Sookshmadarshini: A Thriller That Almost Hits the Mark

Sookshmadarshini might not feel entirely fresh, as it draws inspiration from various past works like Manhattan Murder Mystery (1993), In for a Murder (2021), and The Woman in the Window (2021), among others.

The story revolves around Priya, a microbiologist living happily with her husband and child. One day, her neighbour Manuel returns to his hometown with his mother, and from the very beginning, Priya senses something odd about him. The movie follows Priya’s observations and findings as she tries to uncover the mystery surrounding Manuel and his actions.

Trailer Sookshmadarshini

Sookshmadarshini sets out to be a compelling thriller, focusing on the “what” and “why” rather than the typical “whodunnit.” However, the lack of emotional depth and character development undermines its potential, leaving it a missed opportunity in the genre.

Priya’s Motivation: A Missed Opportunity for Emotional Depth

Priya’s skepticism toward her neighbour is established, but the why behind it isn’t developed well. She goes to extremes to uncover the truth, but the film struggles to make her motivations compelling. This disconnect diminishes the audience’s emotional engagement with her investigation.

In Manhattan Murder Mystery, Carol (played by Diane Keaton) is a housewife who becomes suspicious of her neighbour after the sudden death of his wife. The film builds Carol’s character through her curiosity, natural charm, and relentless energy.

Diane Keaton as Carol

Carol’s amateur sleuthing feels authentic because the narrative gives her relatable motivations: she’s bored with her life and eager to prove her intuition is right.

Another good example is character Anna Fox from The Woman in the Window (2021), the protagonist, is an agoraphobic psychologist who becomes obsessed with the lives of her neighbours. Anna’s character is layered: her psychological struggles, unreliable narration, and tragic backstory make her a flawed but relatable protagonist. The audience doesn’t just follow her investigation—they understand her pain and inner conflict, which adds emotional weight to her discoveries.

Writers should have added some emotional layers to Priya, like Anna’s struggles in The Woman in the Window, to create a stronger connection with the audience.

The Art of Distraction: Sookshmadarshini

Every mystery thriller works well when its distractions are crafted effectively. Writers often sprinkle events or characters to divert the audience’s attention from the actual clues. Take Kishkinda Kaandam as an example: the Maoism, the jungle, and Jagadeesh’s character—all serve as distractions. However, a clever writer always leaves the right hints, so when the truth is revealed, the audience can connect the dots they initially missed. That’s where the brilliance of a thriller writer truly shines.

Title Card: Sookshmadarshini

In Sookshmadarshini, the writers incorporated distractions and left clues for the audience. But by the end, you might wonder: was all this necessary? Was it exaggerated? The climax feels like a forced attempt to deliver a twist, making the payoff less satisfying.

A little more research could have made it better. For example, do you get notifications on Instagram when a random person (someone who doesn’t follow you or whom you don’t follow) sends you a message? I believe it mostly goes to message requests. That’s where the writers were in a rush to close the loop.

Casting and Tone Issues: Sookshmadarshini

While Basil does a commendable job portraying Manuel’s suspicious behaviour, his inherent charm works against the narrative. The audience doesn’t naturally hate or distrust him as they should.

Nightcrawler TRAILER

In contrast, performances like Jake Gyllenhaal’s eerie and unsettling portrayal of Louis Bloom in Nightcrawler (2014) or Vineeth Sreenivasan’s morally ambiguous Adv. Mukundan Unni in Mukundan Unni Associates ensure that the audience feels both repelled and fascinated. A similarly calculated casting choice for Manuel could have significantly amplified the tension.

Additionally, Nazriya is not entirely convincing as Priya—a super-observant, Lady Holmes-like housewife. Her portrayal feels more like her past characters, such as Jeena in Neram or Pooja in Om Shanthi Oshana. This lack of transformation dilutes the experience, especially in a genre where mood and atmosphere are critical.

Take, for example, Sharafudheen. In Bougainvillaea and Hello Mummy, his contrasting performances highlight how an actor can completely transform their mannerisms and attitude, creating a clear distinction between characters.

Even a static shot from either film would showcase the depth of his acting. This kind of immersion helps the audience bond with the character. Unfortunately, Priya’s character in Sookshmadarshini doesn’t achieve this, making it difficult to separate Nazriya’s performance from her previous roles.

Sookshmadarshini: Final Thoughts

Despite its flaws, Sookshmadarshini does manage to deliver a decent final act. The editing, especially in the climax, stands out, with smooth intercuts that effectively build tension and excitement while revealing the mystery. The background score complements these moments well, adding to the suspense.

While the screenplay takes some cinematic liberties, particularly in the second half, it might answer many of your WHY’s by the final twist. The seemingly distracting elements throughout the film make sense when viewed in hindsight, offering a sense of coherence to the overall narrative.

In the end, Sookshmadarshini succeeds in keeping the audience intrigued, even if it stumbles in emotional depth and character development. It’s a decent thriller that might not break new ground but manages to hold attention, especially in its well-executed final moments.

Share your thoughts as a comment.

Read about this week’s OTT Releases here.

