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Reviews
Meiyazhagan (2024)
A feel-good film that's like a warm hug, guaranteed to put a smile on your face!
Mark my words, this will be remembered as one of the best films of the year. It's a heartwarming movie with a great slice-of-life, some bittersweet added with a touch of bromance. In an era of formulaic blockbusters and Interval bangs this film is a refreshing change. It expresses a lot that is happening in society, inside the family, within humans, and the self-discovery while keeping it grounded, rooted, and minimalistic.
A character-driven story focused on Arul (Arvind Swamy), who returns to his hometown with a sense of ambivalence. We as a viewer travel along with this character. On the other hand, Karthi, a mysterious character as ordinary as the sun's daily rise, has a knack for getting into quirky situations. We see the story unfold between these two as they spend a night and the trip is a rollercoaster of emotions, from nostalgic flashbacks to awkward encounters. And let's not forget the classic "miss the bus because your someone insisted on tea" moment. That's one of the funniest sequences during the interval.
There are heartwarming moments, and one of my favorites involves a phone call between Arul's father (Jayaprakash) and Raj Kiran, who delivers a remarkably natural performance. Also, the wedding sequence, culminating in Arul gifting his sister, is beautifully staged. Additionally, Kamal Haasan's soulful 'Yaaro Ivan Yaaro' song placement in the beginning and the pre-climax is done so well.
Director Prem Kumar stages everything brilliantly with the unending sound of the biosphere. Set in Thanjavur, it sums up the tone of the film as a conjunction between ecology and humans. His ability to blend melodrama with characters is his biggest strength, accentuated by good acting.
The visuals are ideally combined with subplots, and the authenticity in mixing the local culture, history, and especially Jallikattu, is beautifully done. It doesn't falter the narrative and isn't an overkill. The relationships don't cross the line of going overboard, and the idea of coexistence is shown with so many happy moments.
Oh, almost forgot about the background score. The entire film is loaded with bittersweet to happy scores that speak more or less sometimes, as the silence also does the talking.
I know we had "Vaazhai," "Jama," "Kottukkali," and "Lubber Pandhu" last week, but trust me, "Meiyazhagan" is a fresh breath of air. It impresses with its variety of forms and feelings. There are no bleak moments, cringe love stories, or sermons on oppression. There are references like the Sterlite issue, but it is handled well with no genre shift.
Final thoughts, I can go on and on but will not be able to capture all its beauty in writing. In the end of this film, you are uplifted and also feel a bittersweet joy.
Devara: Part 1 (2024)
TIGER Reigns: RIP to the Rajamouli Myth
At last, the widely discussed Rajamouli curse myth has been shattered. While not the greatest feat, it's still a major victory considering the curse's track record and the film's stars' previous box office mishaps. Believe me, a 6-star rating is not to be underestimated, and "Devara" is certain to entertain and impress in parts and certain aspects!
Devara is one of the much-hyped films of this year. From the commanding "Man of Masses" title card to the chilling stone inscription written in blood during the interval, the movie is a non-stop barrage of a killer background score. Anirudh's innovative use of the "All hail the tiger" motif in various moods is mesmerizing.
I expected a decent commercial outing with the formulaic narrative to interval bang and pre-climax setup with a few high moments. The first half delivers on this expectation, offering a satisfying blend of cheesy crowd-pleasing moments and commercial masala tropes. It's like the slice you always reach for first.
Unfortunately, the second half of the film doesn't live up to the promise of the first. It feels like a rerun of some old masala films, and the jokes are a bit of a miss. The comedy serves as overkill, and the female characters humor is like trying to laugh at a Nirmala Seetharaman's problem. The actress, well, let's just say she's of no use. You could take her out, and nobody would even notice.
On the positive side, Anirudh Ravichandar's background score elevates many generic scenes. The cinematography in the first half is also a boon to the film. The climax twist adds an unexpected element to the otherwise generic narrative. And don't forget the long but decently staged action sequences, reminiscent of the ocean itself.
And NTR? He is an absolute sea monster of acting talent. He shoulders the film throughout and manages to save it from completely sinking.
To wrap it up, Devara is totally worth checking out if you're in the mood for a fun, mindless action-packed flick. It's got a killer soundtrack, amazing visuals, and JR NTR absolutely killing it.
Roopanthara (2024)
Quite good, but...
I'm late to plug in this review since I caught the film in theaters during the release week and held my review, giving it another chance on OTT to see if my reserved thoughts would change. But they didn't.
Those familiar with anthology films will know how the narrative thread connects all things, even if it doesn't seem like it at first. In Roopanthara (2024), a genuine debut from director Mithilesh Edavalath, the engaging segments were half-baked, while others were more limited but ultimately came full circle. I wish the director had stuck to the arthouse tone and made this an OTT film. Somewhere, the mix of keeping it mainstream and going bleak didn't blend well. It could have gone full-on bleak and dark or catered more to the mainstream.
Don't get me wrong, it wasn't bad in any way, but I felt this concept was a little darker, and I expected the thread to follow the same line. However, it was engaging in parts. I loved the briefly and violent scenes, which were done really well. Raj B Shetty nailed it during his sequence, acting with a subliminal touch.
While I did enjoy this film to an extent, I feel its key notion could have been better conveyed, and the genre hopping was too much.
It's a good watch and a worthy addition to the list of Kannada cinema this year. Some were meh but still okay efforts. I won't say which were meh, but I'm thinking Moorane Krishnappa, Chilli Chicken, Shakhahaari, Hejjaru, Family Drama, Blink, maybe Juni, which was a mixed bag and more on the pretentious side and the recent hit Ibbani Tabbida Ileyali. I know we had Ondu Sarala Prema Kathe and Krishnam Pranaya Sakhi, which could be included here, but they're more on the feel-good side.
