Jude Anthany’s 2018 – A Stirring Story of Survival With Some Clichés

“2018 – Everyone is a Hero”, directed by Jude Anthany Joseph, is a testament to the power of human resilience in the face of a calamity. This gripping drama, based on the Kerala floods of 2018, showcases a whole community coming together to overcome adversity, proving that heroes exist in every corner of society.

2018 Malayalam Movie Title Card

The Emotional Journey Through the Floods

Jude Anthany Joseph’s direction and Chaman Chakko’s editing strike the right balance between portraying the harsh realities of the situation and the uplifting moments of heroism and unity. The film is elevated by its technical excellence, especially in the flood scenes, which are both visually impressive and emotionally stirring.

The film’s script and story, crafted by Jude Anthany Joseph, are undoubtedly the backbone of 2018 – Everyone is a Hero. The narrative weaves together numerous characters, each with their own unique arc, capturing the essence of a community uniting in the face of catastrophe. The film’s strength lies in its ability to showcase the ordinary lives of people, their petty quarrels, and their extraordinary transformation when faced with adversity.

As the story unfolds, we witness an emotional rollercoaster that peaks during the intense rescue operations and heart-wrenching moments of loss.

2018 – Everyone is a Hero: A Gripping Story with Room for Improvement

However, I must point out a few areas where the script could use some improvement. The first 40 minutes of the film is laden with clichés and predictable sequences, reminiscent of old Tamil movies brimming with “Paasam” and “Pride.” Asif Ali’s love track and Tovino’s side track at the beginning feel like they’re filled with immature writing and clichés.

A more balanced and realistic portrayal of characters in the initial phase would have added greater depth to the story. At this stage, it’s all too easy to predict the upcoming events in the second-half. The film’s scripting and characters brings to mind Major Ravi scripts. I truly hope that, one day, Mollywood will get a survival thriller without much clichéd melodrama.

Secondly, the pacing of the film could have been more consistent. Although the first half sets up the characters in a very slow-steady pace and the film experiences a few dips in the second half. Some scenes feel stretched, while others are rushed, which affects the overall flow of the narrative. Tightening the script in these areas could have improved the film’s pacing and made for a more immersive experience. Lastly, the film could have delved deeper into the political and social aspects surrounding the disaster. Instead, it primarily focuses on human spirit and heroism, albeit with a few clichéd characters and events. Additionally, more thorough research could have enabled the scriptwriters to explore the underlying issues and challenges faced during the crisis more effectively, adding depth and relevance to the story, rather than resorting to clichéd melodrama.

An Exhibition of Remarkable Performances

One of the major highlights of 2018 – Everyone is a Hero lies in the powerhouse performances of its stellar cast. The movie boasts of an ensemble of talented actors, including Kunchacko Boban, Asif Ali, Tovino Thomas, Naren, Kalaiyarasan, Vineeth Srinivasan, Aparna Balamurali, and Lal. Each of them has left an indelible mark on the screen, bringing forth the raw emotion, resilience, and courage of their characters.

Characters

Kunchacko Boban, with his nuanced portrayal of an everyday hero, perfectly encapsulates the essence of an ordinary family man and a responsible government official during calamities. Asif Ali’s performance as a reluctant volunteer provides a sense of relatability, displaying the evolution of an individual in the face of adversity. Tovino Thomas delivers a gripping performance, capturing the pain, loss, and determination of a man fighting against all odds to save his people. I would say, you can see a more humanised version of Minnal Murali in 2018.

Naren, Kalaiyarasan, and Vineeth Srinivasan play pivotal roles in the narrative, showcasing the diversity of human emotions and responses to the disaster. Their acting prowess breathes life into the story, ensuring that every character contributes to the overall impact of the film.

However, it does fall short in its representation of female characters, who are often shown as helpless and in need of rescue, despite the fact that many women played crucial roles in the recovery efforts. Aparna Balamurali’s character treis to balance it but her character doesn’t have much depth to the narrative, making it just another helpless female character.

2018: A Watchable Tribute to the Unsung Heroes

In conclusion, 2018 – Everyone is a Hero is a compelling story that showcases the best of human resilience and unity, but it could have been elevated further with a few improvements in the script and pacing. Nevertheless, the film remains an engaging and moving experience that will surely resonate with audiences.

“2018 Everyone is a Hero” serves as a reminder that even in the darkest of times, there are heroes among us, ready to lend a helping hand.

Similarly, this movie demonstrates that with great content and quality production, there’s no need for promotional gimmicks. The theatre was packed for the second show.

Read more reviews here.

Vyavastha: Anand Ranga’s Legal Drama Lacks a Depth

I was searching for a thriller webseries and chose Vyavastha a Zee5 webseries based on its intriguing one-liner:

“On their wedding night, Yamini (Hebah Patel) is arrested for her husband’s murder. Vamsi (Karthik Rathnam), a young lawyer who cares for her, takes her case and tries to save her from Chakraborty (Sampath Raj), a crooked and influential lawyer in the city.”

