Reviews

Premalu (Telugu for love) is a celebration of romance at its most foolish. The central story and how it matures is unrealistic and that's not the point. That is also not why you should watch this. Instead, watch it for the laughs. Watch it for the meandering screenplay that shoots bulbs of comedy at every other frame, giving you (especially if you have lived in Hyderabad) a lot to laugh at and delightfully glee at. The nostalgic effect of Premalu is even more pregnant as you identify with the sequences that make up this film. I had a ball watching this in a theatre with fellow-minded folks and I urge everyone to watch this.

Bramayugam took me by surprise and it's not the monochrome set, the Kerala folklore, or the performances that did it. Instead it was the fantastic story at its core that is scary to even think about. I don't think any movie in the past 4-5 years has done this kind of storytelling that Bramayugam has that mixes folklore with mythology. A slow-burning tale of cast politics and power takes charge as the plot in Bramayugam moves, giving you a lot of hints to ponder upon. These nuggets are foreshadowing and you're bound to be enthralled by this concoction that is simply outstanding. I can see the amount of hardwork that has gone in the making and I have to bow to them.

When nostalgia and survivalism blend together, it's hard to not pay attention. In Manjummel Boys (Boys from Manjummel), a motley crew of childhood friends get together for a quick trip to a neighbouring hill station. The camaraderie at display is effervescent but it is heightened by the brilliant writing that juxtaposes the friends' childhood days with the present. There's never a dull moment in Manjummel Boys and the viewing experience only elevates as the plot thickens and we see an extraordinary tale of the bond of friendship and courage. The technical prowess of the film, accentuated by the score, never lets you blink as you move to the edge of your seat to see what happens next. You lowkey know what happens next if you have followed the news around the real-life incident that inspired this but you are never ready for the roller-coaster experience the film delivers at the end. I was not.

Anjarakalyanam (Fifth and a Half Wedding) has one of the most iconic opening sequences-cum-credits in Malayalam cinema history, which introduces the titular event by focusing on the reactions of the members borne out of the previous four weddings when they hear about the fifth and a half wedding. I'm amazed how the makers turned a serious issue of polygamy in men into something funny and melodramatic with this film, which later takes a sudden shift to a love story led by Jagadeesh. The shift is jarring and fast-paced, yet the climax gives a decent closure to the film, giving us the iconic character of "Kozhi" Madhava Panicker. ("Kozhi" translates to cock, the bird, and is used as a euphemism in Malayalam for polygamists or skirt-chasers.)

I really wanted to love Thuramukham (The Harbor) for it has a lot of things I generally love in cinema. A hard-hitting intro set in period and monochrome, the old ways of doing things (pre-Independence and immediate post-independence India), poverty, slow-burning plot, and lifelike performances. Yet with all that heavy load, it falters somewhere around the midway as if the makers had lost strength after all that heavylifting. Thuramukham is a film in the "what could have been" category had it evolved out of its documentary-like filmmaking and given a redeeming factor to its characters. As it stands now, the climax makes it feel like all that heavy load was for nothing. I still feel there's a good film hidden inside Thuramukham, and hence is a required viewing.

Ennivar (The Following Persons) is an arresting look at the rustic nature of local political organizations in Kerala, and for that matter, anywhere else. It follows a group of men escaping a state of unrest after roughing up college students that resulted from a petty fight. What must have been a one-off incident escalates without their control as they find themselves helpless, slanting on others who do not concur with what has happened. This is a suspense film where you doubt even the air that blows on the characters' faces as everything hints at an omen. Just over 90 minutes and there's enough fodder to make you think about that rustic nature, Ennivar excels in whatever it set out to achieve. This is perhaps one of the best films I have seen in 2023.

Pappan Priyapetta Pappan (Pappan Oh Dear Pappan) was far ahead of its time, telling a story of a youth taken to heaven prematurely and thus trying to spend his actual remaining week in recently-dead bodies. It's a fantastic story (although inspired) and its treatment is palpable. Rahman is this peppy young singer and it's great to see him loosen up here, along with short arcs enacted by Nedumudi Venu, Bahadoor, and Mohanlal. The finale is tear-jerking as you would expect and more than the humour, this film is introspective in nature. What would you do if you just had a week to live? Although Pappan Priyapeeta Pappan takes a different angle than this, it's worth every minute. Go for it.