In closing, Roopanthara is worth a shot, but don't expect a masterpiece. It's more like a decent indie film that's worth a watch if you like something different.
Kishkindha Kaandam (2024)
Stellar performances elevate a brilliantly crafted screenplay
Kishkindha Kandam is a film set in a world shrouded in mystery, where characters carry the weight of past mistakes. The narrative unfolds as a gripping thriller, blending elements of police procedural and crime drama. The atmosphere is thick with suspense, constantly hinting at a hidden crime.
At the heart of the story are three interconnected lives: Appu Pillai (Vijayaraghavan) a retired military officer with a gruff demeanor; his son Ajay Chandran (Asif Ali); and Ajay's newlywed wife Aparna. When Appu Pillai's licensed gun goes missing, Aparna, who is compared to Sherlock Holmes becomes entangled in a web of suspicion. She soon uncovers a potential murder plot linked to Appu Pillai's past and Chachu, the missing son of Ajay.
We, as viewers, share Aparna's curiosity. However, we eventually find ourselves empathizing with Appu Pillai as the film transitions into a poignant emotional drama.
Throughout the film, a sense of mystery lingers. However, as an audience, we are encouraged to identify the guilty. But Ajay Chandran acts like a son and he is throughout the runtime till the climax reveal.
Coming to the performances, Vijayaraghavan's portrayal of Appu Pillai is a masterclass in understated intensity. His character, a septuagenarian veteran, is a man of unwavering discipline, his life meticulously organized. From maintaining a journal and taking notes, keeping things in order with his set of keys. He was just brilliant throughout, his lost eyes reflect all of the emotions in the movie, sometimes furious, or as an act or an expression of the greatest despair. His performance is a testament to the power of silence, his every glance conveying volumes more than words could ever express. I wish he could remake the late great Christopher Plummer's Remember (2015). Asif Ali also delivers a commendable performance, showcasing his versatility through a series of compelling and diverse roles this year.
Rather than dwelling on the dysfunctional father-son relations, the movie shows us some really sweet moments between Appu Pillai and Ajay. Kishkindha Kandam doesn't sugarcoat things. It's a slow-burn kind of movie that takes its time telling the story. If you're into that, it's definitely worth checking out.
Ennivar (2023)
A harsh reality of campus politics, both intriguing and humane.
Whilst I wasn't sure about this movie at first, but it kept me interested more than I thought it would. The story itself is fairly straightforward about youngsters who get caught up in the cutthroat world of campus politics and become scapegoats for the bigwigs following a familiar path of consequences towards the climax. However, Sidhartha Siva's directorial debut takes a more direct approach, avoiding unnecessary police procedures, rallies, or exaggerated conflicts.
Even though the outcome is predictable and you can probably guess what happens, the actors do a great job of keeping you engaged till the very end of the film. But what sets this film apart from other campus politics is the focus on the characters and their friendships. Especillay the characters of Anandhu and Kunjippan, their friendship is believable and heartwarming. The climax scene where they have to say goodbye and Kunjippan gives Anandhu his wallet is staged well.
The visuals are pretty good, typical of indie films from Kerala. The usual isolated house with lush landscape setting is there, but the night scenes are especially cool. The background also fits the movie well.
In closing, I will recommend this for those who love indie films. It will definitely be a good watch.
Death by 1000 Cuts (2019)
Totally fell apart!!
Tries too hard to please gorehounds and avant-garde artsy horror fans, and instead just sucks at both. The situations become silly and repetitive. Definitely a misfire and the "found footage" segments were so badly done. Even the news reporter, appearing as if he was about to crack up.
Sam Salerno's debut film, The Dark Side of the Womb, was far superior. I appreciated its Eraserhead-esque atmosphere. Unfortunately, Death by 1000 Cuts lacked so many things. The attempt to blend surreal gothic elements felt forced and ultimately cringe-worthy. It was like they were trying too hard to be edgy and standout.
The only thing that wasn't a total dumpster fire was the face blanket made of human skin. It was weird, yeah, but at least it was something. So, I'm giving it two stars - just for that.
Le Vourdalak (2023)
A pastoral vampire horror comedy that's more camp than fright!
Adrien Beau's feature debut somehow mirrors a fraction of what the Vourdalak means to him. Detaching itself from the adaptation literature and avoiding a remake of Black Sabbath, an important horror anthology by Mario Bava, Le Vourdalak offers a new campy approach. While Vourdalak was played by Boris Karloff in the past, this film introduces a puppet for the titular character.
Unfolding as a 16mm low-budget A24-style adaptation of Aleksei Tolstoy's novella, this vampire story predates Bram Stoker's Dracula. It's a campy, pastoral vampire movie that can be overly theatrical at times. I don't mean this as a criticism, but rather as an acknowledgment of its distinct style. The film showcases cool ideas and draws inspiration from classics like Barry Lyndon and Hans W. Geißendörfer's Jonathan (1970), as well as the work of legendary directors like F. W. Murnau, Jean Rollins, and Albert Serra.
The film might seem aimless at times, but it ultimately delivers on the tropes associated with folk horror. The story centers around Marquis Jacques Antoine, a pale-faced envoy of the King of France, who resembles a low-budget Pee-wee Herman. Lost and alone, he seeks shelter in the house of Gorcha, a place that may offer safety but also harbors a sinister secret. The head of household is a vampire-like creature called a Vourdalak who has returned. In a quest for revenge, the Marquis will succeed in killing Gorcha and his family, losing his respect and wig in the process.