Sounds interesting, right?

However, although it looks great on paper, the on-screen result is a cliched webseries that follows Vamsi as he tries to prove Yamini’s innocence while battling a corrupt lawyer.

Vyavastha webseries suffers from poor execution and weak scripting, making it worth watching only once if you’re interested in courtroom dramas.

Vyavastha poster

Poor Direction and Below Average Screenplay

Director Anand Ranga establishes a promising premise with a strong foundation for an engaging legal battle. The first episode reminds me of the 2020 Netflix series “Raat Akeli Hei.”

However, from the second episode, I realized that the series is a mediocre attempt with a template screenplay filled with some predictable and insipid events.

A scene from Vyavastha

The intensity and emotional depth are lacking, but to some extend, Karthick Rathnam’s performance helps balance these shortcomings. The subplots and conflicts, which could have enriched the story, are underdeveloped and lose momentum as the series progresses.

Vyavastha starts with a bang, but then it’s just a humming from episode 2 to episode 7, and finally, in episode 8, you can see a rushed conclusion that may also leave you unsatisfied.

I believe that after the first episode, you can directly watch episode 8, and it won’t make much difference even if you skip the episodes in between.

Performances & Technical Aspects

Karthik Rathnam impresses as Vamsi, a lawyer committed to justice, while Sampath Raj’s ruthless and greedy lawyer Chakraborty boasts a strong presence. Hebah Patel provide a decent performance within her characters’ limitations, and it was a surprise to see Kamna Jethmalini after a gap, nothing more to say about her character.

Hebah Patel

Anil Bandari’s cinematography is adequate, but the law firm sequences could have used a more polished presentation. There isn’t much to say about the art department, as it’s even worse. The courtroom setup is unconvincing. Vyavastha is suffocating at multiple places because of thsi poor technical aspects.

Naresh Kumaran’s background score does its job but isn’t exceptional, and it doesn’t leave a lasting impact.

Reasons to Watch Vyavastha webseries:

  • Engaging premise and intriguing plot (But spoiled from E02-E07))
  • Strong performances from Karthik Rathnam and Sampath Raj
  • Some well-written dialogues

Reasons to Skip Vyavastha webseries:

  • Poor execution and weak screenplay
  • Underdeveloped subplots and conflicts
  • Engagement is limited to the first and last episodes.

Despite a solid plot and commendable performances, the series falls short due to poor execution and a weak screenplay.

For more reviews click here.

Ponniyin Selvan Part II: Mani Ratnam’s Vengeful Visual Feast

Mani Ratnam’s “Ponniyin Selvan: Part II” has finally arrived, and in one word, it’s not as loud as Bahubali, but it’s wiser than any Rajamouli film.

PS-2 is an emotionally driven, character-focused epic that delves into the intricacies of political intrigue and human connections in a captivating and thought-provoking manner.

In my view, Mani sir’s storytelling expertise is evident in this film, making it a must watch for his fans.

Sara Arjun & Santhosh Sreeram

PS-2: A Layered Story Filled With Emotions

The plot of “Ponniyin Selvan: Part II” starts with the childhood stories of Nandhini and Aditya Karikaalan. It prepares the audience for the upcoming events. Then it shifts to the present, and continues from where the first part ended, exploring the power struggles and alliances that determined the Chola Empire’s destiny.

The film features three major events: the return of Arunmozhi Varman (Jayam Ravi), who was thought to be dead; the confrontation between Nandhini and Aditya Karikaalan; and how Vandhiyathevan (Karthi) exposes the plot to topple the Chola Empire and wins the war against the Rashtrakutas.

Though the plot is undoubtedly complex and multi-layered, Maniratnam keeps the audience engaged through skillful storytelling. The emotional intensity of the film may be too much for some viewers, particularly those who prefer a more action-filled historical epic. Don’t expect a Baahubali-style period drama here; instead, the emotions and performances from the lead actors grip you throughout the journey.

Fiery Aishwarya Rai & Raging Vikram

One standout aspect of “Ponniyin Selvan: Part II” is the exceptional performances from its talented cast. Aishwarya Rai Bachchan’s portrayal of the cunning and enigmatic Nandini is especially noteworthy. Her expressive eyes and ability to convey various emotions make her character unforgettable.

Characters Ponniyin Selvan

In my opinion, this is undoubtedly one of her best performances ever. Similar to the confrontation scene between Kundavi and Nandini in the first part, there is a scene where Aditya Karikaalan meets Nandini after a long time. Even without any dialogue or eyebrow movements, the way Aishwarya Rai captures vengeance and inner fire is impeccable. I couldn’t take my eyes off those beautiful close-up shots.

