Reviews

So, I get it. Director Michael Mohan makes good use of two major Sydney Sweeney expressions - deadpan and terrified. Immaculate begins with hints of being a supernatural chiller similar to Paco Plaza's Sister Death. However, as the proceedings unfold, it becomes evident that the final act has a few tricks up its sleeve. The transition to campy survival thriller isn't all that smooth, yet the gore is aplenty and the politics of bodily autonomy is explored to greater depths. The first act relies almost entirely on jumpscares, but they're fairly well-executed.

It also helps to see Christian accessories becoming murder weapons in inventive ways (LOL!). There wasn't any doubt regarding the pregnancy angle given the film's title, though the religious subtext regarding it is barely touched upon. A little extra runtime would've easily sorted that out, and I probably would've enjoyed this a lot more if that was the case. Sweeney is certainly not bad here - she confidently rises to the occasion as the "final girl + scream queen" combo. None of the other characters leave an impact, and more so, because they mostly speak Italian. I understand the intention to create an unsettling atmosphere overall, but the film undoubtedly needed a stronger key antagonist.

I don't wish to write a detailed, eloquent review for a film that only tries to present itself as a pure, no-holds-barred entertainer with just the right doses of everything (save for a romance). The character sketch of Ranga, along with an insane range of unpredictable emotions, is safe in the hands of FAFAA. He embodies the adorable, fun-loving thug with a penchant for violence (although he's under oath not to inflict any himself) like no other performer can, at least in Malayalam cinema. We've seen him play solemn, serious protagonists with consummate ease, but Aavesham gifts him the opportunity to fully embrace his zany side. If his foray into Tamil and Telugu cinema eventually led to him signing up for such an unhinged role in Malayalam, then I'm all in for those decisions.

The plot can be summed up in two or three lines, but director Jithu Madhavan is adept at keeping the proceedings tremendously enjoyable. As a result, we get a well-cooked mix of terrific action blocks, plenty of laugh-out-loud moments (major credit to Sajin Gopu), and even a little unexpected emotional depth to the protagonist. Sushin Shyam's songs and score are every bit an essential ingredient, without which, the mass moments would lack the necessary knock-out punch. The three guys who tag along with FaFaa also manage to hold up their end of the bargain, and their exchanges especially in the latter half, left me in splits. There are occasional signs of the screenplay running out of storytelling steam, but the fun factor never takes a dip. Once in a while, Malayalam cinema needs an injection of packaged entertainers like Aavesham where you slip into your most comfortable sitting position, clapping and hooting at the antics of an electrifying FaFaa.

If you love your share of quirky British comedies, then you're in for a fairly fun ride with Wicked Little Letters. They could've done a better job with poster (something handwritten maybe, given it had to do with letters after all), but don't let that deter you from watching. The leading ladies - Olivia Colman, Jessie Buckley (big fan!) and Anjana Vasan - are in exceptional form here.

The plot neatly delves into themes such as repression, hierarchy, patriarchy (in religion especially), and oddly enough, the sophisticated cursing style of the British, which I'm fascinated by. It is a whodunnit, but the reveals aren't exactly what startle. It's how director Thea Sharrock chooses to present the reasoning that intrigues me more. The supporting cast (especially, the ladies who join officer Gladys in her quest to unravel the mystery) is a lot of fun. I'd love to see Vasan's large, expressive eyes featured in more films, please.

All of that said, I definitely don't know whether in 1920s England, a police officer (who's presumably of Indian heritage) was frequently shunned because of her gender alone. India was still under British rule, and it is quite surprising to me that she's never denigrated by the British officers for her Indian roots. Also, a black judge in those times? Gimme a break. Don't get me wrong, the casting choices are laudable, but the anachronism is quite in-your-face. That cinematic gripe aside, I'd say I enjoyed it for the most part.