9 Shades of Fahadh Faasil : Must Watch FaFa Movies

If you’ve watched movies like Pushpa, Vikram, Aavesham, or Maamannan, you’re likely a fan—or at least an admirer—of the incredibly talented Fahadh Faasil aka Fahad Fazil. Known for his devilish on-screen intensity, this Pushpa villain can steal the spotlight with just a subtle expression with his eyes.

Shades of Fahad Faasil

Here are my top 10 must-watch Fahadh Faasil (Fahad Fazil) movies, where he shines with outstanding performances and firmly establishes his place as one of Indian cinema’s finest actors.

I am not including popular OTT releases like Joji, C U Soon or blockbuster theatrical releases like Kumbalangi Nights or Malayankunju which are favourites of many Fahadh Faasil fans, available at Amazon Prime.

1. Amen: Hasyam (Humour)

Films with a strong sense of place and culture, like Gangs of Wasseypur or Aadukalam, offer an immersive experience, transporting you into their unique worlds.  Amen is one such experience, it’s a virtual ride to Kumarankari, a village in Alleppey.

Fahadh Faasil in Amen

True to its name, Amen is a divine rom-com with thrilling moments that capture the heart of its setting.

Watch Amen Now at Sun NXT

The story follows Solomon (Fahadh Faasil), a struggling musician in love with Shoshanna (Swathi Reddy), whose wealthy father disapproves. With the help of Father Vincent, they attempt to elope but get caught, leading to a band rivalry that will decide if Solomon can marry Shoshanna.

Amen trailer

In Amen, Fahadh Faasil brings an incredible range to his role. In the beginning, he embodies an insecure, immature youth; at the end, an ambitious musician driven by passion. Above all, he masterfully portrays humour. Few actors can convey vulnerability through humour without falling into melodrama, but Fahadh does it with ease

2. Trance: Adbhutam (Wonder)

Trance, directed by Anwar Rasheed, explores the dark side of corporate spirituality and the making of a “godman” figure. Fahadh Faasil plays Viju Prasad, a struggling motivational speaker who becomes the tool of two businessmen aiming to create a cult. As Viju transforms into Pastor Joshua, the film dives into themes of faith, control, and the thin line between sanity and madness.

Watch now TRANCE at Amazon Prime

Fahadh’s expressive eyes and subtle nuances bring depth to his character, making every scene riveting. From his early struggles as the insecure, self-doubting Viju to the almost maniacal conviction of Pastor Joshua, Fahadh commands the screen, carrying the film through its highs and lows.

A scene from Trance

Whether in loud, intense moments or quieter, more introspective scenes, his performance adds layers to the story, making Trance a remarkable, albeit imperfect, cinematic experience. It’s wonder is what we see in Viju’s eyes, which brings a feeling of amazingness in you.

3. Artist: Raudram (Anger)

Artist, directed by Shyamaprasad, explores the depths of love and sacrifice in an unconventional relationship. Based on Paritosh Uttam’s novel Dreams in Prussian Blue, the film examines what drives people into difficult relationships and why they stay, even when things go awry. Fahadh Faasil and Ann Augustine take the lead roles, giving life to characters whose bond is tested through profound emotional and physical challenges.

Watch now ARTIST at amazon prime

Fahadh’s portrayal of the troubled and often unkind Michael is striking, capturing the complexities of an artist consumed by his own ego and struggles.

Artist Full Movie at Youtube

Though Ann Augustine as Gayathri is the heart of the film, Fahad’s blind artist scored well. Fahadh’s performance reaches a peak in the climactic scene where he unleashes his anger on Gayathri. The intensity of his rage feels raw and real, capturing a deeply flawed side of his character, Michael.

4. Thondimuthalum Driksakshiyum: Shantam (Peace/Tranquility)

Thondimuthalum Driksakshiyum, directed by Dileesh Pothan, presents no heroes or villains, instead offering a layered narrative that forces viewers to question their judgments. The best thing about this Pothettan film is the way it uses geography & colour tone to set a shade for the film. The audience can experience the heat from the screen.

Watch now THONDIMUTHALUM DRIKSAKSHIYUM at Hotstar

Fahadh Faasil’s portrayal of the nameless thief is mesmerising, with his intense gaze and subtle movements revealing volumes about his character. In one of the film’s most iconic scenes—the chain-snatching sequence on the bus—Fahadh’s control over his body language and facial expressions makes the act appear both skillful and desperate.

Movie Trailer

With minimal dialogue, he captures the thief’s determination and slyness, transforming a simple theft into a gripping moment. Even in close-up shots that focus only on his eyes, Fahadh’s expressions convey the tension, urgency, and cunning of a character who will go to great lengths to survive.

Shades of Fahad Faasil/ Fazil

In Thondimuthalum Driksakshiyum, Fahadh’s calm, quiet nuanced performance shows life’s simple strength. His ability to say so much without words is a big reason he’s one of Indian cinema’s most loved actors. One word for this nameless thief: Tranquil.

5. Annayum Rasoolum: Karunam (Compassion/Sorrow)

Annayum Rasoolum, directed by Rajeev Ravi, tells a touching story about two people from different religions who fall in love. This was Rajeev’s first movie as a director, and he takes a close look at how a couple faces challenges from society and life in a small town.

