who has thrown caution to the winds and who even visits a discotheque with her new friends. On meeting her old crush, she seeks sweet revenge by declining his offer, and emphasizing that her makeover is almost complete. Though it does energize us to see the worn out girl emerging the winner in life, one wonders as to how those years of reticence and smothering of emotions could all on a sudden be replaced by a new persona that seems as distinct from her original self as chalk is from cheese.

In the very last scene when Mili hogs the mike, you get all set for a sermon. She talks of a childhood marked by the yearning for an assuring touch, and urges parents not to pursue their dreams through their kids. She winds up with a celebrated Wordsworthian line, leaving a trail of thoughts in the process.

It's Amala Paul all the way that carries the film on her petite shoulders, and perhaps this is a career best performance from the young actress. I loved Nivin Pauly too in the film, for his well designed feat that never goes overboard even for a minute. Especially worth a mention are the supporting performances from Praveena and Saikumar.

Rajesh Pillai's Ugly Betty sans the braces, is an uplifting story of a branded loser getting her act straight once and for all. A smart and cozy watch for the weekend, 'Mili' is a refreshingly sparky fare that should leave you enthused.

Ammakkoru Tharattu Malayalam Movie Review

Ammakkoru Tharattu  Malayalam Movie Review

The morality fable that Sreekumaran Thampi pens for his latest directorial outing 'Ammaykkoru Thaaraattu' is one that is way out of age and place. While it is acknowledged that there are tales that withstand the tests of time, 'Ammaykkoru Thaaraattu' is no such film that electrifies with its visceral story telling techniques.

On the contrary, the primitive narrative that is adopted in the film is one that is sheer embarrassing, and one wonders if there aren't any original ideas left in Mollywood. Try hard as you may, but it would remain a fact that 'Ammaykkoru Thaaraattu' is a messy redoing of a yarn that had long lost its shine and glimmer.

Joseph Pushpavanam (Madhu) is a man of literature who has over the years earned a stature for himself in the world of letters. A bachelor by choice, Joseph lives in memories of a failed love story, while Sulakshana (Sharada), once a school teacher, finds it difficult to be a burden on her sons and daughter in laws, who would very gladly wash their hands off her. Sudarshanan (Suraj Venjarammoodu), a casual labourer who makes both ends meet by doing an odd job or the other comes across his school teacher in a chance encounter and witnessing her distress, takes her under his wings.

'Ammaykkoru Thaaraattu' has a few statements to make, and quickly gets going without much delay. It laments on the wretched plight of parents these days and comments on the need to uphold the values that the fresh generations have been fast losing out on.

With a frown, it focuses on the youngsters of the day and subjects them to severe scrutiny. Sulakshana walks into her grand daughter's room and sees the young girl video chatting with a barely dressed male friend on Skype. In another scene, her grandson locks himself up in a room with a friend to watch porn.

The film thus makes highly generalized, sweeping statements on a generation that has lost its way, and exhorts them to get their cards right before it's too late. Romance too has apparently changed over the years, feels Joseph. He harbours no ill feelings towards the object of his love, who did not have the courage to marry him.

Sreekumaran Thampi does however impress with the musical score of the film, and 'Ammaykkoru Thaaraattu' does have a few imminently hummable numbers. Other technical aspects of the film are adequately in sync with the tone of the film.
It's refreshing to see Madhu and Sharada pair up on screen after a long while, though 'Ammaykkoru Thaaraattu' offers neither of them the opportunity to explore fresh vistas of their acting potentials. There are also actors like Saikumar, Mamukkoya and Indrans in key roles, while Suraj Venjarammoodu comes up with an invigorating performance.

Set in a sitcom mode, 'Ammaykkoru Thaaraattu' is a film that does not spring to life at all. None of its cardboard characters reach out to the viewer, and the swamp of moral muddiness in which they lose themselves draws in the viewer down along with them

Mayapuri 2015 Malayalam movie Review

Mayapuri 2015 Malayalam movie Review

Mahesh Kesav's 'Mayapuri' could have sprouted from an extremely appealing idea, but when the core spirit of the film seems to have been lost in the process of being adapted to screen. Blemished by some incompetent storytelling and mediocre special effects, 'Mayapuri' is an archetypal instance of a motivating thought ruined beyond repair in the course of its execution.