From a story development perspective, there isn't a significant reason for this sequel to exist. But of course, any beloved franchise with box office potential can never be left behind in Hollywood. Kung Fu Panda 4 still carries the fun vibe of the first three instalments, but it also commits the mistake of cinematically replacing the Furious Five with a new character Zhen (voiced by Awkwafina). Budgetary concerns, by the looks of it? The film is budgeted at $85 million, as opposed to the $130-150 million of the prequels. I also read somewhere that the film was supposedly planned as a live action/animated hybrid at one point; wonder how that would've turned out. In the current version, the makers haven't tried anything unexpectedly new; they've stuck to the basics of what made the earlier instalments work.

Anyhow, it's safe to say that sequel #4 isn't terrible. But it doesn't quite scale the heights of the previous three, even with a stronger antagonist (Viola Davis). Jack Black is still in fine form voicing Po, and the same can be said of some of the others like Dustin Hoffman, Bryan Cranston, James Hong, Ian McShane. Ke Huy Quan feels wasted. I especially loved the equation between Po's dads that led to some situationally funny moments. Po's persistent food obsession still finds the space for the occasional one-liner. The set-pieces offer some slick editing gimmicks which I've only seen in animes and martial-arts-based video games, but they aren't all that memorable, which is almost how I'd describe the movie altogether.

P. S. Hans Zimmer's score is overshadowed by Tenacious D's rendering of "Hit Me Baby One More Time" during the end credits.

Scoop is a largely decent retelling of events that transpired before the 2019 BBC Newsnight interview with Prince Andrew, Duke of York. It's mostly told from the perspective of Sam McAlister (played by Billie Piper), alongside fine interferences from the likes of Gillian Anderson and Keeley Hawes. Well, for starters, this isn't Spotlight, so any big emotional stakes are out of the way. It focuses on Sam's journey of unravelling the story behind the "unholy" connection between Andrew and convicted sex offender Jeffrey Epstien.

The storytelling style is mostly flat, but never dull. There's not much to experiment in the way of a visual perspective either, though it was fascinating to see the sudden switch to a studio camera lens (the lines are perceivable) when the interview gets rolling. The commendable aspects here include scenes that bring Piper, Anderson, and Rufus Sewell (in a terrific transformation) together in bold conversations prior to the sitdown interview. It's almost like an interplay of different kind of energies, with the actors rising above the screenplay. I also liked the post-interview epilogue that moves the story to its definite closure.

This takes the Talk To Me concept and turns it into a largely uninteresting affair. But apparently, this is based on a short film released in 2017, so I guess director Alberto Corredor gets the credit for the idea. The film's heavy reliance on CGI jumpscares was a sign that it'd get on my nerves quickly. The characters are all stupid and make the worst decisions possible, and now that I think about it, there are only 3 living, breathing characters in the film. The rest are supernatural and/or dead. And for a pub supposedly set in the middle of a (.. was it German?) town, I couldn't spot a single human being walking around. Like, none. Even on the rare occasion that a supporting character sets out on a side quest, she doesn't run into any people. There are plenty of dead people to compensate for that, however, with their typical demonic black eyes. The finale, with a bland twist, serves no purpose. Yawn!

What I expected to see more in a film that's titled The Goat Life is essentially a neglected, enslaved man's relationship with the animals he herds and tends to. Blessy's adaptation of Benyamin's best-selling novel Aadujeevitham falls well short of building to that affecting emotional core. A few scenes hint at it, though he doesn't bother exploring one of the core ingredients from the novel that'd have made for a moving ordeal. That essentially takes a backseat for the survival drama to unfold in the film's second half. It's also where the true musical potential lies, though I'm unsure if 2020s A R Rahman was able to tap into all of it. Why didn't they play the "Hope" song during the end credits?

However, Blessy fully utilizes the actor in Prithviraj Sukumaran (the same way he has with Mohanlal and Mammootty in the past), and it's safe to say that he's done a tremendous job, both performance-wise and body-transformation-wise. He's greatly aided in the process by make-up artist Ranjith Ambady and costume designer Steffy Zaviour. Sunil KS' cinematography also deserves praise - the wide shots of the expansive desert terrain are something that, by default, warrants the big-screen experience. To Sunil's credit, he's also successful in capturing Najeeb's daunting journey across the desert even from a personal perspective. However, I didn't like the way some of the night scenes were shot.