Le Vourdalak brings its own perspective to the vampire myth with its old-fashioned charm and campy drama.
Gigi la legge (2022)
Looks like a lot of heart went into this!!
It's a bummer there aren't any reviews for this film, but I'm glad to take the first stab here. So, about The Adventures of Gigi the Law (Gigi la legge) it is set in the quiet rhythms of a small Italian town. Gigi, a cop played by the director's uncle, is a character so ordinary as the sun's daily rise. His story unfolds as he cruises around in his car, listens to songs, and innocently flirts with a new colleague. He is a soul lost in the mundane, a dreamer navigating the bureaucratic maze of his profession with a knack for getting into quirky situations.
This is not a high-stakes police procedural focusing on thrilling chases or complex investigations. But director Alessandro Comodin wanders with our unlikely protagonist, who interacts with the townspeople, from the suspicious boy on the bicycle to the contentious neighbor, offering glimpses into the microcosm of his world. However, these subplots are not resolved in a traditional sense; they serve as a means to connect with Gigi on a more personal level. The climax, a poignant monologue, is one of the moments. You're completely captivated and genuinely moved.
In closing, Comodin's direction is patient and observant. He lingers on the beauty of the Italian countryside, capturing the quiet rhythms of daily life. For those seeking a slower-paced, docu-drama style film, Gigi La Legge is a moving experience. I want to mention that I drew parallels and there's a hint of Apichatpong Weerasethakul, Gideon Koppel, and Silvio Soldini in the film's contemplative approach.
La montagne (2022)
Too Fast-Paced IMO (LOL)
Parisian Pierre's Esoteric Babble with Mountains!
Imagine a middle-aged corporate French guy who's having a midlife crisis, deciding to trade in his suits for hiking boots and becoming a mountaineer. I saw Thomas Salvador self-cast himself as Pierre, lol what a narcissistic move! He's climbing mountains, hallucinating, and probably needs a good therapist. It's a cringeworthy watch! I really loved some shots, but I thought the surreal sequence had some significance. However, I swear it had little to no significance to the plot or themes at all, and the setup lacked a convincing payoff. Maybe he wanted to emulate the works of Carlos Reygadas or Apichatpong Weerasethakul. The very flat acting of the actor-director contributes to making all this unconvincing. I wanted to watch The Summit of the Gods (2021) after this and some scenes from Stefan Jarl's Land of the Lapps (1994). 2 stars for the outdoor shots, but the rest of the film fell short.
Here (2023)
A contemplative 16mm "Moss"terpiece!
The thing I love most about Bas Devos is his approach to allowing me to experience his films in a meditative state and emotionally resonate with their characters accompanied by naturalistic and daily life. "Here," while echoing the themes of "Ghost Tropic," offers a more tender exploration of human connection and isolation.
This 16mm tender embrace, a visual poem of moss, invites us into the bittersweet lives of two strangers in Brussels. A chance encounter brings Stefan and Shuxiu together but parting ways is inevitable. Devos masterfully juxtaposes their inner worlds with the beauty of the natural world, creating a poignant contrast for this simplistic story. Th ending is a thoughtful choice, avoiding the need for both characters to engage in extended dialogue or monologues. Shuxiu's reaction speaks volumes.
Beyond the outdoors, there lies the solitude of the indoors, a meandering reflection on the transience of life. In the quiet stillness of "Here," the simple yet profound imagery, like the train reflection or the rain-pelted window, is elevated by the aspect ratio, creating a sense of intimacy.
"Here" is a film that invites us to slow down, to appreciate the beauty of the small things in life, and to find solace in the fleeting moments of existence.
National Anthem (2023)
Snoozefest denim commercial in a cowboy hat!
Man, I wish I could get back my 1 hour and 40 minutes. I really wanted to like this movie, but it was a disappointing mess with bad writing choices and piss poor dialogues. While the film's intentions may have been noble, National Anthem ultimately fails to deliver a compelling or memorable story. The characters are so flat, they might as well be cardboard cutouts.
Totally, a missed opportunity I guess the director didn't have a clue to flesh out the story from the POV of Dylan (Charlie Plummer), who does his best in parts and completely out of place and probably not going to end well. Of course he is a good actor, but even his talent can't overcome the sheer awfulness of the script. The only redeeming quality is the chemistry between him and his brother. Those scenes are standout, with good staging, backed with decent score in an otherwise boring film.
In conclusion, "National Anthem" ahh wish i can say it's decent but I'll value your time well, it's just bad. I recommend skipping this one.
Des Teufels Bad (2024)
You can't help but feel bad for Agnes...!!
As the saying goes, nothing is more chilling than terrifying events based on true stories. The Devil's Bath is one such film that exemplifies this adage. This psychologically intense period piece, while not a bonafide horror film, will leave you deeply disturbed. For the fans of "Good Night Mommy" and "The Lodge" may find their expectations subverted, so let me tell you to keep your expectation low since this film is but rather a period piece rooted in psychological horror.
The film opens with a shocking scene that sets the tone for what will be fully explored in the climax. A woman throws an infant over a waterfall and then confesses to her crime and surrendering herself to authorities. Flash forward a few years, and we meet Agnes, a young bride full of hope for the future. However, her life quickly takes a dark turn when her husband, Wolf, proves to be both emotionally distant, financially irresponsible and her mother-in-law's domineering control add to the burden. Agnes's desire for love, companionship, and a child is thwarted, leading to a descent into despair. Despite her nightly longing for her husband, her desires remain unfulfilled, and she is denied the joy of motherhood. The film explores the psychological toll this takes on her, as she descends into madness. She falls victim to superstition, tradition, and the oppressive weight of patriarchal dominance.