Vikram, as Aditya Karikalan, exudes determination and intensity in his role, showcasing his versatility as an actor. Jayam Ravi and Karthi also deliver impressive performances as Arunmozhi Varman and Vandhiyathevan, respectively, adding depth to the overall story.

Unfortunately, in this sequel, Trisha doesn’t contribute much beyond a romantic scene with Karthi, which was already trending on social media, leaving no element of surprise.

Last but not the least, 17 year old ‘Deiva Thirumagal’ actress Sara Arjun truly surprised me with her stunning emotional scenes.

The Unforgettable Face-off: A Pinnacle Moment in Ponniyin Selvan: Part II

One of the most striking scenes in “Ponniyin Selvan: Part II” is the intense confrontation between Aditya Karikalan (Vikram) and Nandini (Aishwarya Rai Bachchan). This face-off highlights Mani Ratnam’s exceptional direction and scripting, as well as the strong performances of the lead actors.

As the tension between the characters peaks, the audience becomes absorbed in their complex relationship. It’s filled with suspicion, power struggles, and subtle emotions. Their eyes express a blend of anger, determination, and vulnerability, revealing their character arcs.

The build-up to this moment is well executed. Mani Ratnam uses subtle cues and visual storytelling to craft a tangible sense of anticipation. In this scene, you can experience A.R. Rahman’s best work from the recent times. The scene is further enriched by the remarkable cinematography and the art works, intensifying the emotional impact.

This unforgettable scene in “Ponniyin Selvan: Part II” exemplifies Mani Ratnam’s story building skill. The way mani Ratnam pull off the emotions is that make this film an epic worth watching.

Character Arcs, Scripting, and Pain: Mani Ratnam’s Mastery

In a Mani Ratnam film, the character arcs of female leads often excite scriptwriters. Characters like Shakthi, Divya, Meghna, and Dr. Leela evolve while the male parts typically have flat arcs throughout the movie. In PS-2, there is no exception; Nandini’s character arc is especially noteworthy, revealing the complexities and layers of the main player, Nandini.

Aishwarya Rai Bachchan’s Nandini transforms from a mysterious figure in Part I to a fully-realized, multi-layered character in Part II. This change demonstrates Mani Ratnam’s skill in developing character arcs. His ability to balance various plotlines and characters without losing sight of the core story is praiseworthy.

Technical Elements: A Visually Stunning Experience

“Ponniyin Selvan: Part II” excels in its technical elements. The film’s visuals are breathtaking, with each frame carefully designed to reflect the grandeur of the Chola Empire. The cinematography and art direction significantly contribute to the immersive atmosphere of the movie. Watching it in IMAX further enhances the overall visual experience.

However, I believe there is room for improvement in pacing and editing. A more streamlined narrative would have benefited the complex plot and numerous characters, keeping the audience fully engaged.

In conclusion, Mani Ratnam’s “Ponniyin Selvan: Part II” is a masterfully crafted historical epic showcasing the best of drama and politics. It’s a must-watch for enthusiasts of this genre.

For more reviews click here.

Yaathisai: A Riveting Period Drama by Dharani Rajendran

This summer is a real treat for fans of Tamil culture, as they’re in for two back-to-back period dramas within a week’s time.

Yaathisai Poster

The interesting twist is that Dharani Rajendran’s ambitious venture, Yaathisai comes with a modest budget, an unknown producer, and several debutant actors, telling the story of the Pandyan and Einar clans.

On the other side, we have a highly anticipated Ponniyin Selvan -2 by a renowned director, a team of experts, LYCA productions and a star-studded cast, including Karthi, Vikram, and Aishwarya Rai, who delve into the Chola Kingdom.

Yaathisai: A Compelling Period Drama on a Budget

If you’re short on time, here’s the gist:

Director Dharani Rajendran has shown that crafting a compelling period drama doesn’t require a massive budget, famous stars, or a team of experts – all it takes is a vision.

That vision is evident in Yaathisai, and as a filmiholic, I wholeheartedly appreciate the effort. I believe you should experience this in theatres and encourage such commendable attempts.

Dharani Rajendran: Hidden Talent of the Tamil Film Industry

Yaathisai is truly a refreshing period drama that stands out and serves as a lesson for big-budget period dramas. Directed by Dharani Rajendran, this film showcases the hidden potential of the Tamil film industry.

Yaathisai takes us back in time, where the Einar clan fights the powerful Pandiyan kingdom.

In my opinion, the film was marketed incorrectly, as it seems less focused on Pandian warriors and more on the underdog tale of the Einar clan.

Powerful Performances and Technical Excellence

The director’s extensive research is evident throughout the movie, keeping audiences engaged from start to finish.

The lead actors, Seyon as Kodhi and Shakti Mithran as the Pandiyan king Ranadheeran, deliver powerful performances that breathe life into the story. In one word, their performances are raw-rustic and loud.

The world of Yaathisaasi

The technical team also deserves praise for creating a world that looks and feels real. The movie gradually picks up its pace, slowly taking us into the world of Yaathisai.