The first half, except for the scenes where Najeeb suddenly goes through the traumatic experience of being condemned to servitude, didn't really work for me. The flashback scenes depicting Najeeb's bond with his wife Sainu (played by Amala Paul) are painted in shades of green, in a vain attempt to contrast them with the browns and oranges of the desert (~ isn't that the most basic visual perspective someone could think of while conceiving the film?). The underwater scenes - especially ones that use VFX - are shoddily executed. But the VFX during certain other scenes (including a sandstorm - well, some of it was apparently real - and one with vultures) is way better. The climactic rescue segment feels rushed, and Blessy doesn't bother letting those hard-hitting emotions take shape, even when he spends a considerable amount of time detailing survival misery porn.

Endnote: While I appreciate Blessy's decision to shoot the whole thing in real locations and fully commit to it for years, I didn't feel as moved by the film (in a way that's similar to most films of his) as many others were.

The number of editing gimmicks in the film is inversely proportional to the amount of effort taken in writing its script. Jeez, can someone write Bejoy Nambiar a good script? The man half-arses his way through such shoddy writing with shots straight out of a music video, and for what it's worth, the music itself is pretty damn good. None of the characters (including the leads) register, none of the conflicts register. There are too many subplots, and too many attempts at messaging.

For 2h 30m, you're subjected to a bunch of random scenes stitched together without any connective tissue. Nambiar goes for a chapter-wise approach though there's nothing that segregates any of them. You have good-looking leads, you have great music, and you have vibrant visuals, but they don't count when the screenplay doesn't try building to anything substantial. I don't even want to comment on the climactic segment - it's just a bloated mess.

P. S. Bah Gawd.. is Sanchana Natarajan such a hottie!🔥

It hasn't been a great year at all for horror so far (..I'm yet to see Late Night with the Devil). As a film that follows the Blumhouse formula (of being made within a $10-12 million budget), this one turns out to be an absolute DUD. I'm not trying to crap on the idea, but the execution is just plain unimaginative and yawn-inducing. I can tolerate Jeff Wadlow when he makes a Never Back Down (that film somehow has teen-nostalgia value for me) or a mediocre Kick-Ass sequel, but his last two directorial outings have clearly been the worst. I wouldn't dare to go anywhere near Truth or Dare or Fantasy Island again even if they were the only movies left to see in this world. Imaginary is definitely a shameless addition to that list. S-K-I-P!

Lover has some poignant individual stretches, but it still doesn't hit as hard as it could have when perceived as a whole. Part of that blame goes to the writing, and to an extent, the music. Sean Roldan's work is both a plus and a minus. It works in certain portions where dialogues are absent and the director chooses to show and not tell. On the flip side, it also paints a sympathetic picture of Arun (an excellent Manikandan) in scenarios where he's clearly in the wrong. The red flags keep flaring up, and given it's a recurring element, you already anticipate things going south whenever he's asked to be social, such as attending a party or joining a trip.

Sri Gouri Priya does a good job as Divya, Arun's lover, who finds it difficult to deal with his (frequently increasing) levels of toxicity. But, she's also painted in a shade of grey or two at least, especially in certain decisions she consciously makes. This, coupled with the sorry tunes from Roldan which lend an "oh, poor guy!" perception of Arun at times, makes you want to disconnect from both the protagonists and view the proceedings objectively, at least for a little while. But that's only until we get to know some of the supporting characters better, and the more we understand them, the more I find myself siding with Divya's harsh but practical take. The ending is very cinematic; almost like a Gautham Menon flick - never happens in the real world, but works as "closure" for this particular story.

What a mixed experience this turned out to be! The writing constantly keeps you guessing for the first two acts, and the fantastic sound design and lighting choices add to the underlying mystique. The two lead performances are deliciously first-rate, making us question their inner motives with each passing scene.. at least for a good chunk of the film's first hour. The framing in these sections consists of several uncomfortable, unforeseen close-ups. But by the time it moves into the final act, a sudden wave of "oh no!" just takes over, replete with overblown edits and messy color patterns.