Udal (Body) has a lot more going on than the unabashed violence and gore that you would expect from it. Shiny (Durga Krishna) is a shady young mother of a boy living with her aged in-laws, one of whom is bedridden. She is tired of caring for her mother-in-law, further aggravated by her husband's absence. And the only relief for her in this mess is her new boyfriend, Kiran (Dhyan). Things are designed to go wrong when one night Shiny invites Kiran to her home. The opening sequences are disgusting rather than eerie, making me question my decision to watch this after a full meal. But soon after the night falls in the film, I was hooked. And so it begins. Udal is a decently made thriller that would remind one of recent Hollywood thrillers, but I for one enjoyed what director Ratheesh has concocted here. Which is an inconspicuous psychological thriller.

18+ surprised me with its humour, plot, and overall treatment. There is never a dull moment here which narrates the story of an elopement attempt by a college dropout and his college girlfriend, both with a class difference. The social milieu it is set in adds to the fun, also thanks to the relatable characters who never feel like a sore thumb. One has to realise that making comedy and enacting it are tough jobs, yet 18+ pulls them off seamlessly, never tiring its audience. And the final 30 minutes are just cherry on the top without ever taking the cringe mode. I enjoyed watching this wholeheartedly and I will watch out for whatever Arun Jose does next.

Perilloor Premier League made me want more. The 7 episodes felt like a breath of fresh air of quirky comedy that was missing in the Malayalam films released in 2023. The characters that the series carved out are why it works even though the plot points seem tried-and-tested. I laughed out loud quite a few times watching these characters, played so marvellously by the large spectrum of talented artists. I loved Sunny Wayne's performance, his character, and his theme, all of which came out like the perfect air of a skirt-chaser. Asokan, Nikhila Vimal, Vijayaraghavan, Aju Varghese, and almost everyone else put up a very natural, fun show here. Save for a few jokes that went overboard or felt overlong, the series is never dull. It's clear to me that the makers had a lot of fun filming Perilloor Premier League the same way I enjoyed watching it.

Kaathal (Love) is a courageous film and almost a milestone in Malayalam cinema because it's a film that a few of my immediate family members back in Kerala have refused to watch. Then have even abhorrently questioned Mammootty's role in it and I can only imagine the look on their faces when I tell them next time I meet them that he also produced it. And the best thing about the film is not even the central theme - that deals with a marital conflict - but the screenplay. You need to give your full attention to Kaathal to suck the nectar out of its unfolding as the plot slowly bares itself open and shows itself to reveal things that are too wonderful for a Malayalam silver screen. I was blown away by what transpired in the final 20 minutes that all my nitpicky downsides of the film vanish. A bit of a utopian stance is also why I cranked out those 3 stars. Highly recommended nonetheless.

Falimy reminded me of all the feel-good, slice-of-life films I have seen since the COVID-19 pandemic. They have a steady mix of comedy, familial emotions, and a basic plot. Falimy has all of them and it uses them to keep you glued to the screen, also thanks to the excellent cast choice and performance. Yet, it felt cinematic in a couple of sequences that were not meant to be but which left an artificial taste in my mouth. That was what made me feel less excited about Falimy as it turned into a road film. I'm a sucker for road films, but the road part in Falimy is pedestrian to say the least, pun intended. If you're not tired of those happy-go films, this is for you.

I kinda do not dig the sensationalist tone of the film, which Jeethu Joseph uses as a character in Neru to make it louder and more powerful. But I can't deny that it didn't have my full attention. After quickly introducing the plot in the first 10 minutes, Neru enters the beloved courtroom drama territory and unleashes what can only be defined as a furious tug-of-war between the powerful and wealthy who think they can influence the law and the naive and unwealthy who try to outsmart them. What works for Neru is the modern, fresh take of the utopian world that the makers depict. Though, it is the same sensationalist tone that ends as a whimper in the climax. Neru is not extraordinary but it's a fine piece of cinema to watch once and then forget.