The film tells the tale of four children who embark on a journey to a mystical land named Mayapuri, where the ultimate power reigns. The voyage, beset with colossal perils tangles with the evil spirit's endeavours to take God himself as hostage! The numinous terrain hides within its realms disclosures galore as the kids explore and discover for themselves.

'Mayapuri' for the most part does not get its course right, and it might sound ironic that the film itself talks of a tricky route to an imaginary land where glory awaits. The script too meanders along like this fiddly pathway to grandeur, and is riddled with potholes and caverns galore that the naive viewer quite easily falls into.

This is a film that fails to exploit its true assets, and the thoughtful undertones of the film never really take off beyond the starting point. And when the slogging begins shortly after, 'Mayapuri' shows signs of evolving into an uninvolving film, with the drudgery steadily on the rise with every passing minute.

If 'Mayapuri' ends up an arid endeavour, it is only because its emotionally lifeless. And then, one hopes for the spectacles to light up the screen, and when the graphics look a bit too labored and the special effects too run-of-the-mill, it dawns on you that the staging isn't much better than the scripting.

It's disappointing that for a film that claims to bank on its 3D effects, 'Mayapuri' falls exceptionally low in the technical finesse that it puts on show. In comparison to other 3D films that we have had in the recent past, 'Mayapuri' pales beyond recognition and scores terribly low.

I wouldn't call 'Mayapuri' a nothing movie, since the sparse, but captivating specks of thought that appear here and there are worth a mention. That they build up into a bloated cinematic piece is another matter altogether, but the fundamental notion is without doubt an enchanting one.

The acting, especially that of the young actors is adequate, and Kalabhavan Mani is around as well in an evil avatar that is expected to send a chill up one's spine. Though nothing of the sort transpires, Mani does manage to make his presence felt with an ominous act that maintains a precarious line that keeps him from venturing into ham-away territory.

The two odd stars that are granted to 'Mayapuri' are for the intriguing and yet almost invisible philosophical line of thought that stretches across its rutted narrative. Barring that single element, there is very little left in it that would impress the viewer looking for either entertainment or intellectual enticement

I (Ai) Movie Review

I (Ai) Movie Review






Shankar, who wears his commercial tag like a medallion, has an addiction for making big commercial films. While he's been quite successful at it all these years, it has slowly started to have an adverse effect on his films to the extent that even the presence of a bankable star, say Vikram, doesn't add much value to the output.

In his much anticipated film "I", Shankar proves that only he can take a wafer thin story and turn it into something outlandishly beautiful yet complex, leaving you with an afterthought -- "Why can't he ever make smaller films for a change?"

Mostly known for making message-oriented films in which the hero singlehandedly takes on the system, Shankar attempts to tell a romantic tale in his latest offering, said to be made at a budget of over Rs.100 crore.

Vikram plays a bodybuilder, Lingesan, who idolises Arnold Schwarzenegger and supermodel Diya, played by Amy Jackson. If the posters of Arnold decorate the walls of his lower middle class home and his gym (which is named after Arnold), there's a box full of women's products endorsed by Diya in his bedroom.

In a funny scene, when he's caught red-handed by his friend and asked what he is going to do with all the products (holding a pack of sanitary napkin), Lingesan nonchalantly says he will use it as a pillow.

In these refreshing initial moments, Shankar helps us understand that Lingesan has extreme liking for Diya but doesn't love her yet because of their social and cultural divide. There's a wonderful scene where Lingesan's mother asks his friend what's wrong if her son is fond of a model he sees on television, newspapers and hoardings?

In any other film, he would've stalked her to the point she eventually gives in. Here, Shankar doesn't tread that path and that's a big relief. Then, the story takes a detour when Lingesan turns overnight into model Lee, soon becoming a sensation in the glamorous world of advertising and earning the wrath of a few. It is from here that Shankar's "I" ends up becoming a big budget mess and an old-fashioned revenge drama.

Shankar likes to take his audiences to vast, unknown locations even if it's not required. This time he travels to China, shoots in some picturesque locations and makes Vikram feature in a well choreographed action sequence. It's here he makes Vikram and Amy fall in love.