Watch now ANNAYUM RASOOLUM at Hotstar / Manorama Max

The film shows real, sometimes tough moments, making it both sad and beautiful to watch. The way Rajeev tells the story and the way Madhu Neelakandan captures each scene make the film feel very real and special. Personally, my favourite movie from Andrea Jeremiah.

Annayum Rasoolum Trailer

Fahadh Faasil plays Rasool with warmth and quiet, yet he is filled with quiet compassion, showing his deep love and gentle care with every look and gesture. He makes Rasool’s love for Anna feel real and painful.

6. 22 Female Kottayam: Shringara (Flirty)

22 Female Kottayam, directed by Aashiq Abu, is a bold and uncompromising film that explores the themes of betrayal, abuse, and revenge through the eyes of a resilient woman. The film gained cult status for its unflinching portrayal of a woman reclaiming her strength and agency in the face of trauma, becoming a landmark film in Malayalam cinema for its powerful storytelling and fearless direction.

Watch 22 FK at SunNXT now

Fahadh Faasil takes on a daring role as Cyril, a character marked by deceit and manipulation. Fahadh’s performance shines as he brings out Cyril’s darker facets, particularly in moments of betrayal and confrontation with Tessa.

22FK Trailer

His flirting scenes in the movie introduce a fresh take on modern love to Mollywood—playful yet not cringe-worthy. His willingness to take on such a morally ambiguous role showcases his versatility and courage as an actor, proving why he is celebrated in Indian cinema.

7. Malik: Veeram (Courage/Heroism)

Malik, directed by Mahesh Narayanan, is a sweeping crime drama that follows the rise and fall of Sulaiman Ali, also known as Ali Ikka, a revolutionary leader of a coastal village in Kerala. Movie took a clear inspiration from classics like The Godfather and Gangs of Wasseypur.

Watch MALIK at Amazon Prime

Fahadh Faasil commands the screen as Ali Ikka, delivering a performance that brilliantly captures the character’s evolution—from a passionate revolutionary to a reflective, almost tragic figure.

His expressive face and intense screen presence elevate the character to near-mythic proportions, making Ali Ikka feel both grounded and larger than life heroism.

8. Carbon: Bhayanakam (Fear)

Carbon (2018), directed by Venu, is an adventure that mixes reality and fantasy. The story follows a young man named Siby, who goes to a mysterious forest called Cheenkannippara, hoping to make quick money. With stunning scenes, eerie sounds, and a surprising plot, Carbon makes viewers think about big questions like destiny, fear, and life’s purpose.

Watch CARBON at Zee5 now

Fahadh Faasil once again excels, bringing Siby’s character to life with an engaging mix of naivety and determination. His performance balances humor, thrill, and introspection, capturing the protagonist’s transformation as he faces both real and imagined challenges in the forest.

Fahadh’s expressive portrayal with fear keeps viewers intrigued, especially as he navigates the film’s more surreal and suspenseful moments.

9. Monsoon Mangoes: Bibhatsam (Disgust)

Monsoon Mangoes, directed by Abi Varghese, is a charming, quirky film that explores the journey of a dreamer with a passion that far exceeds his talent. This is not your typical Malayalam movie; rather, it’s a whimsical portrayal of a passionate film aspirant who doesn’t have the talent. His relentless pursuit of filmmaking, even when all odds are against him, is the hook.

Watch now: Monsoon Mangoes

Fahadh Faasil shines as D.P., bringing warmth and vulnerability to the role of a well-meaning yet misguided dreamer. His portrayal captures the innocence and single-minded determination of a man who, despite lacking talent, holds onto his passion.

Fahadh’s expressive range, from disgust and envy to frustration, makes D.P. relatable, even in his most misguided moments. D.P’s helplessness he vents out as disgust or contempt; I can’t imagine any other upcoming actor from Mollywood can pull off that classy disgust gesture with that ease.

10. Maheshinte Prathikaram: Fahadh Faasil A Complete Actor

Maheshinte Prathikaram, directed by Dileesh Pothan, beautifully captures the essence of life in a small village in Kerala’s scenic Idukki district. This film stands out as a slice-of-life narrative that doesn’t rely on exaggerated heroics or melodrama. Instead, it explores the simple, everyday moments that define its protagonist, Mahesh, a man whose story resonates with a sense of authenticity and realism.

Watch now MAHESHINTE PRATHIKARAM at Manorama Max

If you don’t have Manorama Max subscription, try dailymotion here.

Fahadh’s expressive eyes and restrained performance infuse Mahesh with authenticity, while his comedy timing and emotional depth make the character memorable.

Maheshinte Prathikaram Trailer

In Maheshinte Prathikaram, Fahadh brings all nine emotions to life through Mahesh’s journey. We see his playful love (Shringara) and quiet humour (Hasya) in small, everyday moments. When he faces heartbreak (Karuna) and humiliation (Raudra), his reactions feel real and relatable. There’s courage (Veera) as he stands up for himself, and even a bit of fear (Bhayanaka) when he’s uncertain. Disgust (Bibhatsa) shows up in his frustration, and wonder (Adbhuta) as he finds new purpose. Fahadh’s performance makes Mahesh’s story feel like a journey we all understand. This is where he truly became a complete actor!!