I truly appreciate the action choreography; the fight scenes are intense and make you feel like you’re part of the action.

Of course, the movie isn’t perfect. Sometimes the special effects take away from the story, but that can be considered given the budget constraints.

In the second half, the pacing could be better. After the interval punch, it moves through some melodrama and the marriage scene reminds me of Santhosh Shivan’s Asoka. There are some slow-paced melodramatic moments in the second half, but the movie picks up its action soon.

Finally, enhancing the dubbing and sound effects could elevate the movie further, especially during the forest sequence and ambush event, which could provide an even better theatre experience with a bit more effort in the sound department.

Why I Love Yaathisai

Yaathisai shows that you don’t need a lot of money or famous actors to make a great historical drama. You just need a team that’s passionate and creative.

In conclusion, Yaathisai is a must-watch for fans of period dramas and anyone looking for a fresh, raw-rustic movie experience. Dharani Rajendran’s bold attempt is a great example of what Tamil cinema can do. So get your popcorn, sit back, and enjoy the world of Yaathisai – Just like Baahubali, PS-1, Yaathisai also has a second part; it’s just the beginning.

For more reviews, check whattowatch.

Adi – A Thriller Exploring Male Vulnerability

Prashobh Vijayan’s Adi takes on the central theme of toxic masculinity and its associated vulnerabilities, with a thrilling plot revolving around road rage in Kerala.

I must say, Prashobh Vijayan’s movies never excited me, which is why I opted for Madanolsavam over Adi. However, when a few people from the theater gave positive responses for Adi, I decided to give it a try. And, let me tell you, I was pleasantly surprised! Adi is the best movie from Prashobh, Ahana Krishna, and Ratheesh Ravi so far.

Adi promotional poster

A Thin Plot with “I am Man!!” Pride

Adi revolves around Sajeev, an NRI played by Shine Tom Chacko, and his wife Geethika played by Ahaana Krishna. Their adversary, Joby Joseph, played by Dhruv, oozes with masculine pride. Sajeevan gets badly beaten by Joby Joseph, and it bothers him that it happened in front of his wife, Geethika.

The film effectively highlights the issue of toxic masculinity, with the characters repeating the line “I am a man!” before and after every act of violence. Eventually, the movie shows how Ahaana’s Geetika is challenging this “I am Man!!” pride.

Road Rage, Masculinity & Vulnerabilities

The movie addresses the alarming issue of road rage in Kerala, which is something that we should prioritize. Road rage and revenge have been the central theme of many movies like Hollywood’s “Unhinged” and Mollywood’s “Kali,” and Adi follows suit but with a less intensity compared to “Kali” or “Unhinged”.

Shine Tom Chacko & Dhruva from Adi

Still, As the movie progresses, it turns its colors and Adi tries to explores the congeniality between relationships.

The movie initially gives the notion that it’s all about toxic masculinity, much like Ratheesh Ravi’s previous work, Ishq. Some viewers may have misunderstood as Adi as a male chauvinistic movie. However, in my opinion, the film aims to address the issue of toxic masculinity and its associated vulnerabilities.

Adi’s Cast Brings Depth and Intensity to Their Characters

Ahaana Krishna from Adi

All three main actors, Shine Tom Chacko, Ahaana Krishna, and Dhruvan, excelled in their roles. It was surprising to see Ahaana and Shine’s on-screen chemistry. Normally, the contrast between young actors and experienced actors like Shine Tom Chacko is visible, but Ahaana was able to pull off her character with ease. Dhruvan made a great attempt but there were instances where I felt he could have done it in a more sublr manner instead of exaggerations.

Athira Patel’s character may have been short, but it effectively points a finger at toxic relationships and the male ego.

Adi’s music is one of its strongest assets, thanks to Govind Vasantha, who composed music for the 96 movie. The music adds an emotional layer to the film’s many scenes, elevating the overall viewing experience.

Adi: A Conclusion without a cliched “Adi”

Overall, Adi has a great start, subtly addressing its core theme. However, when it reaches to the end, I felt like the climax of the film a bit forced and unconvincing. If the filmmakers could work on it a bit more, the movie could have impressed more viewers this festival season. I feel like, Adi is a movie best suited for youngsters, not for everyone.

With standout performances from Shine, Ahaana & Dhruvan, superb music, and a thrilling theme, Adi is a one-time watchable for anyone interested in exploring the issues of toxic masculinity and vulnerability.

Here you can read about the second release of the week, Madanolsavam.

A Modern Version of Raghunath Paleri Classics: Madanolsavam

Ratheesh Pothuval’s Signature Style

Ratheesh Pothuval’s movies always remind me of the old Raghunath Paleri classics.