Anja Plaschg (Agnes) performance is a standout. She's got this haunting way of drawing you into her character's world. The confession scene is particularly chilling, a real gut-punch of a performance. She's also the brains behind the film's score, which is totally eerie. You might know her band Soap&Skin from the song 'Me and the Devil'. Martin Gschlacht, the visionary behind Goodnight Mommy, crafts a bleak and unforgiving landscape. The film's 35mm aesthetic lends a timeless quality to the story, immersing the viewer in a world of hopelessness. Gschlacht's cinematography is a work of art, deserving of the Silver Bear he received at Berlinale.
In closing, The film's influence is evident in its slow-burn narrative with psychological undertone. The film's tone and themes reminded me of Lars von Trier's Melancholia (2011), Ursula Reuter Christiansen's Skarpretteren (1973), and the works of Jan Troell, Terrence Malick, Helma Sanders-Brahms, Cecilia Magni, and Robert Eggers. Regardless, the film's emotional impact is profound. Agnes Schickin's plight is heartbreaking, and those who stay till the end will feel a deep sympathy for her, Ewa Lizlfellner, and the many others, including the children.
Lake Michigan Monster (2018)
Crack open a cold one and salute Captain Seafield!
Imagine a mind-bending cocktail, swirling the religious fervor of "Love God" by Frank Grow (1997) with the anxiety of "We Await" (1996) by Charles Pinion, and throwing in a dash of F. J. Ossang, David Lynch, H. P. Lovecraft, and Monty Python for the epic absurdity measure. This sums up "Lake Michigan Monster" (2018). Director Ryland Brickson Cole Tews delivers a visually striking and often hilarious film. His performance as Captain Seafield is equally impressive, adding a layer of authenticity to the surreal narrative. The film is filled with memorable sequences, such as the Ghost Army, which is so well-crafted that even the cosmic horror entity Cthulhu would be captivated (albeit with a few reservations).
The locations, music, and post-credit sequence all contribute to the film's absurdist atmosphere. Lake Michigan Monster is a must-see for fans of indie cinema.
Jama (2024)
A Melodramatic Yet Artistic Ode To Therukoothu!
Jama (performance troupe) is a visually stunning and emotional film that paints a vivid portrait of traditional art form of Therukoothu with envy and ambition, both present in world. Pari Elavazhagan's directorial debut captures the essence of the art form with its intricate choreography, and a brilliant background score by Ilayaraja.
The film's narrative is a dance between past and present, creating a intricate tapestry of time. We witness Kalyanam's childhood, his father's legacy, and his present-day struggles to create his own Jama.
All the actors in the film have done well regardless of a few lazy writing. But Thandavam is a stand out (Chetan Kadambi), a man consumed by his passion for Therukoothu. His descent into darkness, driven by his obsession with the art form, is both tragic and compelling. While Thandavam's actions may be reprehensible at times, his character is undeniably compelling. He is a hyperactive man-child, troubled by alcohol and consumed by his own ego. Yet, his fascination with Kalyanam's performance in the climax is a testament to the power of art to transcend even the most hardened hearts.
Pari Elavazhagan's decision to cast himself in the lead role was a stroke of genius. He brings a unique authenticity to the character of Kalyanam, effortlessly portraying femininity without crossing the line into caricature. His performance is a testament to his talent and dedication to the art form.
While Jama excels in its portrayal of Therukoothu, the love story subplot feels somewhat underdeveloped and feels out of character. However, this minor flaw does not detract from the film's overall impact.
In closing, August has been a cinematic feast for Tamil audiences, with a variety of films that have delighted and inspired and Jama is a worthy addition.
Kottukkaali (2024)
Kottukkaali : Must watch!!
If you've read my review of PS Vinoth Raj's debut feature, Koozhangal (Pebbles), you know how highly I respect his work. I was eagerly anticipating his sophomore film, drawn in by the poster and looking forward to it. I must also thank the Kurosawa die-hard (lol) Mysskin for his ammo like promotions. And most importantly, thanks to Siva Kartikeyan for backing this as a producer; it's a daring experiment, and I hope we see many more masterpieces from his production house.
The trailer offered a glimpse into the film's thematic depth, with Anna Ben's character, Meena, gazing at a tethered rooster. This visual metaphor clearly conveyed Meena's emotional and social entrapment, mirroring the rooster's physical confinement. In the intro, we see a glimpse of her face, a bindi on her forehead, and she looks helpless, like a dead corpse. People in the house claim she is possessed by a spirit after wandering alone somewhere.
Soori, who has a great stint departing from his comedic roles, delivered a powerful performance. His character's misogynistic internal turmoil was subtly but effectively conveyed. He rages when Meena hums lines from a popular Tamil romantic song. It seems Meena is not the one who is possessed, but rather the other way around.
I was captivated by the young boy in the auto who was compassionately feeding rice to a rooster. He seemed the only rational adult in the film, and his warm smile towards Meena after the road rage incident was heartwarming. The film also introduced a young girl who appeared to be a younger version of Meena. A particularly striking scene involved a close-up of Pandi's eye, with dirt caught in it. His sister's ingenious use of her tongue which is shown in a close up to remove it was a brilliantly staged moment. Even the young girl with the bull, who for me personally symbolized Meena and freedom, was striking. In fact, there's a shot of Meena in an open field with her hair flowing freely that speaks volumes and totally contrasting to her present state. The auto rickshaw itself is filled with religious imagery, adding to the overarching theme of the film.
