Sajin_Saj
Joined Aug 2007
Badges2
To learn how to earn badges, go to the badges help page.
Reviews28
Sajin_Saj's rating
Kalamkaval turns out to be a satisfying outing on all fronts. The makers deserve praise for staying away from the usual commercial additives and hero-villain glorifications. Instead, the film remains grounded, staying true to its core narrative without unnecessary compromises. While the basic plot idea is known to majority before the release, the narration stays engaging through its clever tweaks to a familiar premise, introducing intriguing twists and turns that hold the viewer's attention.
Full credit goes to MammoottyKampany production house for attempting such an experiment. Jithin Jose's first attempt as a director is a noteworthy one, as he handles the material with a sure hand and clear vision. The script by Jithin and Jishnu is interesting and neat, maintaining focus while adding enough layers to keep the drama moving.
Performance-wise, Mammootty, as always, is a treat in negative or grey-shaded characters, and here too he delivers with the same impact, enhanced by a natural Trivandrum slang. Vinayakan is a revelation, using limited mannerisms and effective body language to deliver a controlled performance. His dialogue delivery also feels distinctly different from what we have seen in many of his previous films, adding freshness to his character.
On the technical side, the team follows a quality-driven, minimalistic approach that fits the film's tone perfectly. The craft stays unobtrusive yet effective, supporting the slow-burn mood rather than overpowering it.
Kalamkaval is definitely worth a watch, especially if you are not looking for a loud, commercial thriller but a more grounded, character-driven crime drama. As a deliberate slow burn with strong performances and clean writing, it stands out as a quality theatrical experience for those who appreciate measured storytelling over constant high-voltage thrills.
Full credit goes to MammoottyKampany production house for attempting such an experiment. Jithin Jose's first attempt as a director is a noteworthy one, as he handles the material with a sure hand and clear vision. The script by Jithin and Jishnu is interesting and neat, maintaining focus while adding enough layers to keep the drama moving.
Performance-wise, Mammootty, as always, is a treat in negative or grey-shaded characters, and here too he delivers with the same impact, enhanced by a natural Trivandrum slang. Vinayakan is a revelation, using limited mannerisms and effective body language to deliver a controlled performance. His dialogue delivery also feels distinctly different from what we have seen in many of his previous films, adding freshness to his character.
On the technical side, the team follows a quality-driven, minimalistic approach that fits the film's tone perfectly. The craft stays unobtrusive yet effective, supporting the slow-burn mood rather than overpowering it.
Kalamkaval is definitely worth a watch, especially if you are not looking for a loud, commercial thriller but a more grounded, character-driven crime drama. As a deliberate slow burn with strong performances and clean writing, it stands out as a quality theatrical experience for those who appreciate measured storytelling over constant high-voltage thrills.
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.
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.
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.