He feels the need to create a love triangle and introduces a gay makeup artist, played by Ojas Rajani, who lusts after Vikram. It's a shame that Shankar resorts to playing with the sensibilities of a gay character, openly mocking at the sexual orientation.

Vikram may have worked tirelessly gaining and losing weight for his role, but that doesn't make the film any less disappointing. In both the roles, as a body builder and a hunchbacked man, he makes one take notice of his potential and how far he can go for cinema.

Amy Jackson chips in with a surprisingly decent performance and has worked hard on her lip sync, at least in some crucial scenes. Upen Patel, Suresh Gopi and Ramkumar come across as misfits in their respective roles. There are far more good looking local actors who could've played Upen's part convincingly.

Given the lavish budget, "I" is visually grandiose and that's not a surprise. But the visuals don't make up for the weak script. Even A.R. Rahman's music doesn't make much of a difference but for remaining mostly soothing and melodic. Returning after a gap of three years, Shankar should've gauged the pulse of the audiences who now prefer short stories over a three-hour film.

All that's big may not necessarily be great. Hope Shankar realises that much better films can be made on a smaller canvas and much lower budget.

Samsaaram Aarogyathinu Haanikaram Malayalam Movie Review

Samsaaram Aarogyathinu Haanikaram Review

Balaji Mohan's 'Samsaram Arogyathinu Haanikaram' tells a tale set on an imaginary hillscape by the name of Thenmala. It's here that Aravind (Dulquer Salman), a door-to-door sales executive meets Anjana (Nazriya Nazim), a young doctor all ready to tie the knot. It isn't the most pleasant of times, what with a mysterious illness called H10N10 wreaking havoc on public lives. Very soon, the entire population is petrified when research proves that the disease spreads through conversation, leading the government to impose a speech ban in the hamlet.

Here is a director who has done the unthinkable by venturing into virgin territory, and the fantasy element that he brings in, is without doubt one that deserves appreciation. And he goes even further and renders his characters voiceless in the latter half, which is indeed the biggest gamble that any film maker has attempted in recent times. 

The stillness and the hush that reigns in the latter half is more of a challenge to the viewer, used to an incessant and deafening verbal onslaught almost all the time. However, it does have something fascinating for the more tolerant ones, and the flair of the film maker becomes all too apparent on more than a few occasions.

But the contradictions that are prevalent throughout make you wonder what the film maker must have originally had in mind, while crafting the film. Like many a viewer out there, I had developed a special liking for what the film was trying to put across in the former half - that a talkative mouth often inadvertently serves as a devil's den. 

And then the experimental bit is thrown at us -as Balaji Mohan presses the Mute button, everything and everyone around springs into actor mode, with a non-intrusive musical score blowing away in the background. And it's here that the first pebble in the rice grinds against your tooth, as the film starts talking the exact opposite of what it has been conveying till then.

Surprisingly, all the major issues on show are solved when silence prevails. For one, there is the money lender who loses his dhoti to his grandson and discovers a lost love for his son, and there is also Anjali who in a lip bound moment unearths the real affection that her step mother holds within. No words are spoken. Contrastingly, when Aravind's best buddy regains his lost voice, the choicest of expletives stream out of his mouth, with his nurse lady love dropping her first aid tray and his heart in the process.

When everyone around has found their voices, Anjana vehemently states that she has had it up to her neck with her possessive, egoistic, chauvinist fiance and shows him the door. Breezing into Aravind's room she confesses that the new light that shines in her world is courtesy the positive bundle that Aravind is. She agrees that he had always been right - that there isn't a problem in this world that cannot be solved through straight, face to face talk.

It is thus that the film goes round and round in circles, refusing to adopt a stand of its own, repeatedly confusing us with its ever changing perspectives. At the end of it all, one is never sure if it's pro-conversation or anti-conversation, since it's neither here nor there. On the other hand, it's all over the place.

It should be mentioned that the several sub-plots that take up a major chunk of the running time are feebly written, and ultimately fail to deliver the goods. The altercation between a drunkards' association and an actor's fan club might have been incorporated to bring in some laughter, but very rarely serve the purpose.

Dulquer fits into the role of Aravind with a remarkable ease and together with Nazriya who looks ethereally beautiful, makes a charming pair. Soundara Pandyan's stunning cinematography and Sean Roldan's musical score (especially in the latter half) deserve a very special mention. 