When Malayalam film industry was filled with slap-stick comedy tracks, Raghunath Paleri scripts transport us to a different world, filled with dark comedy, subtle political satire, and a touch of Deadpan comedy with quirky characters like Pashune Kalanja Paapi, Meesha Vasu, Krishna Kurup, Doctor Vadhu…

Ratheesh Pothuval movies are no different as they are a modern version of those Raghunath Paleri classic films.

Madanolsavam title card

An Unexpected Turn of Events & A Political Game Changer

This title can be the one-liner of this movie.

The story revolves around Madanan, a young man who sells coloured chickens for a living. One day, a girl unexpectedly enters his life, creating the most hilarious (dark humor) event in the movie, even though it’s unrelated to the film’s central theme.

Madanan Manjakkaran, a BDF candidate played by Babu Antony, is about to win an election for the first time in Manjeswaram. However, the opposition party, led by “Porali,” decides to use Madanan as an imposter candidate against Manjakkaran to scatter the vote share. The rest of the story follows how Madanan’s life changes after this event.

Entertaining, But Lacking Freshness

Madanolsavam is a complete family entertainer that has enough elements to keep you entertained.

However, somewhere in the movie, I felt like the freshness of Ratheesh Pothuval’s previous scripting was missing, maybe because of the overused template of Kasargod slang, stereotypical character comedies, and subtle burlesque moments. I believe Ratheesh Pothuval needs to reinvent his writing to avoid losing the punch he had in his earlier works.

Tried and Tested Formula

Ratheesh uses the same eccentric political shades that succeeded in “Enna than case kodu.”

I love the way he builds the first act of the movie. Be it “Enna thaan Case Kodu” “Kanakam Kaamini Kalaham” even “Madanolsavam” he uses a “staright to the point” style. Within just 10-15 minutes, he will settle everything in place and make the protagonist ready for the confrontation.

From his aunt’s weak bowel movements to his marriage, it all happens within a few minutes in Mdanan’s life. With hilarious punchlines from characters like Mohanan (Sumesh Chandran) and Madanan’s aunt, it’s an entertaining gateway to the world of Madanolsavam.

Madanolsavam Poster

Subtle Performances

Suraj Venjaramoodu fully steals the show with his full-fledged comedy role in Madanotsavam. However, there are some moments where he becomes too emotional, adding some material for the family audiences into this political satire. Madanolsavam employs Suraj’s ability to oscillate between comedy (his slapstick style) and serious (but not bordering on melodrama) elements.

Sumesh Chandran’s character, Mohanan, was a laughing riot in the film, and I am sure that he will be viral soon after Madanolsavam’s OTT release.

Rajesh Madhavan’s Namboothiri goon, Chandrika Madikkayi’s aunt role, Rakesh Ushar’s corporate strategist, Babu Antony’s Madanan, and PP Kunhikrishnan’s Chindilayappan are all characters that ensure Madanolsavam is a wholesome entertainer. 

Bhama Arun’s Alice deserves a special mention because even though it was her debut in Mollywood, she truly nailed it. Her chemistry with Suraj was well-portrayed, with awkward pauses, romantic smiles, and emotional eyes. I expect to see her in more movies soon (Hopefully without being stereotyped).

Bhama Arun’s Interview (Credits: The Cue Studio)

Missing a Signature: Sudheesh Gopinath

Though it was directed by Sudessh Gopinath, Madanolsavam has all Ratheesh Pothuval’s trademark humour and deadpan set-up throughout. 

Casting, Narration, Opening, Ending, in simple words it’s Ratheesh pothuval everywhere. Eevn he did an extended cameo role as well.

Overall, I felt if Sudhessh could manage to add some unique elements we could have felt the freshness from a debutant director.

On the other hand, it’s possible that Sudheesh Gopinath’s influence was present in Ratheesh Pothuval’s previous works, as he served as the chief associate director for all of those films.

Final Verdict

Madanotsavam is a solid family entertainer packed with witty one-liners. However, it falls short as a political satire, especially during the rushed climax. Climax was too fast and disrupts the convincing-natural flow of the film.

So, Madanolsavam is a dark-comedy enteratiner which failed to leave a lasting impact.

Corona Papers: Priyadarshan’s Gripping Crime Thriller Inspired from Akira Kurosawa’s Stray Dog

Corona Papers is an engaging thriller directed by Priyadarshan.This will be a different Priyadarshan movie for you, since the film is devoid of slap-stick humor or romantic songs.

Corona papers maintaining a thrilling atmosphere from start to finish. In this movie, Priyadarshan demonstrates his return to form as a master craftsman, presenting captivating visuals that keep the audience hooked.

Poster: Corona Papers

Priyadarshan’s crime thriller, Corona Papers, starts with an acknowledgment that the filmmaker was inspired by Akira Kurosawa’s Stray Dog. This 1949 detective film revolves around a stolen gun and delves into the social and economic conditions in Japan after World War II.

And this acknowledgement is true I feel, the movie is not actually a remake of 8 Thottakal rather it’s an adaptation of Stary Dog.

