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Gulmohar has pulled off a coup by getting Sharmila Tagore, Manoj Bajpayee, Simran and Amol Palekar together in one film. It has its heart in the right place, but is also exhaustingly verbose. → Read More
Pranaya Vilasam reminds us that the woman we call Mom had a life before we knew her, but its progressive theme is marred by a limiting male gaze on women and a hesitation to call a man’s infidelity exactly what it is. → Read More
... lest Puzhu, Rorschach and Nanpakal Nerathu Mayakkam caused anyone to assume that the Big M is now fully committed to original thinkers making out-of-the-box films. → Read More
After a sterling performance at the height of the pandemic, Malayalam filmmakers did what might have seemed impossible to those who had loved their works in 2020-21: in 2022, they got even better. → Read More
Akshay Kumar stars in yet another boring film. Ram Setu is significant only because of the dangers posed by painstakingly disguised propagandist cinema, especially in the current socio-political climate. → Read More
The Best Film winner at the Kerala State Film Awards, Aavasavyuham could be interpreted as a fiction feature partially disguised as a documentary or a mockumentary or even a feature about a documentary. Either way, it is brave, contemplative and fun. → Read More
Tovino Thomas is loveable, but Thallumaala’s lively soundtrack and visual gimmicks conspire to generate a sensory overload that camouflages a thin-as-a-pappadum story and emotional emptiness. → Read More
But seriously... Ottu has Arvind Swamy, Kunchacko Boban and a couple of solid twists going for it, but none of these can save the drab, over-stretched narrative. → Read More
Liger overflows with the signature tackiness of Puri Jagannadh’s films and the misogyny that Vijay Deverakonda has proudly worn on his sleeve since he struck box-office gold with Arjun Reddy → Read More
Laal Singh Chaddha completely avoids commenting on the divisive forces pervading India today. Instead, it panders to those very forces in its representation of Muslims. → Read More
John Abraham barely alters his expression throughout Ek Villain Returns. His co-stars do the best they can in what can only be described as dismal circumstances. → Read More
Fahadh Faasil is beautifully restrained in Malayankunju, a technically exceptional film that is, however, equal parts remarkable and debatable in its portrayal of casteism. → Read More
Prithviraj Sukumaran’s Kaduva is a typical men-centric commercial Malayalam film – overstretched, clichéd and fixated on establishing a male protagonist’s superhuman strength. → Read More
Even with its flaws, Saina does provoke some thought, is moving in places and has some fun to offer. → Read More
38-year-old writer-director Jeo Baby speaks of the self-awareness that The Great Indian Kitchen brought him. Excerpts from the English translation of a conversation conducted largely in Malayalam. → Read More
A film cannot be carried on the shoulders of positive intentions alone, and the fact is that everything else about Khuda Haafiz feels generic and dull. → Read More
Lootcase isn't terrible - not at all. It is half done, but it is also well begun. It is predicable, but it is also harmless. If you are in an undemanding mood, then it is not a bad film to spend your time on. → Read More
The writers of Shakuntala Devi seem conflicted in their approach towards a woman who was not made for domesticity. → Read More
Kappela is alluring and visually pretty, but progressive it absolutely is not. → Read More
Deceptive marketing might have been partly forgiven if Sufiyum Sujatayum had something worthwhile to offer. → Read More