Anna Ben's portrayal of Meena was a masterclass in silent suffering, her eyes conveying a depth of emotional torment with few striking surreal shots. The film's cinematography was visually poetic, capturing the stark beauty of the rural landscape while highlighting the character's isolation and despair. The absence of a traditional soundtrack enhanced the film's contemplative atmosphere, allowing the audience to fully immerse themselves in the characters' experiences.
One of the film's best scenes is the ritual performed by the shaman in the temple. This sequence is both humorous and unsettling, highlighting the absurdity of superstition and the fear it can instill. Additionally, the film's use of symbolism is particularly effective. The rooster, for instance, represents Meena's entrapment, while the temple bells evoke a sense of mysticism and emotional turmoil. These symbolic elements enrich the narrative and contribute to the film's overall thematic depth.
Overall, Kottukalli is a powerful and essential voice in contemporary cinema, offering a profound exploration of themes without resorting to watered-down portrayals or excessive feminist rhetoric. The open-ended climax leaves the audience to decide Meena's fate and the journey, making it a truly unforgettable and moving experience for the patient viewer.
Vaazhai (2024)
Haunting & Heartfelt: You'll walk away with a mix of emotions!!
Vaazhai is more than just a film and those who have experienced it knows it leaves a mark - a film that is psychologically draining yet ultimately heartwarming coming-of-age journey that evokes smiles but with a heavy heart. It is a remarkable film from threads of real life events from director Mari Selvaraj's own life.
It follows the arduous journey of young Sivanaindhan, living with his mother and sister in the idyllic yet challenging village of Puliyankulam near Tirunelveli. He and his best friend Sekar navigate the treacherous terrain of poverty, a relentless cycle of labor mirroring the hardships. Sivanaindhan has a morbid wish, might sound messed up but he hopes that someone in the village passes away daily so he can avoid the laborious task of lugging. The banter between both about Kamal Haasan and Rajinikanth is sure to elicit laughter from audiences and this adds a layer of humor to the film.
However, amidst the harsh realities, a delicate beauty unfolds. Despite the weight of existence, Sivanaindhan remains steadfast in his studies, finding solace in the gentle gaze of teacher Poongkodi.
Furthermore, Sivanaindhan's obsession with Poongkoodi reaches new heights as he not only sniffs her handkerchief and hums songs named after her but also accompanies her on her daily errands, such as visiting the rice mill. This is like a beacon of hope for the young Sivanaindhan who doesn't want to miss school amidst the tempest of life that demands he carry banana plantains to repay the debt of his late Father. The film's emotional climax and surreal imagery are hallmarks of Mari Selvaraj's distinctive style. The director skillfully employs a raw sequence involving paper cuttings to reveal the true incident.
Mari Selvaraj, a master storyteller, paints a vivid portrait of childhood with a fine balance between nature's elements and the village's intricate caste dynamics. The cinematography captures the beauty and the brutality of rural life with equal poignancy. Additionally, Mari Selvaraj's approach to the film's intermission was particularly noteworthy. Instead of relying on the conventional template, he opted for a more retro-inspired cinematic technique, utilizing on-screen text to echo Sivanaindhan's internal turmoil and his vow to his mother.
For some, the boy's daily life might seem mundane, and the village life, with its fights and caste divides, might appear like not an everyday affair to city dwellers. But I guarantee you that Vaazhai provides a unique perspective, showcasing the complexities of rural life that often go unnoticed as it delves deeper revealing another side of Sivanendhan's inner world. His coming-of-age experiences, a delicate blend of joy and sorrow, which will be rewarding for those seeking a thought-provoking and emotionally resonant cinematic experience.
Ullozhukku (2024)
A poetic gem weaved by rain, empathy and bittersweet tears..
Ullozhukku is achingly beautiful, so bittersweet and it a poignant tale of empathy and human connection amidst rising waters.
I want to appreciate director Christo Tomy for using rain in "Ullozhukku," not merely as a backdrop, but as a pervasive force. It evokes a sense of suffocating discomfort, yet possesses a strange, melancholic beauty - a perfect metaphor for the lives of the central characters, Leelamma (Urvashi), a deeply religious woman, and her daughter-in-law Anju (Parvathy). The narrative takes a dramatic turn with the death of Leelamma's son, Thomaskutty. However, the unforgiving rain adds more to the emotional turmoil within the household as the funeral is delayed creating a ripple effect.
The waterlogged setting is established masterfully, forcing the characters to confront their secrets as truth surfaces. This sets the stage for a deeply bittersweet humane drama.
Despite its weighty themes, Ullozhukku avoids sensationalism. The score, particularly the scene at the interval, perfectly capturing nature of the unfolding drama. In one of my favourite scenes, Parvathy and Urvashi confronting their grief before Thomaskutty's coffin, bathed in the bleak glow, is a masterclass in emotional storytelling.
The final sequences lingering in the cemetery followed by the departing boat deserves a standing ovation. This scene sums up director Christo Tomy's ability to navigate emotional complexities with grace and depth. This film might be big yawn for those accustomed to only popcorn masala flicks and it is definitely for the acquired taste with discerning palate. But this is the kind of movie that passionate cinephiles must support and SPREAD THE WORD.
A silent bow to the director, the cinematographer, the music director, and the entire crew for gifting us this poetic gem.
Maharaja (2024)
The hype is real: VJS 50th is a banger with a twisted-emotional climax!!
Despite being critical of Vijay Sethupathi's filmography in the past (including Mugizh, 2021), I can confidently say Maharaja strikes a chord of undeniable brillaince for his 50th golden jubilee offering.