Comment your favourite Fahad Faasil movies or the one that I missed in this list.

Level Cross Explained: Breaking Down the Characters and Symbolism

Level Cross, 2024 Malyalam thriller directed by Arfaz Ayub, from Jeethu Joseph School, presents an intricate web of human emotions, twists, and symbolic visuals. If you walk away from the film with an open-ended climax or confusion, then you should read this; here I am explaining the ending of Level Cross along with the metaphors.

The film’s multi-layered story and subtle hints invite deeper exploration. This post might change how you see it, and you might play it again. If you’ve already decoded the hidden details, see if I’ve captured your observations as well.

1. The Opening and Setting as a Reflection of the Psyche

The film’s opening sets the tone, describing the setting as a space beyond time and reality. The film begins with a statement that the setting is “beyond time and space.”

The barren desert where Raghu (Asif Ali) serves as a gatekeeper is not just a remote landscape—it mirrors the emptiness and isolation within his psyche. The film asks viewers to question whether the events they see are real or delusions born from Raghu’s mind.

2. The Delusions and the Donkey: A Hint of False Narratives

In the initial phase, Raghu talks to a donkey, but we never see the animal from a shared point of view. The donkey seems to exist only in Raghu’s mind. Amala Paul’s character (Shikha) looks for with Asif Ali is talking but finds nothing, confirming it is imaginary. This suggests that Raghu is experiencing delusions.

Raghu claims he has goats and hens, but we never see them. The cages are empty, and the only trace of animals is a few feathers. 

However, we do glimpse a dead cattle, which might belong to the original Raghu. This creates further doubt about Raghu’s stories, hinting that the life he describes is not entirely his own.

Psychotic individuals often create alternate realities to escape guilt, trauma, or self-loathing. The audience is never sure if events are real, symbolic, or figments of Raghu’s imagination—reflecting how fractured his sense of reality has become.

3. Medals: A Grim Tally of Murders

The medals Raghu wears on his shirt and pins on the wall near the well represent the people he has killed. During the title credits and in the end while Shikha carry water, We can see many medals over the wall at the ghost village, that hints Raghu aka George might have killed many in that village.

Then there are five medals on his shirt. In the final scene, we can see 7 medals, that means seven victims by the end: his ex-girlfriend, her husband, their two children, Zincho, Chaithali (Shikha), and possibly the real Raghu (Indrans).

Two of the medals have new copper wires, suggesting recent additions to his list of victims. This visual clue hints that Raghu’s killing spree has continued over time and each medal represents a victim.

4. Chaithali and Zincho: Competing Narratives

Shikha tells Raghu that she is a psychiatrist and is escaping from her drug addict abusive husband Zincho. Later, Zincho claims that Shikha was his psychiatric patient, a dangerous psychopath, and a drug addict.

Both stories are suspicious, leaving the audience to wonder which version is true.

This narrative ambiguity makes it difficult to trust any character completely.

The Virtual image of Zincho while Shikha narrating her version

If you observe closely when Shikha narrates the story, we can see people in the frame, and it’s more lively. When Zincho narrates the story the frames are empty and dry.

5. The Real Raghu: A Stolen Identity

It is implied that Asif Ali’s character (George) killed the real Raghu (Indrans) and took over his life as a gatekeeper. The life he describes—living with his mother, farming, and rearing animals—might actually belong to the original Raghu.

This adds another layer of deception to the story, making it clear that George aka Raghu has been living a stolen life.

6. Upside-Down Monster: Raghu’s Transformation

Asif Ali tells Amala Paul about an upside-down monster that once terrified the nearby village, forcing the residents to flee. Later, when She sees Asif Ali at the well, the camera angle is upside down, hinting that Raghu himself might be the monster. 

This idea is reinforced in the post-credit scene, where the inverted camera perspective suggests that the monster now resides within Raghu.

The upside-down angles in these scenes hint at a dissociative mental state. Dissociation is a psychological defence mechanism where an individual detaches from reality to cope with trauma or guilt.

The monster that walks upside down could symbolise Raghu’s fractured self—his transformation from a man seeking redemption into a murderer. This shift suggests the collapse of identity under the weight of unresolved emotional trauma.

7. The Final Confrontation and Betrayal

When Zincho finds Shikha and tries to take her away, Raghu helps her escape by killing Zincho. However, Raghu later discovers a medical prescription in Zincho’s pocket, confirming that Shikha lied—she was the dangerous one. Enraged by her betrayal, Raghu kills Shikha and buries both her and Zincho.

Finally, he kept that prescription along with Raghu’s ID card. The next shot is the addition of two new medals. This act marks the completion of his transformation into a cold-blooded killer. And the movie ends with an inverted frame.

That final inverted perspective, suggests that Raghu (now revealed as George) has accepted the monster within. The monster is not an external being but the manifestation of his guilt, regret, and emotional scars.