'Samsaram Arogyathinu Haanikaram' is a classic example of a fine idea having gone up in smoke. This is a film that should have been much better and yet ends up barely more than a live-action cartoon. 

Law Point Malayalam Movie Review

Law Point Review

Lijin Jose's 'Law Point' should ideally have been titled 'Lie Point'. The film does not, as the title suggests dwell on a law point, and instead is all about two individuals with an incredible capacity to lie through their teeth to have their way in life.

Sathya (Kunchacko Boban) is an advocate by profession, with an already established expertise in supporting the accused in cases of women abuse. Which is why, an exasperated dad (Nedumudi Venu) seeks his help in bailing out his young son who has landed in trouble. Apparently, Maya (Namitha Pramod), the girl he was in love with has attempted suicide on being spurned by him, and now threatens to sue him for abuse, and that too of a minor.

The biggest problem with 'Law Point' is that it takes forever and ever to make a point. Thankfully, the film does not go round and round like some of those yarns that terrify us with their duration, and still when almost an hour passes by without much of a happening, you realize that something is certainly amiss somewhere. 

Perhaps it couldn't get any more silent than this in a film that ironically has no shortage of dialogues. They are rolled out one after the other, and yet it feels as if it's all a still game that is going on. Probably because it has nothing much to say. 

For one, the entirety of the first half is make-believe and as Maya and Sathya head over to Vagamon, and their car falls into a ditch, you almost expect a rain to come down. It doesn't, but instead drives by an elderly couple (KPAC Lalitha and P Balachandran), who invite them over to their farm, that is a living metaphor of paradise itself.

There is only a single knot to be untangled in this film, and it should be anybody's guess that it's hence gonna bank on its last fifteen minutes to make an impact. And then, the twists are unleashed in abundance, and if you do find some time to breathe in between, you might ask yourself as to what all the commotion was all about.

To me, apart from the very little amusing element that the shockers provided, they served very little purpose. I mean, these aren't the kind of revelations that would make you jump up and down in your seats, nor the kind that would make you twitch your head to a side and wonder why you hadn't thought of it before.

Here are two decent performances from the leading cast - a chic looking Kunchacko Boban delivering an almost methodic performance (no surprises there), and an elegantly confident Namitha Pramod doing her bit with a remarkable composure and ease.

After an impressive debut with 'Friday', Lijin moves a couple of notches downward with 'Law Point'. The only point that it doubtless makes is that a couple of odd twists and turns right at the end, do not a good film make.

Mosayile Kuthirameenukal Malayalam Movie Review

Mosayile Kuthirameenukal Review

Ajith Pillai's 'Mosayile Kuthira Meenukal' is a simple, elemental tale of romance and sacrifice set on the dazzling islands of Lakshadweep that talks of the crazy things that people do in love. It shakes off the initial lethargy with finesse, and gains enough dramatic momentum eventually, that lets the viewer settle into a state of detached admiration.

Alex (Asif Ali) has had everything that a young man of his age could dream for, except perhaps a family. Having inherited a fortune from his dad, he indulges in a profligate existence till it lands him in some big trouble. Cooling his heels at the Central Jail, Alex repeatedly tries to squiggle out and is caught every time. Until finally, he drops into a drainage pipe and heads out into the world with an oddly evasive fellow for company. 

This odd fisherman, named Ali (Sunny Wayne) has already set sail for the Lakshadweep islands, and would stop at nothing, till he meets Isa (Swathi Reddy), a marine biologist that he had fallen in love with. Alex is hot on his trail, and becomes almost inexplicably involved in the proceedings. The truth, that is gently unraveled, is a shocker of sorts, and Alex realizes that the swordfishes that ride the highest of waves are not as self-centric as they are often deemed to be.

Essentially 'Mosayile Kuthira Meenukal' remains as much a tale of love, as it is a tale of destiny. The film rapidly picks up in the latter half, and as the romance unfolds itself on the screen, everything else - which includes the peculiar slip-ups in the former half as well - fades into oblivion. Love, and only love prevails.

In an unusually arresting scene, Ali remarks that it's a fortune to be born in a magical land as the one he lives in. As he, along with Isa, watch the sun and the moon play hide and seek on the crimson sky, she unexpectedly pops the question that would at once, make and break his heart. Nature, in its most spectacular of moments, bears witness to his baffling predicament. 

