Paradise offers a compelling viewing experience. The credit lies with Vithanage and his co-writer, Anushka Senanayake, for their decision to keep the screenplay free from extraneous plots.
Barah by Barah is ultimately heartbreaking and heartwarming in equal measure. The recreation of life in small-town India feels authentic. This indie is uncompromised cinema and ends on a hopeful high note.
Guruvayoor Ambalanadayil has all the elements of a comedy roller-coaster, but a better script could have elevated it further. It indeed is a communal experience, best enjoyed in a packed movie hall.
On a deeper level, the film leaves us unsatisfied, as there is no directorial signature to be spotted anywhere.
Katu Pootha Malay challenges tried-and-tested storytelling techniques and explores complex themes and ideas through a simplified form of storytelling.
Amar Singh Chamkila is a very brave film, handled with both maturity and wit, that aims to surprise its viewers rather than conform to predictable formulas.
Varshangalkku Shesham is filled with inside jokes, mild social critiques, and regular collaborators of Vineeth Sreenivasan, keeping the film a truly job guarantee scheme for his friends.
Blessy’s Aadujeevitham is hardly inventive, or imaginative, and often lacks the vigor it needed to be the survival thriller it aspires to be.
The intentions of the makers of Ae Watan Mere Watan are undoubtedly honest but how the film has been shaped, it is not memorable at all, and that undermines all the efforts of the individuals who have contributed to its making.
Whispers Of Fire & Water provides a fresh and original evocation where the directorial control stresses the quotidian aspect and placid texture underscoring the turmoil of the characters’ struggle without resorting to exegesis.