Kennedy is a mid film because all the bits I liked about it came out as peripheral devices like dialogues that take potshots at police apathy or political ideologies. The references are superb and I loved them. I watched this at the 2023 MAMI Mumbai Film Festival and people were hooting for dialogues like "Mi Marathi Mannooss" (I'm a Marathi guy), so you can imagine that what works for the film is not what's in the core. The core is where a hitman, a former cop, who works for the commissioner goes berserk because he's behind a guy for revenge. The rawness and violence that arise as a result are thrilling to watch though I felt the occasional hiphop song and the monoact performance in the middle and Sunny Leone laughing instead of speaking every time a character is aruond her felt sore. I'm not saying it's a bad film but it's not extraordinary.

There's humour in every other frame of The Book of Solutions and that's one major reason why you should check it out. Other reasons include an almost accurate portrayal of the creative process of filmmakers, good writing, and perfect pace. I say this because it's only at the final frame that I understood why the lead guy, a filmmaker, refuses to watch his own film roll for the sake of editing. And exasperated, as you will be too at the beginning because he's eccentric, are his editor, producer, aunt, and field guy. This is the type of film you need to watch twice to understand all the hidden jokes which I'm assuming there are because this is a clever film enacted near perfectly.

(Watched at the 2023 MAMI Mumbai Film Festival.)

La Chimera works on its own pace and it flustered me in the beginning. A man fresh out of prison is on his way back home when he meets with a sudden desire (from others) for him to resume his life like nothing happened. The slow, meandering introduction can play spoilsport to your viewing but if you pay attention, you'll begin to love the film, which is about the stolen artefacts industry in Italy and how a group of pilferers depend on a psychic of sorts to detect tombs filled with such artefacts. I loved the technical bits of La Chimera but it has all the veins of a self-indulgent narrative with flashbacks that are left to the viewer to unfold and understand.

(Watched at the 2023 MAMI Mumbai Film Festival.)

Close to Vermeer captivated me. I went in without knowing much about Johannes Vermeer and I came out with loaded information and a sense of admiration for the painter. More than his works - which are notable for having been made using the expensive ultramarine colour - I was piqued by Vermeer's domestic life. With about a dozen children to feed and a classists MIL, I can only imagine how difficult it must have been to sustain only dealing in paintings. The documentary gives a good lowdown to his life and how his works have baffled artists centuries later. Although I did feel that the docu slants to an isolated topic towards the end rather than focusing on the general aspects of his work and the related exhibition in Amsterdam, I was inspired by it. Special nod to the screen resolution transitions. Heck, I'm now also interested in the cast here who talk so passionately about Vermeer; one guy even cried. Watch it.

(Watched at the 2023 MAMI Mumbai Film Festival.)

I believe Everyone Loves Sohrab Handa is Rajat Kapoor's weakest film. A whodunit that doesn't excite for its crux but instead for its performances and ensemble setup. Being his signature style, the effortless ensemble atmosphere is remarkable here too where long-time friends get together at a villa to celebrate a couple's 10th anniversary. Their vices take the front seat here as each begin to thrust their opinions and indifferences on each others' throats while also scheming. Vinay Pathak (Handa) is definitely the star performer here not necessarily because others are limited but because he's the loudest. He's again effortless here, talking like he's living the character. I wonder why he or rather anyone else in the cast don't do more films because they're so talented and sublime in their performances. I can't say I didn't enjoy the film because the narration and production are top-notch. It's just that the whodunit elements are not pregnant enough.

(Watched its India premiere at the 2023 MAMI Mumbai Film Festival.)

Aattam (The Play) blew my mind and gave me so much to think about that I don't have to watch any movies for the rest of the year. I caught this at the 2023 MAMI Mumbai Film Festival yesterday and I'm still thinking about the irony of the plot where 10 men get together to discuss an incident befallen their sole woman colleague of a theatre troupe. It starts by building tension and giving us a peek into the characters and their idiosyncrasies and dynamics. Then it pulls you in with what seems like a group discussion with lots of talking and arguing. I don't know about you, but conversations in films always have my full attention and Aattam, above all, succeeds in doing that. It's so well written and directed that you feel you are part of the discussion. Absolutely seamless, that it also reminded me of Everybody Loves Sohrab Handa, another film with the same vein at the fest. It's basically a study of the feeble human nature. The final 30 minutes are sure to blow your mind too. Watch it.