And to think, the same film effortlessly made me feel on edge during the initial (often philosophical) exchanges between the two characters, further deflates the experience overall. The woman character, especially, is oddly written. There are stretches where we as audiences are made to think she's harboring some dark secrets (or questioning if she's even a real person or just a manifestation?), and a little later, the same applies to the man. This leads to random jumps in character perspectives, albeit for short periods. Also, while the man's state of mind gets somewhat better detailing in the final act, the woman's side of things lacks a finite arc (..and was that even intentional?).

I think I may have just stumbled upon my next "comfy action movie". A reimagining of the 1989 film starring Patrick Swayze, this has everything I enjoy in actioners right from a ludicrous plot, a bricky Jake Gyllenhall, loads of testosterone, a beachside setting, soul + rock n' roll laced soundtrack, and most importantly, some well-staged action (except when there's forced CG or janky edits). Gyllenhaal plays Dalton, an ex-UFC fighter looking for trouble (read: fist fights) wherever he goes, in the hopes of getting paid for it. Apart from looking like a million bucks, Road House isn't a film that pushes the performer in him. It just lets the guy smile, smirk, wisecrack, and punch his way to the ending. To no surprise, the film even gets the official UFC endorsement.

Doug Liman hasn't made anything this fun (or self-aware) since American Made. The night shots are full of yellows and blues, and for a film with this premise, it fits the bill alright. Conor McGregor, as you'd expect, plays a beefy, madcap baddie and his showdowns with Jake are oddly satisfying (ft. The riffs from Rina Sawayama's version of Enter Sandman). The leading ladies (Daniela Melchior and Jessica Williams) are reduced to token roles, with not much texture - Hannah Love Lanier, in a cute supporting role, trumps the rest. In fact, that's the case with nearly everyone in the film as the stylization takes precedence over plot and characters. Arturo Castro, as a henchman with a funny bone, was good. The film is about 15 minutes too long, and most of the unnecessary scenes involve either the cops or Billy Magnussen on a yacht.

P. S. For a streaming release, this features some finely executed moments .. best enjoyed in a theater full of people.

P. P. S. I so wanted a Post Malone v. Jake Gyllenhaal fight, but they robbed us of it.

As much as I loved the style in which director Rachel Lambert explored a few weeks in the largely uneventful (but..eventful too.. sort of?) life of a socially awkward isolation-enjoyer, what spoke to me is her sense of visual aesthetics. The port city of Astoria, Orgeon is a distinct character within the film, and its laidback stillness is something I grew to like. Several frames delineate the notion, and I think they sublimely complimented the life that Fran (Daisy Ridley) lives. She enjoys her work, but loves running away from the small talk that the office brings. She awkwardly exits office gatherings, including one where a longtime colleague of hers is retiring. There's greater meaning to most of these little moments, but not everything has a meaty payoff.

The film's delicate pacing is, at times, broken through banter between Fran and her new colleague Robert (Dave Merheje), as well as through sudden transitions where she ponders over death (..her death, i.e.). This is the most I've enjoyed a Daisy Ridley performance in years, and it speaks volumes when an actor can convey the right emotions through subtle changes in body language. Fran isn't much of a talker per se, but when she does, she's also less curious. She slowly grows to love movies and being around people, thanks to Robert's interventions. I like how the film addresses the issue of Robert being unable to fully comprehend Fran as a person. There are layers to her than even we (..as audiences..) cannot fully peel off. We know next-to-nothing about her family, and the circumstances in which she grew up. We know she ain't suicidal, but she doesn't seem to relish life all that much either.

Actually, a lot of unsaid elements contribute to further, deeper readings of Fran's demeanor. Her depressing thoughts on death aside, there's one moving scene towards the end where she randomly encounters the retired ex-colleague and learns how life is so unpredictable and difficult, underneath all the "plaster" that we add to it. I got to know that the film is based on a 2013 play called Killers, and it, sure as hell, makes for splendid material on the stage. I'm glad though, that Lambert decided to make it into a film, as mundanity of life is something that's less discussed in the world of cinema. Dabney Morris' score adds to the understated nature of its proceedings, making the experience even better.