I wouldn't however say I was equally impressed with the way the other love tale turns out to be. Deena (Janani Iyer) has just been placed at the Kalpeni post office, and love doesn't exactly strike when she runs into Alex aboard the ship to Lakshadweep. Their frantic attempts to communicate with each other during the brief breathing sessions amidst all the puking creates a very special bond between the two. In a generous gesture, she offers him a tuft of her hair to smell, so that the sickness would stop once and for all.

It reaches a dead end right there, and though followed by a very short interlude afterwards, love still doesn't seem to be anywhere in the air. When Deena gets all vocal on the need to plant a smile on someone else's face, and a bit too philosophical, you hope that the digression wouldn't last too long. Thankfully it doesn't and the focus shifts back to where it should rightfully be.

Sunny Wayne does not shake any mountains with his portrayal of a man who forsakes everything for the woman he loves. But he is delightfully adequate and makes a charming pair with the striking Swathi Reddy. Asif Ali in his usual bubbly self is a bundle of energy and Janani Iyer looks gorgeous. 

I have probably run short of praise for the exemplary cinematography of Abhinandan Ramanujam who has efficiently managed to make the lovely islands appear as a shimmering blue heaven. Add to it a delightful musical score by Prashant Pillai that seems to have set the right tunes and tones, and you could very well have a fine entertainer in your hands. 

'Mosayile Kuthira Meenukal' is a likeable film in a breezy, low-key sort of way, and its sure to have its share of admirers. Surprisingly fresh, and on rare occasions even a bit insightful, it has its moments that easily and assertively overwrite its flaws

Ulsaha Committee Review

Ulsaha Committee malayalam movie Review

'Ulsaha Committee' is a visual onslaught on the audience from the Jayaram - Akku Akbar team that takes it by total shock. Faced with the unenviable choice of burying his head in his palms or throwing it back for a quick snooze, the viewer lets out one yawn after the other until the prospect of a lock jaw petrifies him. 

Apoorvan (Jayaram), as his name suggests has a real rare flair of discovering things, and runs a trial of his inventions on his dear pal Babumon (Kalabhavan Shajon). When things go out of hand, as they often do, their friend Chopra (Baburaj) steps in to their rescue. 

The trio run for their lives when a casual encounter with a young woman lands them in a solar scam! They find refuge in Rose's (Sheela) mansion, and the events that transpire thereafter make up the rest of the film.

Oh! The levels to which they would stoop to generate some laughter is indeed unbelievable. There are double entendres galore, and the efforts to cook up some real humor fall flat on almost all occasions. A giggle or two emerges once in a while, but that's a rarity indeed.

The bottom line is that the film is never too much fun. The dialogue sounds cramped and the script looks like it has been trodden all over by a nutty horse, what with it being crummy on multiple levels. And the length of the film is plain gross; it should clearly have been trimmed by half an hour or so.

The intolerable silliness into which the film ultimately descends has to be seen to be believed. What is ironic is that the film fails for all those reasons that you expect it to fail, and the writing at times repulsive and at times plain bland, does the mishmash real bad.

I remember having read somewhere that Jayaram has plans to turn selective, and after having watched him in 'Ulsaha Committee', I'm all relieved at the news. There isn't a scene in the film, that doesn't make us remind of the actor in a similar scene somewhere else, and it stumps me that the actors never seem to realize it themselves.

There is plenty of buffoonery even otherwise with Kalabhavan Shajon and Baburaj adding to the fray. It's a step backward for both these actors as well, and there would be very few takers for their frenetic antics on screen. 

Isha Talwar has questionable histrionic talents, and 'Ulsaha Committee' makes things worse for her, by casting her in a miniscule role that is plain embarrassing. I wonder if she's gonna add this flick to her filmography since its at best a glorified cameo that she plays in it. My heart goes out to Sheela who is made a part of films as these. Dressed in garish costumes, she makes a very poor reflection of her former self in the film, and plays it out real loud. 

'Ulsaha Committee' is a film that is devoid of energy of any kind. The monotony that sets in makes it a stale attempt at film making that deserves to be flung straight into the garbage can.