This aligns with Carl Jung’s concept of the shadow self—the darker side of one’s personality that must be confronted and integrated to achieve wholeness. Raghu’s failure to confront his shadow leads to his full transformation into the very monster he feared.

The Psychopath and the Sociopath: Raghu and Shikha’s Psychological Profiles

The characters of Raghu and Shikha present traits of two distinct psychological conditions—psychopathy and sociopathy. Shikha (if Zincho’s version of events is true) exhibits traits of a psychopath: calculated, manipulative, and devoid of empathy.

On the other hand, Raghu’s emotional outbursts, impulsive killings, and need for emotional validation align more with sociopathic tendencies. Their relationship highlights the blurred lines between love and manipulation, sanity and madness.

The Real Story of Level Cross: My POV

George, begins his story with a series of brutal murders. He kills his ex-girlfriend, her husband, and their two children in a fit of rage. After committing these murders, he escapes and assumes a new identity. 

It is implied that he encounters the real Raghu, a gatekeeper working at a remote level crossing, and kills him to take over his life and role. After Raghu, he might have killed many in the village. 

At present, living in isolation as George, George hides from society, carrying the weight of his crimes and sinking into emotional emptiness.

Despite his psychological struggles, he maintains his monotonous existence as a gatekeeper in the barren desert, haunted by loneliness and regret.Then one day he met Shikha, and the rest is what we are seeing.

George’s desire for a normal life shines briefly when he meets Shikha aka Chaithali, but her betrayal leaves him with no hope, pulling him deeper into madness and violence.

Final Thoughts: The Thrill of Decoding the Layers

Level Cross may not offer the dramatic payoff of more conventional thrillers, but it delivers a uniquely unsettling experience. The film’s exploration of unreliable memories, emotional scars, and inner demons reflects the complex nature of the human psyche.

While the narrative oscillates between different perspectives, leaving some viewers frustrated, it also opens the door to deeper engagement.

So, was Raghu always the monster, or did circumstances turn him into one? Share your thoughts—perhaps, like the film itself, your interpretation will add another layer to this fascinating story.

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Aattam, Who Is The Culprit: Ending Explained

Aattam Movie explained and find the culprit
Refer to this image for a better reading experience.

If you ask me, which is the brilliant Malayalam film from the 2024 first quarter, I would say it’s Aattam. Aattam is a 2024 Malayalam suspense chamber drama. Penned by debutant director Anand Ekarshi, Aattam navigates through the politics of gender dynamics, patriarchy, situational morality & selfishness in humans, within a theatrical setting. If you have seen this movie, most viewers ask a question: Who is the culprit in Aattam. Let me explain the layers of Aattam first, and if you are impatient, the answer is Sudheer.

Plot Overview

Aattam is a thriller of accusation and betrayal set against the backdrop of a theatre troupe. The plot circles around Anjali, the group’s only female actor, levelling charges of sexual harassment against a newly joined popular movie star in their team.

A scene from Aattam
A scene from Aattam

What starts as a straightforward allegation soon spirals into a complex web of deceit, manipulation, and shifting loyalties, especially when the proposal of a European tour throws the troupe into moral disarray.

The narrative cleverly employs a classic whodunit structure, yet the way it unveils the innate biases and hypocrisy of its characters is what makes it interesting.

How Aanand, wrote each character is truly admirable; for example, the character Aji (the eldest among them): Aanand constructed the character through micro interactions (mentioning phone calls, his mannerisms, etc).

A scene from Aattam
Transformation scenes of Aji from Aattam

At the same time, Aji’s transformation didn’t go well (someone who doesn’t care about dying suddenly willing to compromise on himself so that he can go to Europe is a bit forced, in my opinion). And all this was just so that he could say what he said at the end.

Finding The Culprit & Theme of Aattam #Whodunnit  

Aattam is not about Whodunnit; by the end of the film, if you are just curious to know Whodunnit, then I would say this film is not for you. This film is not about the sinner; rather, it’s about the sin.

It’s like wondering if Teddy Daniels in Shutter Island chooses to live in a lie or faces the truth in the end. The real question isn’t what reality he picks. It’s about Teddy reaching a point where he prefers peace over constant torment, regardless of whether his world is real or made up. So, he makes a choice that might lead him to a lobotomy, showing he’d rather forget than live with the pain.

A scene from Shutter Island
A scene from Shutter Island

The movie is sprinkled with so many minor flaws in human interactions, be they judgmental, generalisation based on experience, selfishness, hypocrisy, vigilantism, patriarchal mindset, social influence, arrogance, or demeaning others.

A scene from Aattam
A scene from Aattam

Even in the way he shows patriarchal ideologies in all layers of society, for example, there is a scene where a politician requests Madan’s vote, saying, Come and vote for me with the same finger that you have voted for my father.

By the end, when Anjali says: “നീ ആരാണെന്ന് എനിക്കറിയണ്ട. നീയും ആ 11 പേരും തമ്മിൽ ഇന്നെനിക്ക് ഒരു വ്യത്യാസവുമില്ല”

Climax scene from Aattam
Climax scene from Aattam

The director Anand Ekarshi summarises the movie there. But if you are curious to find the culprit from Aattam, I will help you. Scroll down straght to the last sub-heading.