There's no doubt in anyone's minds regarding the quality of performances put in by Kingsley Ben-Adir and Lashana Lynch (as Bob & Rita Marley). Kingsley Ben-Adir, who doesn't have the slightest tinge of Marley in him, actually makes for a very compelling Marley, the thick Jamaican accent imbibed in all its glory. Lynch gets a relatively underwritten role, but being the powerhouse performer she is, the woman is able to make at least some of the emotional stretches work. Now, this is a "biopic" primarily dealing with a couple of phases in Marley's life, and not much else. The childhood bits are in the form of quick montages, the lasting effect of the civil war in Jamaica - an element that constantly bothers Marley - is rushed through (this section had a lot of dramatic scope, which the writers ~ 4 of them ~ failed to exploit).

Other parts of his life are barely even touched upon, and that includes the various relationships (and children out of wedlock) and his conversion to Rastafarianism. I wish there was more to the latter at least, given the whole "spiritual connection to marijuana" and its perception elsewhere. In fact, one of the film's pivotal scenes i.e. The "shooting" incident, doesn't offer the expected sting. It feels like just another incident ticked off the list from his life, as opposed to something life-altering. That said, the one thing the makers perfectly nail is the music. You'll end up listening to more Marley immediately after watching the film (sometimes, even in between.. paused.. like I did!), and that's an indication of the timelessness of his work.

While the screenplay is loose in places (especially in the second half), Anchakkallakokkan benefits from having a fairly strong technical team to back it up. This is a period film (the year is 1986), unraveling in a fictional town on the Kerala-K'taka border. It's also a partial whodunnit, as the film begins with the midnight murder of a prominent landlord in the area. The first act doesn't emphasize this, as it's busy acquainting us with various characters in/around the hillside town's police station. While the film takes the perspective of Vasudevan (Lukman) as a means to introduce the period setting and characters, it gradually becomes clear that deeming him the protagonist is pointless. Each character is a protagonist in their individual stories (or subplots), while we arrive at the key antagonist in a slow-burn, twisty reveal.

The production design and art departments seamlessly recreate a politically wavering era, and the performances hold it all together. The guys who played the Gillappi brothers (one of them is from Angamaly Diaries, and the other reminds you of a young, dancing Vinayakan from Maanthrikam) were entertaining as hell, and whenever the film mildly showed signs of a slow-down, their entry (or re-entry) would fire things up. There's an entire set piece dedicated to them right before the interval, which was both neatly choreographed and captured. The second act is spent in connecting the murder-mystery dots while simultaneously making us understand the relevance of the film's title. Manikandan Ayyappa's score is extremely significant to the proceedings, and a major factor in raising adrenaline levels during the extended fight scenes.

I think where the film failed to hit the bullseye is in its writing. This is clearly the case with Lukman's character transformation, which is quite sudden and unconvincing. The film's title is justified, though the route taken could have been better etched. Also, when the film goes into whodunnit mode, it tries to interweave multiple subplots together, complicating things for a little while before wrapping up nicely. The visual effects are also barely okay, and that's understandable given it's a low-budget flick.

P. S. Ullas Chemban becomes another promising name to watch out for, in the future.

P. P. S. I have a feeling the film will work ONLY in theatres, if at all. OTT reviews aren't likely to be very positive.

The film did its job of grossing me out with the body horror bits, and to an extent, successfully bothered me with its psychological horror layers. But as a whole, it still felt undercooked and wildly predictable in the final act. Undoubtedly, the best parts of the film are the stopmotion animations featuring these creepy meat-puppets. There's something eerily unique about stopmotion animation, isn't it? Maybe, since it's got to do with bringing inanimate (read: dead) things to life. The film conveys the uncanny aura of the entire process quite effectively, in a minimalist setting.

I thought the plot already had an interestingly uneasy angle to explore between the mother and daughter; however, the makers went in a totally different direction as it progressed, with subplots involving the boyfriend's sister and so on, which didn't hit the mark completely for me. I still applaud writer-director Robert King's approach to creating something wacky and authentic, unlike most horror films these days. Aisling Franciosi also does a solid job playing the lead who's facing a creative block. It's certainly NOT one of those films you'd rewatch a lot, and I guess, for good reason.