The Riveting Plot

The story follows Rahul, a newbie Sub-Inspector in the Kerala police force, who is assigned shadow duty at his first station. Tragically, he loses his service revolver, and the bullets from it are later used in a bank robbery.

As the investigation unfolds, the audience is drawn into the core of the story, with the tension continuing to escalate.

Priyadarshan’s approach in Corona Papers is straightforward and focussed, unlike his previous thriller, Oppam. He eliminates all the unnecessary melodrama and humor, ensuring a laser focus on the script.

Engaging Performances and Visual Beauty

Corona Papers’ first half offers a unique, thrilling experience with the freshness in casting and the fast paced events.

In the second half, although the plot points are predictable, the focus lies on how they connect and drive the characters towards the central event. This intriguing aspect keeps the audience engaged.

Secondly, the film remains engaging due to the skillful execution by the actors and Priyadarshan’s enhancement of the visual beauty and dramatic elements.

For example, there is a memorable scene where characters are exchanging money on a rainy night, adding an intriguing layer to the thriller.

The supporting cast, including Shane Nigam, Shine Tom Chacko, Gayathrie, P P Kunhikrishnan, Henna Reji, and Siddique Lal Jr., all deliver commendable performances.

Corona Papers

Siddique Steals the Show

Siddique stands out as suspended police officer Sankararaman, delivering an exceptional performance that showcases his talent. He effortlessly handles emotionally intense scenes, adding depth to the film.

A philosophical scene unfolds between Shane Nigam and Siddique, and it’s hard to picture any other actor delivering it so effortlessly. And here are few elements around Siddique’s character and it added some philosophical layers to this thriller.

For exmple, a scene where Siddique uses Alexander Pope’s famous quote “to forgive is divine” that voice modulation is an icing on the cake for that scene.

Some Weak Points

While Shine Tom’s character is not insignificant, certain aspects of his role feel disconnected at times.

Shane Nigam excels in emotional scenes alongside Siddique. However, Sandhya Shetty struggles to match their ease. Her acting and dubbing fall short, particularly when sharing the screen with the experienced Siddique, creating a noticeable contrast in their performances.

Sandhya Shetty as Gracy (Corona Papers)

Additionally, her character Gracy could have been written better. It’s not that convincing and there is a lack of depth. It reminds me old Vani Vishwanath era of Mollywood thrillers.

An Anticipated Climax with a Twist

Priyadarshan tried to make this different from typical crime thrillers, the climax of Corona Papers is not a twist but an awaited resolution of the interlocked puzzle.

The film pulls this off decently, but for those expecting a twist, there is one included. However, it feels forced and unnecessary for an otherwise solid thriller.

  1. Experience a sleek thriller with minimal drama,
  2. outstanding acting by Siddique, and
  3. Priyan’s masterful visuals.

These three key elements make Corona Papers a must-watch film for thriller enthusiasts.

In conclusion, Corona Papers is a decent crime thriller with a few flaws, but it will undoubtedly keep audiences captivated throughout its runtime.

Viduthalai: Vetrimaran’s Hard-Hitting Expose on Bureaucratic Atrocities

Vetrimaran’s Latest Release Sheds Light on India’s Oppressive System

Viduthalai Title card

In India, where the colonial hangovers still loom, we need more directors like VetriMaran who create films that shed light on bureaucratic atrocities in our society. Tamil films, such as Visarai, Vilangu, and Writer, are examples of movies that explore such issues. Viduthalai is the recent addition.

The Need for Viduthalai : A Hope

Over 30 Israeli Air Force pilots recently refused to participate in training or reserve duty as a protest against Prime Minister Benjamin Netanyahu’s judicial reforms. If more people acted ethically and humanised rather than blindly following laws on paper, our world could have been better.

Think about Russian soldiers protesting against Putin’s fascist and uncongenial decisions to invade another country.
Think about all our police constables refusing to work like a maid (more like a slave I should say) at IPS officers home.

I hope at least some of you remember how human right activist Father Stan Swamywho died while he was in judicial custody in Taloja jail.

I believe, changes may not happen soon, we need to wait for another generation to eradicate the GOI Act 1935 and its colonial hangovers. But these movies may act as a catalyst for those changes.

Viduthalai’s Gripping Storyline and Setting

Vetrimaran’s latest release, Viduthaalai shed light on India’s bureaucratic system, which is infamous for its hierarchical slavery and political nepotism.

Viduthaali, set in 1987 in a remote forest village, portrays a community of oppressed people, rebels, and a subservient police force conditioned to follow orders led by a treacherous, sadistic, perversive commanding officer (Chethan).

The movie starts with a gory extended single-shot sequence of a train bombing.

Then we follow Kumaraesan (Soori), an innocent man who starts work as a driver and cook in that police camp at the Karnataka-Tamil Nadu border.