12 Angry Men v/s Aattam

Aattam is very similar to the classic 12 Angry Men, be it the style, theme, and narration. It’s evident that Aanand Ekarshi is highly inspired by 12 Angry Men.

The film 12 Angry Men exemplifies many social psychology theories. This tense, compelling film, features a group of jurors who must decide the guilt or innocence of the accused.

12 Angry men scene
12 Angry Men

Initially, eleven of the twelve jurors vote guilty. Gradually, through heated discussion, the jurors are swayed to a not-guilty decision. Upon examination, the film highlights social psychology theories in areas of conformity, attitude change, and group processes.

Don’t you think it’s the same structure that Anand is following here?

When the inverter stops working, everyone leaves the house and steps outside due to the heat. Later, when it starts to rain, everyone rushes inside the house. These 2 scenes are one of the few scenes in which background music can be heard.

I think the director Anand Ekarshi wants to emphasise these 2 scenes, to show how we change our stance depending on the situation. The whole team was sure about throwing out Shajon’s character initially, but when the London Trip was introduced, everyone changed their stance.

Climax scene from 12 angry men movie
A scene from 12 Angry Men

A similar scene you can see from 12 Angry Men, where they open the windows because it’s too hot inside, and they open up the windows.

This shows that we humans change our stands as per our needs. This is where, I thought it would have been great if there were a couple of women who initially stood with Anjali and then turned their backs after the European trip offer came, It would better show that most people are hypocrites, not just men.

Attitude Change and Persuasion in the First Half

The central route to persuasion is all about logic and reason. It’s where you convince someone by using strong arguments, evidence, and facts to back up your position.

In the first half, you can see that Madan, Sijin, Jolly and Santosh are doing this.

For example, Sijin asks Madan: “What exactly did she tell you”, or Jolly asks: “So it happened not when she was awake”

Peripheral v/s Central persuasion from AATTAM
Peripheral v/s Central persuasion

The peripheral route of persuasion is the opposite of the central route. It’s a shortcut to influencing someone, relying on indirect cues and associations rather than strong arguments.

It targets our emotions and biases, and doesn’t require much effort from the audience to process. Vinay, Aji, Nandan, Sudheer, and Selvan are following this route.

For example when Nandan says: “He will do it, he always shares bawdy jokes”. or Selvan says: ” A sober mind wouldn’t do such things, it happened becuase they were drunk”. Through the use of non-factual, environmental cues, the sick gentleman utilises the peripheral route to persuasion.

Another important factor is Social loafing. It describes a situation where people exert less effort when working in a group compared to working alone. It’s like slacking off a bit because you think others will pick up the slack.

Prashanth and Jolly are in that stage, where they are slacking off with excuses.

And by the end of the first half, you can see group polarisation.

Imagine you and your friends are discussing a movie. Some might initially like it a little, some might be neutral, and a few might dislike it. Through discussion, those who liked it a little might become more enthusiastic, and those who disliked it might become even more critical. This is group polarisation.

Vinay brilliantly polarised everyone in one direction, by the end of the first half.

Moral Disengagement in The Second Half

Throughout Aattam, you are going to witness a few complexities in human behaviours like Moral Disengagement and Hypocrisy.

What is moral disengagement?

Moral disengagement is basically a fancy way of saying someone talks themselves into believing ethical rules don’t apply to them in a specific situation. It’s a psychological process that lets people act unethically without feeling bad about it.

Moral Disengagement from AATTAM
Moral Disengagement

Moral justification: Coming up with reasons why their actions are good, even if they aren’t. In Aattam, how conveniently the characters brought different reasons after they got to know about the European trip.

Observe how Selvan, Madan, Aji and Jolly. For instance, Jolly, the silent guy in the first half is aggressive and says “Just swallow the story in the whole”.

Moral Disengagement from AATTAM

Euphemistic labelling: Using nicer words to downplay the seriousness of their actions. For example when Madan talks about “Tactile Halluccination” he is trying to nullify her arguments in a sweeter way compared to Santhosh and Sijin.

Discrediting the victim: This involves downplaying the harm caused to the victim or portraying them as deserving of the negative consequences.

For example, Selvan saying about Anjali’s drinking habit, Prashant talking about her relationship with a married man, Sijin talking about her relationship, even addressing her as “Set-up”.

Disregarding or minimising consequences: This involves downplaying the negative outcomes of the action. For example, Vinay saying Anjali ” No one did anything to you, let’s believe it like that.”

I really love that scene where Anjali asked the question to vinay: “If it’s not Hari, who was it? , no one raised this question”. this is where the brilliance of the script, in the beginning, everyone was talking about the punishments, but when they realised it’s not Hari and one among them, they conviniently went through the moral disengagement and forgot the whodunnit part.

Who Is The Actual Culprit: Aattam Ending Explained

If you really want a culprit, let me share some thoughts:

In the final scene of the movie, in Anjali’s drama, the culprit confesses while Anjali is holding a yellow cloth. There is only one character in the whole movie who is wearing a yellow dress. Is that the culprit? 