Once in a while, you come across films that make you feel they could've been a lot more.. be it thematically or comically. Drive-Away Dolls is one of those. There are promises made in the beginning, of a fairly exciting (coming-of-age?) road trip that unfolds in late 90s Florida. The protagonists - Jamie and Marian, played by Margaret Qualley & Geraldine Viswanathan (both of whom I like) - are lesbians navigating their adventurous early-to-mid 20s. But we're instantly reminded that it's a Coen film (even if it's just Ethan directing this time, from a screenplay he co-wrote with his editor wife Tricia Cooke) when a classic crime mix-up situation ensues, feat. Generous undertones of black humour.

The opening scene which has Pedro Pascal in a fun, gruesome cameo sets the tone for subsequent events. It seems to me that the makers were attempting to strike a firm balance between a "throwback buddy road movie" presented from an LGBTQ perspective, and an old-fashioned crime thriller, perceived through a contemporary lens, although the film is set in the late 90s. Did they manage to effectively synchronize both? I don't think so. Qualley's foul-mouthed, promiscuous Jamie is pretty hard to like, and Viswanath's Marian lacks clarity all the time, which is further enunciated through the constant WTF expressions. Their spontaneous sexual chemistry is blazing; however, I definitely couldn't buy into the idea of them dating long-term.

There are a few funny lines sprinkled randomly throughout, but the plot developments aren't as interesting. We can see subtle thematic parallels drawn to the Henry James novel The Europeans, but only book-readers can connect to that. One scene that genuinely made me laugh was when the two criminals broke into Jamie's ex-girlfriend's house only to be physically confronted by her. Beanie Feldstein casually beating up an older, towering man while engaging in banter with the other criminal, was hilarious. Even the Matt Damon cameo in the end led to a brisk smile, if not much else. But the film consists of more misses than hits, overall. What purpose did those dreamy, colourful transitions serve?

When I say I want a pulpy thriller, I'm referring to Sriram Raghavan levels of pulpy. This is the kind of Bollywood venture I'd love to see more of any day. I wasn't sure how the Vijay Sethupathi-Katrina Kaif pairing would turn out, but all it took was a few minutes. Both of them bring their own sense of charm and deception to the proceedings, and their candid, casual banter during the entirety of the first half was actually pretty enjoyable for me. I knew the thrills were just around the corner, so I had no issues waiting for them to unfold at the right juncture. Raghavan does a major rug-pull at one point, followed by several minor ones, and there's a fair level of conviction to each, complimented by spunky dialogue writing.

VJS, playing a "Bombayite" (not a Mumbaikar, mind you) with a Tamil accent (and that's just one identifiable trait among many), is one actor who can seamlessly oscillate between being a sweet-talker and ..pssst, okay.. let's not spoil it for anyone who's yet to watch. It's safe to say he fulfills his side of business pretty damn well.. as expected. Kaif puts in a layered performance for a change, and a large chunk of that credit also goes to Raghavan's direction. She's got more to her persona here than usual, and I actually bought into (nearly) every move she made, every decision she took. The kid who played Kaif's daughter was also good.

A few tonal inconsistences aside, Merry Christmas is the kind of cinema that you also relish for its smart usage of retro music, aesthetics, and (well..) Christmassy nuances. Vasan Bala and Sriram Raghavan will always be on my radar for unique touches like these. I'll happily take generous slices of storytelling from 'em.

Argylle feels much less like an actual action-spy-comedy but rather just a series of twists; each successive one offering reduced levels of excitement. This really isn't Henry Cavill's or Dua Lipa's film even though they are prominently featured on the poster. Neither is it Samuel L Jackson's. In reality, it's a spy comedy within a spy comedy, but without the necessary ingredients. The action is an over-edited and CG-ridden mess, except in the final act. I like both Sam Rockwell and Bryce Dallas Howard (who looks adorable despite the weight gain), but the screenplay doesn't put these actors to good use. You get a wonderful cast coupled with a top-rated director like Matthew Vaughn and Argylle is the best they could come up with? I'm not sold on this, even with the obvious Kingsman connection.

