Sajin_Saj

From the very first scene leading up to the title reveal, Eko sets a distinct tone, instantly signaling that this is going to be a rare cinematic experience. That instinct proves absolutely right. Director Dinjith and writer Bahul strike gold again after their remarkable collaboration in Kishkindakandam. Expectations were high, and the duo meets them beautifully.

The film's technical finesse is extraordinary. Every visual, sound cue, and cut is meticulously crafted, all working in harmony with an intelligent screenplay that pulls the audience deep into its mysterious world. There's not a single moment that drags or breaks rhythm-the film maintains its grip till the very end.

Performances across the board are stellar. Sandeep, Vineeth, Narain, and the actress who played Mlaathi deliver memorable work, each adding emotional depth and authenticity. The dogs, integral to the film's core idea, elevate the movie to another dimension, intertwining perfectly with its central theme. The only minor letdown is a particular character who might have worked better with a native Malayalam-speaking actor.

Scene transitions and narrative flow sustain a continuous air of mystery, keeping viewers guessing throughout. The buildup to the climax is handled brilliantly, evoking the same goosebumps one felt during the final reveal in Kishkindakandam. What's most refreshing is the filmmakers' trust in their audience-they resist the urge to spoon-feed explanations. Even after the credits roll, the ending leaves lingering questions that invite reflection and interpretation.

Undoubtedly, Eko stands as one of the finest Malayalam films of 2025-an artistic and technical triumph. Dinjith and Bahul have raised the bar again for their future collaborations, setting another benchmark in intelligent storytelling and immersive filmmaking.

Kaantha stands out as a quality cinematic experience driven by strong performances and impressive making. The world-building, character arcs, and meticulous period recreation together create a distinctive atmosphere rarely seen in recent Tamil cinema. However, the marked genre shift between the two halves slightly dents its chance of being called exceptional.

Dulquer Salmaan delivers one of his finest performances as TK Mahadevan, skillfully portraying both his real and reel personas. The dual-layered acting is a delight to watch. Samuthirakani shines as Ayya, adding emotional depth and restraint. Bhagyashree Borse is a pleasant surprise, leaving a mark as Kumari through her graceful screen presence. Rana Daggubati's track, though important, introduces a tonal shift and feels somewhat exaggerated in performance.

On the technical front, the film excels. Cinematographer Dani deserves special praise for his stunning visual framing-the lighting, close-ups, and shadow play are world-class. The songs by Jaanu Chander and Jakes Bejoy's background score blend beautifully with the film's mood, while Anthony's editing keeps the narrative rhythm intact.

Director Selvamani Selvaraj displays remarkable maturity and control, crafting a film that is both visually rich and thoughtfully layered. His craft and cinematic vision are excellent.

The shortcomings mainly arise in the second half, where the shift to a thriller-investigation mode feels less engaging. The narrative energy built up until then momentarily dips, slightly affecting the immersion. Yet, the finale and climax-particularly the confrontation between Dulquer and Samuthirakani and the memorable mirror sequence-restore much of the film's impact.

Kaantha ultimately stands as a sincere and ambitious effort from a team of talented creators. It is a genuinely good watch, and with a bit more daring in the later half, it could have achieved the status of a modern classic.

Rahul Sadasivan once again proves his command over the horror genre with Dies Irae, a masterfully crafted film that blends atmospheric tension with quality thrills.

The first half is gripping, setting up a sustained sense of unease complemented by excellent performances from Pranav and Gibin Gopinath. There's another standout act best left unnamed to avoid spoilers.

The horror unfolds across haunting home interiors that serve as perfect canvases for fear, while Shahanad Jalal's framing and camera angles add remarkable visual depth. Christo Xavier's eerie score, coupled with immersive sound design and a rich Dolby mix, enhances every unsettling detail. Shafique's crisp editing adds rhythm to the terror, keeping the suspense taut till the very end.

By the time the final reveal unfolds, it fully justifies the slow-burn buildup and leaves the audience genuinely shaken. Dies Irae isn't just another horror film; it's a technically rich, immersive, and truly spine-chilling experience-quality horror in every sense.