That’s not a rational finding, right?

Okay, one more theory:

Anjali said, there was an intense perfume smell. Guys who fell in the pool won’t have that intense smell.

Jolly, Sudheer, Prashanth and Vinay were the people who didn’t fall in the pool.

Let’s eliminate Vinay, since, he is her lover. Jolly was busy with his video call and was disturbed, so let’s eliminate him.

Now either it should be Prashanth or Sudheer. Sudheer and Prashanth are the ones who got disturbed while hearing this, and went out for smoking.

I believe it’s Sudheer. WHY?

During that party, Sudheer was disturbed by seeing Anjali’s cleavage, that disturbance can be an arousal as well. Sudheer tried to hide the evidence in the first half, without any rationality. Near to the climax, while Jolly is showing the screenshot to others, Sudheer acts like he is seeing the first time. He was in a hurry to establish Hari as the culprit. He consistently avoided involving the police.

Sudheer's key scenes from Aattam which proves that he is the culprit of Aattam
Sudheer’s key scenes from Aattam

Being a smoker, Sudheer knew that Hari kept cigarettes in his car. He likely stole the car keys before the other person retrieved them.

Additionally, Sudheer watched pornography just before the incident. that was revealed later. Madan is asking why Nandhan went to Shajitha’s room, if we place Sudheer in Nandhan’s place, we have an answer: Sudheer might have gone there to see his wife and might have seen Anjali.

So, I believe it’s Sudheer. But let me remind you that the essence of film is not #Whodunnit

“നീ ആരാണെന്ന് എനിക്കറിയണ്ട. നീയും ആ 11 പേരും തമ്മിൽ ഇന്നെനിക്ക് ഒരു വ്യത്യാസവുമില്ല” 👌 { “I don’t need to know who you are. You and those 11 people are all the same to me today.” – Anjali }

Read more movie reviews and analysis here.

Hostar’s Masterpeace: Symmetry and Satire

Sreejith N’s Malayalam web series ‘Masterpeace’ on Hotstar looks like a homage to Wes Anderson.

In the cinematic world, few directors have mastered the art of visual storytelling quite like Wes Anderson. With every frame crafted like a painted canvas and a color palette that capture your eyes.

Anderson’s films are a feast for the eyes and the heart. Don’t you remember ‘Amen’ by LJP filled with quirks, emotions, and political undertones. That’s another example of Wes Anderson style for those who are not aware of this brilliant maker.

This rich element of Wes Anderson’s visuals and narrative brilliance is the highlight in director Sreejith’s latest Malayalam web series, Masterpeace. Compared to Sreejith’s previous flick, ‘Oru Thekkan Thallu CaseMasterpeace is a different experiment inspired by Wes Anderson style of storytelling.

Brief About the ‘Materpiece’

‘Masterpeace’ is a story about a young married couple, Riya and Binoy. They live in Kochi and have problems in their marriage. When they fight, their parents come to their home to help. But, the parents have their own ideas and want to be in charge. The show is satirical sprinkled with some serious moments. Most of the story happens in one day, inside Riya and Binoy’s flat.

Masterpeace Trailer

Religion, feminism, Liberalism, Dowry, Gender Neutrality, Male chauvanism, Intolerance, LGBTQ+, stereotyping of people & even Nityananda swami 😉 . The list is long and never ending, I believe, you will find at least one one-liner from all these topics in a satirical way.

Why You Should Watch This:

A Masterpeace ‘Visual Treat’

As I said in the beginning, that Wes Anderson style is the biggest plus here. Masterpeace is beautiful to watch. The homes, the colours, and the objects in the series are chosen carefully. They make every scene look like a painting, and every artist on the screen looks like a caricature in that canvas.

The series has a special style, you can find a symmetry in every frame just like the way writer Praveen crafted ultra-dramatic characters and Understated or muted characters in every events.

A Unique Story

The series gives a close look at Indian families and how they deal with problems. It’s not just about a couple’s fight, but about how older family members try to solve things their way. This drama gave you some high hopes and entertainment value in the first three episodes.

Humour and Drama

There are many funny moments in the series. These moments feel like they are taken from real-life situations in many typical Mallu families. It will remind you of some family gatherings and personally I felt like it’s laughing riot especially for those who have some ultra orthodox family members.

Director Sreejith made a great comeback with this quirky satirical experiment.

What Could Have Been Better?

Length: While the series starts off exciting, it becomes long. There are five episodes, and each episode is more than 30 minutes. Some parts of the story feel repeated and could have been shorter or edited.

Repetitive Themes: The series with some frsh approaches on how older people behave and how their orthodox views contradict with the neo-liberals. But, after some time, it feels like the same things are shown again and again.

Narration Gaps: Sometimes the voice-over in the series was confusing and slow down the narration. I wondered why it was even there.

A Masterpeace Performance From Ashokan

The series centering around six characters and my biggest entertainment was Ashokan, he will makes you laugh a lot. He hasn’t acted in big roles for some time, but he made a comeback similar to what lalu Alex did in Bro Daddy. 