P. S. Is it just me or are we witnessing criminally low levels of humour lately in films that are marketed as "comedies"?

Here's just a handful of filmmakers like Denis Villeneuve who can handle the vision of a truly dystopian sci-fi spectacle, especially when it's based on one of the world's best-selling sci-fi novels.. and I'm stoked that he gets the backing from studios like WBD & Legendary to bring these incredible visions to life.

Stepping into an IMAX screening of Dune: Part Two will give you a vivid idea of why that's the case. 2h 46m later, you'll be walking out with several distinct impressions: One, of the earth-shattering soundscape and Hans Zimmer's thumping score. Two, of Greig Fraser's incredible photography that pulls you into this awe-inspiring universe filled with themes of colonization, conspiring bloodlines, modern warfare, love & one-upmanship. Three, of a cast that's on its toes when it comes to making their respective characters (protagonists, antagonists, and everyone that comes in between) connect over larger (and smaller) threads of plot, while making us invested in their journeys. Four, of Joe Walker's editing that acts as the binding glue for the film to work as a cohesive whole, connecting it piece by piece, scene by scene. And lastly, I HAVE to mention these names for their commendable contributions to this epic saga: Brad Riker - supervising art director, Patrice Vermette - production designer, Paul Lambert - visual effects supervisor, Gerd Nefzer - special effects supervisor, and Thomas Struthers as stunt coordinator. Folks, take a bow!

P. S. Zendaya's on FIRE. What a performance, in a film that's very much a Timothée Chalamet & Javier Bardem showcase. Also, Stellan Skarsgård was unrecognizable.

At the end of this 4-episode documentary, I felt like this was just another instance of Netflix running behind a story that's yet to conclude. And with the way the Indian judicial system functions, it's difficult to think that Sheena Bora will get the justice she deserves. Every person being interviewed, apart from journalists (who are in it primarily for the hot sauce), sounds like they're hiding a lot of information. They tell a version of the story that best suits their current social identity, and Indrani among all of them, is the hardest to believe. Not one word of hers feels buyable, and the "uncut" segments with her lawyer only further confirm that. She comes across as nothing but a self-aggrandizing narcissist.

The docuseries also takes a fair amount of time to reveal information that's already available as featured snippets on Google, in concise paragraphs of text. The newer details (read: revelations) just keep taking the plot in new directions, but nothing substantial or concrete. Again, rich people's problems often involve cover-ups, silencing, transfer of investigating officers, fund siphoning from businesses, relationship complexities, and so on. That's the case here too. The documentary never questions its interviewees (the family members, i.e.) why none of them are concerned with finding out where Sheena Bora is, and what happened to her all these years later.. especially if none of the evidence brought to light so far is solid enough for conviction and sentencing.

Some stories are better summarized in 30-minute YouTube videos. This is one of those!

What a trainwreck of a film! GVM has fallen to the lowest of lows in the writing department - there's absolutely no redeeming element in the screenplay. The characters are boring, the treatment is serious (but not pulpy), the twists are banal, and the performances are atrocious. Varun struggles big time to carry the film on his shoulders, and while he's okay in the set pieces, he's abysmal in the romantic segments. Raahei, who plays his love interest, is equally bad. She plays a damsel-in-distress of the supermarket variety, replete with countless moments of being dragged out on roads, cars, and buildings.

I think GVM put on his ENPT/AYM cap once more while writing and shooting the second half. And here I was, thinking Varun and Raahei would run away with the "worst performer" honors. Nope, therein comes the main antagonist (no, not Krishna) in an awful twist, performing like he just dropped out of Big Boss. The entire climactic segment was just painful to sit through. Ppaa, thaanga mudiyale. Baba Sehgal from AYM can rest easy now. GVM and Atlee have one thing in common - no one (..and I mean, NO ONE) can rip off their own movies as effectively as themselves. The only one who understood the assignment was Karthik, who delivered a decent soundtrack.

P. S. I hope GVM gets to move past this mess, along with the financial mess he's in for Dhruva Natchathiram.

P. P. S. I was the only one laughing when I saw "Yannick Ben, Hong Kong" written on an airport placard in one of the scenes. Cool name for a random mercenary indeed, though he's the film's stunt choreographer.