There's so much to unpack in this film,
I'm still trying to wrap my head around everything, but major props to Sethupathi. He deserves a standing ovation for embodying the director's vision. The complexities, the writing is a no nonsense game which gets it right with a brilliant climax that lingers long after the credits roll. The first half features familiar faces from the director's debut, with lighthearted moments woven into the theft investigation, the police station chaos, and the antics of "Kurangu Bommai," the burglar sidekick. Character introductions are swift, establishing VJS's family life, daughter, PT teacher role, the city's robbery, and the presence of Anurag Kashyap (whose dubbing might raise an eyebrow, but his performance shines in the climactic construction site sequence). For the sake of avoiding spoilers, I'll refrain from detailing his henchman's significance.
Ajanessh Loknath, a powerhouse known for his work in Kannada and Telugu cinema is the perfect musical accompaniment for this movie.
Director Nithilan Swaminathan, who stunned audiences with his debut "Kurangu Bommai," showcases his mastery of non-linear storytelling, solidifying him as a rising force in Tamil cinema. His mastery of non-linear storytelling is brilliant. He's on track to be a big name in Tamil cinema.
There's just so much to this movie, but for now, I gotta recommend it if you're looking for something deeper than just a masala popcorn flick. Sure, some might compare the climax to stuff like Oldboy or Irrata, or even Villeneuve's Incendies (2010), but don't let that stop you. Ignore the overzealous puluthis who act like they've seen it all - this is one you don't want to miss.
Bonus recommendation! Rishab Shetty has produced a movie titled Shivamma which has released today, just came out, and if you're into indie films, you should check it out. Support the indies!
Gaami (2024)
Be warned, Gaami is ambitious, unconventional and world class stuff from Telugu Cinema!
"Gaami" breaks free from Telugu cinema cliches, offering a profound and humane journey of self-discovery. Unlike most mainstream films that rely on sensationalism, director Vidhyadhar Kagita crafts a beautiful and artistic experience. So it's simple, if you're craving a racy plot, a formulaic hero worshipping, high moments, or some message at the end, "Gaami" isn't your movie. This debut film is a cinematic novel, exploring the relentless struggle (Sisyphean persistence) and emotional extremes of its main characters at the expense of flawed writing which isn't a big letdown. Every element, from editing, VFX, Art direction to Sound design manages to hold the film's atmosphere. Even the interval sequence challenges expectations. Unlike typical Telugu films that rely on a big bang or goosebumps, Gaami offers something different but not ordinary with just one day left to find the rare Mali Patra flower, the only solution as it breaks for interval. Many viewers remained glued to their seats, maybe they were expecting a goosepimple moment or intermission text. Of course, there's nothing wrong with crowd-pleasing interval bang and high moments, but Gaami proves we don't need the same formula every time. It's a shame that majority of audiences are accustomed to the fast pace of short videos, expect every movie to be like a 30-second Instagram or TikTok clip.
Even the finale perfectly exemplifies the films theme and pacing, Shankar's (Vishwak Sen) journey comes full circle in a satisfying way, without unnecessary exaggeration or resorting to theatrics. The ending is quiet, with a moment of silence and no music, followed by a bittersweet score as Shankar discovers the human touch, cure, healing, and redemption.
And now Gaami isn't flawless, the screenplay, while managing to be intriguing, could have benefited from tighter focus on parallel storylines compared to the impressive visuals. Editing choices feel jarring at times to cover up the budget, and some scenes might feel repetitive. The gore, though present, might not satisfy fans of horror and gorehound genre like me considering the film's A certification. But i feel the mainstream viewer might find even the existing gore unsettling. The attempt at a non-linear, anthology style narrative might feel like it overreaches and tests the audience's patience.
However, I have to admit some bias and give brownie points. The sheer effort and passion poured into this project, culminating in its release, deserves some credit. The film will likely draw comparisons to world movies, but showcasing its influences the film manages to stay true and rooted. It's important to note that Gaami leaves some questions unanswered, which might frustrate some viewers seeking complete melodramatic closure. While the film isn't flawless, its technical achievements and artistic merit are so strong that many of its shortcomings can be forgiven.
In summary, This DIY project later backed by UV creation is truly special for Telugu cinema. The film's unhurried pace, akin to a slow burn, might test majority of Telugu cine-goers and mass audience patience. It might not be for everyone but for those who appreciate artistic endeavors and support such daring attempt, this is a must-watch. Gaami is the kind of movie that passionate cinephiles must support and spread the word!
Report on Latent Narcotic Substances in the Brain: Drugless (1991)
Downright bonkers!!
Now, I admit, I'm a bit late to the post it here. Originally planned for a February 8th on the ocassion of Kazuo Konaka's birthday, this review was on hold. But hey, better late than never, right? So, in honor of Mr. Konaka's birthday (and the power of bizarre cinema), let's raise a glass.
WTF in parts downright bonkers.
Imagine a mind-bending cocktail, swirling the religious fervor of "Love God" by Frank Grow (1997) with the anxiety of "We Await" (1996) by Charles Pinion, and throwing in a dash of "Videodrome" for worst measure. This sums up "Report on Latent Narcotic Substances in the Brain: Drugless" (1991). That's the fever dream of a film I never knew I needed until now. This fake documentary follows an "undercover" reporter as he infiltrates a secret society promising the ultimate high: unlocking a natural "drug" within the brain. As the lines between reality and delusion blur, the director himself becomes a casualty of his investigation, forced to reconstruct his shattered mind through a kaleidoscope of abstract visuals.
Skarpretteren (1973)
A Profound Exploration of Female Subjugation
Not a long overdue, yet no less potent, comes this appreciation for one of my favourite filmmaker Ursula Reuter Christiansen's "Skarpretteren" (1973). While I extended my birthday wishes to Christiansen on February 13th, sharing this online slipped through. Nevertheless, the adage of "better late than never" holds true.