Soori as Kumaresan

With Kumaresan as our POV character, we understand the nuances of police operations, atrocities, sufferings of low rank officials.

Then we have the mysterious Perumal (Vijay Sethupathi), who is fighting against a proposed mining project.

Stellar Performances and Unique Casting Choices

When it comes to the performances in Viduthaalai, everyone did an outstanding job. I believe the whole credit should goes to Vetrimaaran’s outside the box casting choices.

Gautham Menon, who glorified cop-killing in his movies, plays a brutal cop.

Soori portrays the central character with a magnificent makeover.

Bhawani Sri, who played a small role in Ka Pae Ranasingam, plays a village girl and love interest for Kumaresan (Soori).

Bhawani Sri as Tamilarasi

Even Rajeev Menon’s performance as a Principal Secretary is subtle and elegant.

Vijay Sethupathi appears in only a few moments in the film. Still he may give you goosebumps with his classy ‘mass’ performances and that one-liner in the climax was epic.

Vijay Sethupathi as Perumal

Soulful Music and Captivating Cinematography

Viduthalai is packed with many raw and hard-hitting moments, but it also sprinkled with some emotional-romantic moments. In both cases, Ilaiyaraaja’s soulful tunes elevate the emotions. His music is not loud but is subtle and prudent enough to leave an impact.

R Velraj’s cinematography effectively take us to the world of Viduthalai, with unshowy visuals of forest terrains, single-shot visuals in the introduction, and documentary-style realism in the frames.

Viduthalai is a great film backed by a talented team on and off-screen.

Why We should clap for Viduthaalai: Relevance in 2023

Although the movie is set in 1987, it remains relevant today. Police atrocities against SC/ST communities remain prevalent in many areas of India.

I hope you are aware of Police atrocities in Wayanad, where Attappadi tribal head claimed that Kerala police were taking revenge as they fought against the land mafia.

If you think Chethan’s portrayal of the film’s commanding officer is unrealistic, consider a real-life incident where a police officer in Wayand subjected a 16-year-old girl to violence.

Shockingly, the punishment given to the officer by the system was just a “Suspension order”. Is that really justice for the young girl?

Live Love Learn liberate!

Dasara Movie: A Mixed Cocktail of Themes and Emotions

Introducing Dasara, it’s a Blend of Familiar Elements, that’s my one word for this film.

Srikanth Odela, is the recent pass-out from the school of director Sukumar, after Buchi Bbau. So, there is no wonder why his latest release, Dasara evoking memories of Rangasthalam and Pushpa.

Chitti Babu Rangasthalam, Pushpa, Dharani in Dasara

Rather than delivering a raw revenge thriller, Dasara serves up a concoction of influences from Rangasthalam, KGF, and Kantara, all while incorporating themes such as casteism, friendship, love, heartbreak, politics, alcoholism, misogyny, twists, and even mythology. Despite offering a wide array of elements, the movie fails to deliver anything truly special or unique.

A Rustic Setting with Flawed Character Development

Set in the dusty village of Veerlapalle, where a deeply ingrained caste system prevails, Dasara follows the story of Dharani (Nani) and his friend Suri (Dheekshith Shetty), who both fall in love with the same girl, Vennela (Keerthy Suresh).

Dheekshith Shetty, Keerthi Suresh & Nani

The first half of the movie focuses on the Silk bar, a morning meeting place for the village men. Here, our hero and his friends steal coal from passing goods trains to make ends meet. Sadly, the introduction to this world is somewhat lackluster.

In the second half movie shifts from ‘Silk’ Bar to Vennela, who is the love interest of Dharani and Suri.(No Spoiler)

Nani’s introduction scene with the title card “Natural Star” feels forced and inorganic. The major problem with Dasara is that the character arcs and the events surrounding the central characters are too predictable. For example tehre is a scene in the second half where Shine Tom’s character confronts with Vennela, it ended up so amateurish and lacks conviction because of the poor writings. The director’s attempt to establish numerous elements in a short time frame ultimately dilutes the intensity of the script’s foundation.

Performances: Shine Tom Chacko Shines, Nani doesn’t seem Natural

Shine Tom Chacko’s standout performance comes with ease and a minimalist approach in his devilish moments. Unfortunately, his character lacks opportunities to elevate the film’s experience. Besides Shine Tom, it’s Nani’s one-man show, there are many moments where he excelled at ease, especially emotional moments, but his rugged character shades fails to convince.

The climax brings Kantara to mind, highlighting the absence of a more “ruthless bulky” character. Unfortunately, neither the music nor editing support Nani in creating a “Make-Belive” moment.

Nani as Dharani in Dasara

Keerthy Suresh delivers a decent performance, but her character could have been more fleshed out. I was expecting a Draupadi, but I got a Sita who suffer in between Ram and Raavana. Her Telangana dialect is surprisingly well-executed, though.