Well, it's Zelda William's feature-length directorial debut.. and in short, it's a not-bad effort. The 80s visual palette, while not too assertive, is neatly handled. Picture a lot of neons and you kinda get the grind. What I enjoyed more were the goth attires. Kathryn Newton, at 27, is a tad too old to play a high-schooler, as is Liza Soberano, but they somehow (respectively) pull off the loner and extroverted cheerleader vibes. The writing by Diablo Cody, who has written some really insightful female dramas including the likes of Juno, Tully, Young Adult, and the cult favourite Jennifer's Body, is quirky and funny at times, but the developments are predictable from afar. Also, the surname Swallows.. REALLY?

I couldn't help but be reminded of Johnny Depp in Edward Scissorhands in certain side angles of Cole Sprouse, playing a resurrected love zombie. He doesn't utter a line, but happily goes on a killing spree which is both absurd and oddly funny, given the story's circumstances. I had also rewatched Warm Bodies recently, and I felt that film handled the romantic bits a lot better. Newton and Sprouse make an interesting pair, while Soberano is clearly the standout performer here. What disappoints is the tonal mishmash. There are sudden (and not-so-smooth) jumps from spoofy horror to PTSD story to high school comedy to all-out-campy. I still have faith in Zelda Williams however, and would be interested in seeing whatever she makes next.

More than the ensemble who take us on this emotional journey of friendship, adventure, and survival, the technical team (i.e. Including the captain of the ship - Chidambaram) deserves a tip of the hat. Art director Ajayan Chalissery, Cinematographer Shyju Khalid, Music composer Sushin Shyam, and Editor Vivek Harshan - the film becomes the splendid package that it is, thanks to the efforts of these guys. Ajayan's work is exceptional, and when we're unable to distinguish between sets and real locations, that's an indicator of stunning work. Shyju Khalid is truly a master at work with his shot choices, and he's largely effective in making us fall in love with the beauty of Kodaikanal at first, and later terrifying us with its gritty side. Sushin is now a household name in the industry, and I liked how he seamlessly took us back to 2006, with the opening track (reminded me of Yogi B & Natchatra whom I listened to a lot), and a score that punches you in the gut during the dream (and rescue) sequences. That said, it's not his most memorable work by any means.

Chidambaram is a writer-director who can seamlessly tell stories of our broken generation (I'm referring to early 90s kids). His first film juxtaposed a birthday celebration with a funeral and by the end of it, we were able to understand the inner feelings of people at both events. Manjummel Boys too is honest and transparent in its emotions; the frankness is appreciable. Every emotion the protagonists go through is wholly felt, and more so since this is based on a true incident. There's always a thin line between adventure and risk, and most often, the transition from one to the other is unexpected (and shockingly traumatic). The director exerts firm control over what he has written, obviously taking valuable inputs from the folks who endured this in real life. Again, the writing is smart to reveal more information at crucial points. The conversations around "godly" interventions are not in-your-face. The flashback segments make us understand Subhash (Sreenath Bhasi) slightly better, even when they come across as a bit feigned. Vivek Harshan keeps switching between past, present, and in-between (fever-dream-like) states to keep us on edge.

Finally, onto the performances. I think the ensemble did a wonderful job of conveying the depths of their long-standing friendship, even when not every character gets a whole lot of texturing. Aside from the two standouts - Soubin Shahir and Sreenath Bhasi - I really loved Khalid Rahman's performance in this. Malayalam cinema is casually turning its talented directors into amazing character actors too. Other notable names include Lal Jr, Deepak Parambol, Balu Varghese, Chandu Salimkumar, Arun Kurian, Abhiram, and Ganapathy (who doubles as a fantastic casting director). Even the Tamil actors that were brought in - the most notable name being George Maryan - did well. The placement(s) of the song from Kamal Hassan's Guna is also impressive.

While it doesn't quite reach the (insanely) dramatic highs of Bharathan's Malootty, Manjummel Boys will be remembered as a solid piece of work in the survival drama-thriller genre. Watch it in theatres, please!