I keep revisiting "Heinrich" (1977) and i embarked on "Skarpretteren," and what a fortuitous decision it proved to be. This Danish short film, a mere 35 minutes in length, transcends mere cinematic brevity. It bursts forth with layered subtext and an unsettling beauty, weaving a tapestry that is both art and music, both grim and hopeful. The narration and score, despite their conciseness, leave an indelible mark on the viewer, resonating long after the credits roll.
The film's soundscape, a tapestry of cold, harsh, and even strangely harmonious notes, evokes a sense of traversing an endless snowstorm, a metaphor for the protagonist's arduous life journey. Christiansen crafts a deeply personal film, unflinchingly exploring the bitter experience of a woman objectified and exploited. We follow her on the windswept Danish island of Møn, a place where superstitious men prey upon the vulnerable.
In closing, "Skarpretteren" takes almost a nihilistic feminist sci-fi stark reality of a world where women confront both internal and external misogyny. It stands as a rare work that dares to delve beyond opaque subtext, utilizing its hauntingly beautiful music to amplify its message about the oppression of the feminine.
Manjummel Boys (2024)
Hope Amidst Hopelessness: Buckle up for a rollercoaster with "Manjummel Boys."
Wow!! Malayalam cinema delivers again! I'll say right away that the "Manjummel Boys' will be a bundle of emotion and a tug-of-war kind of feeling for those who are able to empathize. Personally, I was happy, afraid, angry, sometimes despairing and even choking with the characters for their redemption.
As to those who are familiar with the plot, Manjummel Boys is based on true story of a squad of 11 friends who hits the road for Kodaikanal in 2006. Laughter echoes in the hills, until one fateful step leads to a chilling truth: the Devil's Kitchen claims all who fall. Fear grips them, despair threatens, but their bond, a beacon in the darkness, ignites a desperate rescue mission. This a story deeper, where raw emotions paint a portrait of friendship forged in the face of the abyss. This is the thread which the film rides and successfully manages to be a winner. Despite the isolation of space, the film is very dynamic, both beneath and beyond. For some reason, the poster pushed me to the fact that this picture will be in the horror style, I expected to see zombie apocalypse and some internal conflicts that main characters experiences. Nothing aligned with my thoughts after the trailer but after watching it today and i would rather say i saw something more. I truly saw fear, despair, I saw a life drama filled with injustice and the tale of friendship in the midst of hopelessness.
Now about the game of actors - nearly everyone shines, with some moments reaching pure brilliance. Soubin Shahir delivers as always, but Sreenath Bhasi steals the show as the young atheist. He deserves a standing ovation for acting transmitting the whole palette of feelings of a person who is helpless and clinging to the slightest opportunity to see hope. Another great aspect of the film is the is cinematography by Shyju Khalid. It is stunning to witness all the shots taking a tonal shift when it turns macabre with every detail shown on the screen. Plus, the makeup team did wonders transforming Bhasi in the second half. Let's not forget the editing, Vivek Harshan deserves a shoutout for those incredible cuts, especially the way he blends Bhasi's cave scene with his childhood memories. He does the same with Soubin Shahir, creating one of the powerful moment in the film
The soundtrack is no less commendable. Sushin Shyam's soundtrack plays with light and dark, hope and despair, perfectly mirroring the film's emotional roller coaster. The pre-interval scene with Soubin Shahir's reaction with its stripped-down score, is brilliant, while the climax uses Ilayaraaja's iconic "Kanmani Anbodu Kaadhal" to deliver a gut punch of emotion. This genius homage to the evergreen classic from Kamal Hassan starrer "Gunaa" which leaves a lasting impact.
Final thoughts, Malayalam cinema continues to shine! After recent hits like "Attam," "Abraham Ozler," "Premalu," "Anweshippin Kandethum," and "Bramayugam," "Manjummel Boys" joins the list of must-watch films. This honest, smart film boasts of excellent performances and technical prowess. While not flawless, after all the emotional upheavals that you experience with the "Manjummel Boys", this film can be forgiven a lot. I want to say this is a testament to the director Chidambaram's masterful execution and he expertly crafted it as a rollercoaster of emotions and a tale of friendship.
Bramayugam (2024)
Visceral & Morbid: Another Haunting Testament To Mammootty's Acting Prowess.
Bramayugam is truly an intense cinematic experience! It's the kind of film that stays with you long after the credits roll. I was riveted to my seat until the very end, captivated by both "The Beginning" and the hypnotic closure, "The Age of Madness." Even now, as I step out of the theater, i still feel like im stuck inside the eerie confines of Bramayugam's secluded mansion buzzing with emotions. It's fantastic to see the public embracing this messed up film.
Only Mammootty can acheive this feat on a godfarsaken mansion (pun not intended), we as an audiece are in company of Kondamon Potti shouldered by the megastar which is a masterclass in controlled chaos. He's joined by his ever-watchful caretaker (Siddharth Bharathan) and a runaway singer (Arjun Ashokan) seeking refuge. Their disparate personalities intertwine beneath the fragile veil of horror, revealing hidden depths and simmering tensions. Also an important decision was give to up on color. Either they wanted to strengthen the effect of isolation, or it helps to throw brownie points for gloomy atmosphere, or it is a tribute to the cinema of the first half of the last century, whether color distracts from what is happening and prevents you from focusing on the most important. There is a feeling that all these points combined led to this style for the successful and a brave attempt in Malayalam industry accentuated with some killer score by Christo Xavier and sound design by Jayadevan Chakkadath.