Late Night with the Devil is nothing like I have seen before. It has an amazing narrative, which is in the form of a showing of recorded tapes of a late night TV show led by a host who's grieving his wife's death and facing low ratings. The frontman is terrific and a sight for sore eyes. He manages to keep your attention as you see the plot unfold from a mild talk show into something drastic, horrendous as the guests come in. Late Night with the Devil bends a few horror genre tropes and manages to entertain throughout. I had a ball watching this with a packed audience at the 2023 MAMI Mumbai Film Festival. If you like fun horror films that grow on you, this is for you.

Dream Scenario is right up my alley. A timid professor who has awkward experiences almost daily gets to steal the limelight when he starts to appear as an impassive spectator in other people's dreams. He enjoys the fame, which seems to flutter his immediate family. And so starts a ride to uncharted territory, speaking a lot about the current state of affairs around us. Cancel culture, 'gram influencers, AI, mind implanting - everything gets a nod in this superbly structured film that I could relate with so much. Nicolas Cage is so good as the central character, almost making me feel that he was enacting me on onscreen. The right amount of awkwardness, perfect look and air, and an honest outlook. This is the best film I watched at the 2023 MAMI Mumbai Film Festival so far.

I don't think I have been so hypnotized by a short film ever in my life. I watched this as an opener to A24's Dream Scenario at the 2023 MAMI Mumbai Film Festival and it had my rapt attention throughout. What a fantastic mix of clever writing, loud music, and smooth performances. A debt-ridden couple try to cook their way out of debt. That is an absurd plot but it quite makes sense when you think about food porn and all the craze around us about food takeaways. I would even go ahead and say that this is the perfect short film for someone who wants to move on to feature films because producers are going to lap this up as it also reminded me of the 2023 Oscar Best Picture winner.

Agra has a fantastic opening for a film that aims to talk about things that is rarely talked about in India. An incel, living with a family where the guardian has brought in his lover to stay with his wife and children, is at the centre of the story. He is sexually repressed and is unable to focus on his life's progress. The film unravels slowly, taking its own sweet time to meander through a few scenes to show what it really means to be a involuntary celibate in a crowded city like Agra that is also known for a mental hospital. There is a lot of nudity and violence here and I'm not sure what to make of the former but I'm certain this is going to ruffle a few feathers if and when it premieres theatrically. Terrific performances make this a must-watch.

(Watched its India premiere at the 2023 MAMI Mumbai Film Festival.)

I watched this at the 2023 MAMI Mumbai Film Festival because everyone was raving about it and I can see why. The absurd idea of vampires living among ourselves is given a fresh angle in Humanist Vampire Seeking Consenting Suicidal Person. It centers around a young vampire who is unable to kill to meet her blood-food needs until she finally meets a human hoping to end his life. There's witty humour here, which is bound to make you laugh out loud and also make you think about life in general. Do not expect a groundbreaking plot here because it's a simple story with a weird tone that seems to fit in quite well. I loved how the plot uses its characters to make comedy and that is perhaps the best part. Go for it.

(Watched at the 2023 MAMI Mumbai Film Festival.)

At first look, Anatomy of a Fall felt like a collection of all the thriller films I have seen before. A writer is suspected of pushing her teacher husband to death and the only "witnesses" seem to be their blind son and their dog. It's a banal premise but set in a snow-clad environ, making it a lot more poignant than it is. There's a lot of talking here - most of which happen in a courtroom - which is perhaps the best part, because you can clearly see the clever writing and even more solid performances from the entire cast. Anatomy of a Fall talks about complex human relationships and gives it multiple perspectives. And of course, the instrumental cover of 50 Cent's PIMP is an instant classic.

(Watched at the 2023 MAMI Mumbai Film Festival.)