VittalSankarasubramanian
Joined Dec 2024
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Ratings6
VittalSankarasubramanian's rating
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VittalSankarasubramanian's rating
When a TV channel interviews a serial killer to know their real pain, or when a police officer puts more effort into finding his missing dog than solving a case - or when a whole village tries to deport the hero to a faraway place because he's a nuisance - or when a popular Malayalam actor appears in an unexpected guest role... you know you're not watching an ordinary film. These kinds of weirdo things don't happen in most movies, but in Maranamass, you get to witness far more absurdity.
The first half really works and makes you smile internally just seeing how ridiculous and imaginative everything is.
The protagonist, Basil Joseph, deserves a big shoutout. He mocks himself continuously and takes digs at Gen Z concepts like how being a social media influencer doesn't always take you far, or pokes fun at the "Sigma Male" trend. He underplays himself in the second half - until the end, where the tone shifts suddenly toward heroism, which feels exaggerated and inconsistent with the earlier parts.
There are some uncomfortable moments too. One scene involving inappropriate behavior by an older man toward a girl could have been handled more sensitively. Still, the way the girl responds adds a certain boldness, and it takes guts to show something like that on screen in a comical way
The promise shown by the first half makes Maranamass feel like a mass dark comedy - even if it's not exactly "maranamass" in the traditional sense. Unfortunately, the second half loses momentum, and by the time you reach the end, you find yourself just waiting for the climax. As expected, it turns a bit too cinematic and over-the-top - a contrast to the wild but grounded absurdity that came before.
Maranamass worked for me - but it's strictly not for everyone. It's a slow-burn dark comedy. Like eating a banana with poison - weirdly, it tastes good and doesn't actually harm you.
The first half really works and makes you smile internally just seeing how ridiculous and imaginative everything is.
The protagonist, Basil Joseph, deserves a big shoutout. He mocks himself continuously and takes digs at Gen Z concepts like how being a social media influencer doesn't always take you far, or pokes fun at the "Sigma Male" trend. He underplays himself in the second half - until the end, where the tone shifts suddenly toward heroism, which feels exaggerated and inconsistent with the earlier parts.
There are some uncomfortable moments too. One scene involving inappropriate behavior by an older man toward a girl could have been handled more sensitively. Still, the way the girl responds adds a certain boldness, and it takes guts to show something like that on screen in a comical way
The promise shown by the first half makes Maranamass feel like a mass dark comedy - even if it's not exactly "maranamass" in the traditional sense. Unfortunately, the second half loses momentum, and by the time you reach the end, you find yourself just waiting for the climax. As expected, it turns a bit too cinematic and over-the-top - a contrast to the wild but grounded absurdity that came before.
Maranamass worked for me - but it's strictly not for everyone. It's a slow-burn dark comedy. Like eating a banana with poison - weirdly, it tastes good and doesn't actually harm you.
Life may not be the same for everyone, but it offers fair opportunities to succeed and redeem ourselves for a better future-if we are willing to acknowledge our mistakes and embrace honesty.
In his debut directorial, Ashwath explored the essence of life, and with Dragon, he delves deeper into how life constantly presents chances for redemption. The film emphasizes that success isn't about shortcuts but about facing one's past and making amends.
The protagonist, Pradeep, leads a privileged and carefree life, pampered by his parents, friends, and girlfriend, with no real responsibilities. What makes his journey compelling is that time and again, life gives him opportunities to change, but he continuously seeks shortcuts to success. The film revolves around the consequences he faces when his past mistakes catch up with him.
Pradeep, who was previously criticized for imitating actors like Dhanush and SJ Suryah in Love Today, has visibly worked on his craft in Dragon. His performance in emotional, comedic, and intense sequences reflects a more refined and unique approach.
The first half showcases how the protagonist builds his life on deception, while the second half presents him with a chance to make things right. The question remains-does he truly embrace redemption?
Overall, Dragon is a film that encourages introspection, reminding us that real success lies not in avoiding mistakes but in learning from them.
In his debut directorial, Ashwath explored the essence of life, and with Dragon, he delves deeper into how life constantly presents chances for redemption. The film emphasizes that success isn't about shortcuts but about facing one's past and making amends.
The protagonist, Pradeep, leads a privileged and carefree life, pampered by his parents, friends, and girlfriend, with no real responsibilities. What makes his journey compelling is that time and again, life gives him opportunities to change, but he continuously seeks shortcuts to success. The film revolves around the consequences he faces when his past mistakes catch up with him.
Pradeep, who was previously criticized for imitating actors like Dhanush and SJ Suryah in Love Today, has visibly worked on his craft in Dragon. His performance in emotional, comedic, and intense sequences reflects a more refined and unique approach.
The first half showcases how the protagonist builds his life on deception, while the second half presents him with a chance to make things right. The question remains-does he truly embrace redemption?
Overall, Dragon is a film that encourages introspection, reminding us that real success lies not in avoiding mistakes but in learning from them.
The film opens with the mysterious murder of Kasi (Balaji Murugadoss) by an unknown assailant, before shifting to his parents filing a missing complaint at the police station. As the investigation unfolds, the officer gathers evidence about Kasi's background, leading to testimonies from several women who encountered him. Their accounts gradually reveal the story's core conflict.
The first half primarily explores how Kasi lures these women into his trap and how they fall for his deceptive charm. The second half focuses on the aftermath of their encounters with him and how their lives change as a result. The movie delves into the contemporary issue of how certain individuals exploit women while portraying themselves as socially responsible figures.
However, the film's message is often overshadowed by the director's overuse of erotic scenes in the second half. While this approach may appeal to a younger audience, it could have been more impactful with a stronger focus on the screenplay. The last 30 minutes elevate the film's pace, blending elements reminiscent of Naan Avan Illai and Maharaja, culminating in a convincing climax.
Despite some unnecessary comedic relief from Suresh Chakravarthy and Singam Puli, the performances are solid. Balaji Murugadoss delivers a decent act, though there's room for improvement-his growth as an actor is promising for Tamil cinema.
As a part of concluding this , JSK delivers a thriller that works in parts. While the film has engaging moments, a tighter screenplay could have made it a compelling watch.
The first half primarily explores how Kasi lures these women into his trap and how they fall for his deceptive charm. The second half focuses on the aftermath of their encounters with him and how their lives change as a result. The movie delves into the contemporary issue of how certain individuals exploit women while portraying themselves as socially responsible figures.
However, the film's message is often overshadowed by the director's overuse of erotic scenes in the second half. While this approach may appeal to a younger audience, it could have been more impactful with a stronger focus on the screenplay. The last 30 minutes elevate the film's pace, blending elements reminiscent of Naan Avan Illai and Maharaja, culminating in a convincing climax.
Despite some unnecessary comedic relief from Suresh Chakravarthy and Singam Puli, the performances are solid. Balaji Murugadoss delivers a decent act, though there's room for improvement-his growth as an actor is promising for Tamil cinema.
As a part of concluding this , JSK delivers a thriller that works in parts. While the film has engaging moments, a tighter screenplay could have made it a compelling watch.