Keerthi Suresh as Vennela in Dasara

Music and Pacing: Room for Improvement

Santhosh Narayan’s music offers little that is noteworthy, and the lack of high-octane background music or emotionally stirring tunes is disappointing. Dasara could have been a stronger film if the events and character arcs been better developed. In comparison to Rangasthalam, where Chitti Babu’s character arc slowly evolves and leaves the audience with goosebumps, Dasara’s fast pacing results in a disconnect from the audience’s emotional investment.

Final Thoughts

In conclusion, Dasara’s potential hindered by weak writing and vision. Dasara had the potential to be an industry hit, it falls short due to weak roots in Srikanth Odela’s writing and vision. I hope Nani’s aggressive marketing will reward Dasara with a super-hit tag, but will likely lack a lasting impact.

Pathu Thala: Silambarasan TR Shines, But Is It Enough for an Action Thriller?

The  rivalry between a daring cop and a brutal gangster is a cliched one-line, but what makes it thrilling is how the team brings the audience closer to the characters’ world or how the cat & mouse events unfold.

Pathu Thala is crafted using the same one-line, and Pathu Thala, delivers a mixed bag of emotions, drama, and entertainment. Read on to find out if it’s worth the watch.

Plot Overview

Set against the backdrop of Kanyakumari, Pathu Thala revolves around an undercover agent, Guna (Gautham Karthik), who infiltrates a mafia group led by AGR (Silambarasan) to locate a missing Chief Minister (Santhosh Prathap). Though the genre demands tense and fast-paced moments, the movie gets diluted with dramatic rain shots, clichéd romantic sequences, and Thankachi paasam(sister-bro sentiments). Thankfully Director Obeli Krishna didn’t add any mother sentiments.

Comparisons to Mufti

Director Obeli Krishna claims that Pathu Thala is an adaptation, not a remake, of Mufti. However, the resemblance is striking. I believe he should watch the Hong Kong movies ‘Internal Affairs’ and ‘Departed, which will be perfect examples of adaptation. Here, I strongly feel like Pathu Thalla is a remake of The Mufti.

Character Sketch: White Pathu Thala

AGR and his team used to carry a copy of the Kamba Ramayananam, maybe because of the R in AGR, which stands for Ravanan. This is where the script disappointed me more; the script demands a grey or a black character, bad luck; Atman is in spiritual transformation, I guess.

AGR is a white character here, and the melodrama that whitening AGR brought spoiled the mood of the film in the second half. That Black to White character arc was a reminder of the real Ravana from the Ramayana. How Ravana gets the white shades in contemporary literature.

Performances

Silambarasan TR carries the entire film on his shoulders, supported by AR Rahman’s music.

Silambarasan T R in Pathu Thala

Gautham Karthik does a decent job, but his characterization could have been more powerful in the second half.

Director Krishna has always ensured the female characters in his movies are powerful, be it Sillinu, Kadhal, or Nedunchaalai, but I was curious how he was going to portray Priya Bhavani & Anu Sithara here.

Priya Bhavani Shankar gets a substantial role in the first half but fades away as a mere romantic interest later on. Anu Sithara has nothing to do much, and even she couldn’t deliver the emotional output that a few scenes demand.

Priya Bhavani Shankar in Pathu Thala

Gautham Menon started with a heavy aura, but, in the climax, he just vanished in the shadow of STR’s terrific performances.

Technical Aspects

The film’s technical elements, such as AR Rahman’s music and Farooq’s cinematography, skillfully elevate the flat moments. For instance, the scene where Guna enters AGR’s world, accompanied by Rahman’s background music, is particularly thrilling. Similarly, the interval block is a high octane moment for fans. With A R Rahman music, Farooq’s visuals and STR-Gautam Karthick charismatic performances are just like a blended cocktail.

Audience Appeal & Box office Potential

Pathu Thala has the ingredients for a family entertainer, but it may disappoint those expecting a rampage. Marketed as a “neo-noir action thriller” or an Atman STR Sambhavam (Rampage), the film is actually a semi-action thriller with a significant dose of family drama.

Gautham Karthick and STR

With a budget of ₹50 crore and running at around 400 screens, Pathu Thala has the potential to give a hat-trick to STR. The Satellite Rights (ZEE Tamil) of ₹12.50 crore and OTT rights (Amazon Prime) of ₹13 crore add to its appeal.

Conclusion

During the trailer and audio launch of Ponniyin Selvan 2, where Simbu appeared as the chief guest, he was greeted with enthusiastic cheers of “Pathu Thala” from thousands of fans. It’s quite rare to witness fans attending an audio launch to show support for a movie and cheering for another movie. Simbu enjoys such a loyal fan following; however, it seems he has yet to find the perfect script that can truly harness his star power. 

Pathu Thala offers a decent watch for STR fans & family audiences but falls short of being a gripping action thriller. Thus Obeli Krishna may fail to satisfy STR’s hunger for a heavy blockbuster.

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