The film's horror DNA is meticulously woven, drawing upon the chilling atmospheres of classic era of Hollywood, especially the Hammer films, there is some unsettling surrealism of Gaillo, and the contemporary anxieties explored by A24 catalogue. This layered approach creates a hauntingly original experience using the local folklore. Theatricality of action unfolds in the minimum of scenery - the Mansion house, the courtyard territory, blown by all the winds, and, through the tunnel, the sacred path to the bewitching climax.
Megastar Mammookka's current filmogrpahy is really one of his best, if not the best. His frightening laughter, the expression on his face, his level of commitment - this role has no equal, unless of course the 'Devil' himself. He deserves to be in the nomination for every freaking best actor award across the globe. In the finale, Mammoty is so twisted with a battle, illuminated for a more sinister look and the camera statically shows only his face and mouth. In this moment, we as an audience experiences a range of emotions: anger, surprise, a little horror, disgust. All these emotions are visible and caught and this is not done for the sake of aesthetic buffoonery.
Final thoughts, this is no popcorn flick. The film's unhurried pace, akin to a slow burn, might test some viewers patience. But for those willing to surrender to confront the darkness, a powerful payoff awaits as the second half explodes with surreal imagery and shocking revelations.
Kaathal - The Core (2023)
A kaleidoscope of human emotions..!
Despite gradual progress in recent times, a deep-seated reluctance to openly discuss LGBTQ issues persists within the Indian sociocultural landscape. While more LGBTQ+ characters are appearing in Indian films, some portrayals have been criticized for being superficial and lacking authenticity. While it's encouraging that mainstream media is acknowledging LGBTQ+ issues, true progress will only be achieved when these portrayals move beyond tokenism and explore the complexities of LGBTQ+ experiences in a genuine and meaningful way. One such film which is Kaathal spearheaded and produced by the GOAT.
Coming to this film, in the heart of a tranquil village in Kottayam district of Kerala, Mathew Devassy (Mammootty), a seasoned man plunges into the fray of a byelection in his local gram panchayat, driven by the directives of his Leftist party. He dives headfirst into the political arena as the election fervor intensifies. However, a seismic revelation shatters Mathew's carefully constructed world - his wife, Omana (Jyotika), has initiated divorce proceedings, alleging in her filings that her husband is a homosexual. The story navigates through the conflict of personal struggles as he confronts unforgiving societal expectations and the fragility of human relationships around him. This setups for Matthew opening himself up to the world he had left behind, embracing the complexities of his identity and leading him to confront the societal prejudices that have long confined him. This thought-provoking film breaks away from conventional expectations, showcasing Mammootty's versatility and dedication to his craft. His willingness to take on unconventional roles further cements his status as a cinematic legend and allowing Jyothika and rest of the characters to shine alongside him. Jyothika's performance is arguably one of her best in recent years, despite occasional dubbing issues.
Applauds are due to director Jeo Baby, Adarsh Sukumaran, Paulson Skaria, and the entire Kaathal team for crafting this remarkable film. While its unhurried pace might not appeal to everyone, I found myself captivated by the story's organic unfolding, devoid of the need for external validation. Kaathal rewards its viewers with exceptional performances and a thought-provoking narrative, demonstrating its brilliance in its simplicity.
Sapta Sagaradaache Ello: Side B (2023)
A fitting finale, a haunting melody that ripples like the calm sea
Love is everything it's cracked up to be. It really is worth fighting for, being brave for, risking everything for. " - Erica Jong.
"'For a while' is a phrase whose length can't be measured. At least by the person who's waiting." - Haruki Murakami.
"But it is easy to speak of the past, impossible to go there. I am powerful in ways you can only dream, yet I am still a prisoner of what I have done. I can never escape the cell I have made for myself. Things are what they are." - Joe Abercrombie.
The above quotes encapsulates the essence of "Sapta Sagaradaache Ello Side B" a film that has left me lingering in the ocean's hushed embrace, hours after dream-like conclusion. I am overwhelmed by the sheer depth and complexity of the feelings it has stirred within me, adrift in a sea of emotions, in the rhythmic cadence of the tides that defy articulation. In the heart of Bangalore, Manu's tale embark on a relentless quest for a closure, revenge and redemption. He still holds on to the echoes of past, the indelible regrets, unfulfilled wishes that have shackled his soul. Here in Part B Manu is a loafer, a tormented soul who still has nemesis from the past but only to find that his mind is his most formidable adversary. In this obsessive pursuit Manu transforms through voyeuristic lens, fixated on Priya, becomes consumed by her as his every thought and action revolves around her whereabouts and spending time with her child. This act can irk some people but it is shown as a momentary solace as the vibrant hues of memory dance within him, providing illusion of joy. Along the way, we as the audience begin to yearn to decipher the truth and hope the cracked mirrors mend. To uncover the enigma of Manu, one must bear witness to the film's captivating spectacle on the silver screen. Beguiled by SIDE A, i have been anticipating this day for a closure. I must say it a fitting finale, a hard hitting swansong and a sequel that is punctuated by unexpected musical interludes and subtle gags. Getting it right for a sequel has been a hit or a miss and not often does it satisfy viewer expectations. The blood-red climax is one of the standout sequence, i read some shallow cinephiles calling it as an unnecessary indulgence, overly gratuitous but ignore them. It will garner polar reactions, to each his or her own but i feel it is about time Rakshit Shetty takes up a mass hero role with good writing and the impact would been compelling.
Kudos to director Hemanth Rao and team for creating this technically sound of a film and a poetic gem that will stand as a towering testament for the Kannada film industry. Also, I suggest if anyone reading this to check out my review for SIDE A whenever you have a moment.