Maala Parvathi also acts very well as a mother who likes to be in control. These two artists make sure that you won’t abandon this show in midway.

Shanthi Krihna’s & Renji Panicker’s muted characters were overshadowed by the other ultra-dramataic characters in the movie.

The music and camera work in the series are also very good. The director, Sreejith, has made the series look beautiful and quriky. But, it would have been better if the episodes were shorter.

Read more movie reviews and stories here.

Dhoomam: High Expectations, Mixed Outcomes

As an ardent fan of Pawan Kumar, my expectations were sky-high for Dhoomam, especially after being enamored with his last web series, Kudi Yedamayithe. I eagerly waited two long years for Pawan Kumar to unveil his new work, post Kudi Yedamayithe.

Dhoomam Title card
Dhoomam Title card

However, to my disappointment, I couldn’t find the signature sophistication and finesse I had anticipated from Pawan Kumar in Dhoomam. It doesn’t show the output of 2 years of homework.

Plot

The plot centers around Avinash (Fahadh Faasil), who is the marketing head of a major tobacco company. He and his wife Diya (Aparna Balamurali) find themselves held hostage in a secluded hilly terrain. The kidnapper issue a series of demands via phone calls, prompting Avinash and Diya to complete certain tasks to save their lives.

The film switches between the couple’s present predicament and flashbacks to Avinash’s career rise in the tobacco company run by Sid (Roshan Mathew). In the past, we see Avinash’s cunning methods to promote the company’s products and influence government policies.

The plot leaves some loose ends, with questions around who the ‘faceless’ caller is and why Avinash is being targeted instead of Sid, the actual head of the company.

Expectations and Initial Disappointment

Director Pawan Kumar’s effort to highlight a grave issue like smoking deserves applause. However, the film’s execution leaves much to be desired. The kidnapping scene at the beginning of the film is unconvincing and disrupts the viewing experience. The film’s pacing feels off, with crucial events happening too rapidly and without adequate build-up. These elements, combined with a plethora of continuity errors, contribute to a sense of disconnection from the narrative.

Direction and Continuity Issues

When the movie starts, we can see Aparna Balamurali is waiting for Fahad Fazil and it’s raining, but while getting into the car, you can see that she is not at all wet. I couldn’t find any raindrops on her face, hair, or dress. If this movie was directed by any other directors from Kannada, I wouldn’t have cared, but since it was Pawan Kumar, this was a friction point for me.

With poor editing and scripting, the kidnapping scene in the movie was so artificial and unconvincing for me. There were a lot of loopholes in that scene, and I found so many continuity issues in just 20 minutes of the film. For example, I don’t know why the kidnapper took the watch from Fahad Fassil. While driving, there is a watch on his left hand, but in the morning it is not there.

There is a fight scene between a gunman and Fahad Fassil, and you can see a lot of wounds and bruises over his face and body, but after a face wash, he is clean and left with only a scar.

Characterization and Plot Development

When it comes to the plot development, I would say it is highly predictable and filled with cliched events.

The character development also suffered from amateur first thoughts. Take Fahad Fazil’s character Avinash as an example; he was portrayed as a creative thinker, problem-solver, and ambitious individual. However, the writer failed to provide a compelling trigger for this character’s transformation or introspection. I found it unconvincing that such a calculating character would alter his mindset without a strong reason.

All this means I couldn’t enjoy the movie at all? A Big No!!

Why You Should Try This Movie

There are some dialogues from Fahad Fazil as a marketer that really strike every citizen, I believe. For example, the way Avinash (Fahad) marketed the vapes was so brilliant, and as a marketer, I find it so interesting, and I realized how dangerously our emotions and mirror neurons work.

Similarly, the government’s involvement in promoting tobacco usage was represented neatly.

Fahad fazil as Avinash in Dhoomam
Fahad Fazil as Avinash in Dhoomam

Fahadh Faasil, playing the ambitious marketer, delivers a solid performance, reflecting his character’s complexity and moral struggle. Aparna Balamurali, despite a somewhat overly dependent character, brings credibility to her role. Roshan Mathew also offers a convincing portrayal in his role as the head of the tobacco company.

The climax is well-drafted, so realistic, and well-executed. I strongly believe that climax can make a huge impact on anyone who smokes; at least they will think twice next time when they hold a cigarette. The last 15 minutes of the film were really worth it, and that’s where I found the signature of Pawan Kumar.

Despite its flaws, “Dhoomam” delivers a potent social message. The impactful final scenes carry a significant enough message to make smokers reconsider their habits, highlighting the dangers of tobacco usage.

Final Thoughts

It might be best described as a missed opportunity – a film that could have been a powerful social commentary but falls short due to its execution.

For this week’s OTT releases, click here.

Kerala Crime Files: A Thriller Story Stretched Thin

Kerala Crime Files, As Hotstar’s first Malayalam thriller web series, I held high hopes. And I was happy to see that Disney Hotstar managed to meet my expectations in terms of production quality.

The series, set in 2011, showed a clear investment in recreating that era’s technological and ambient milieu. The craftsmanship on display was remarkable.

Penned by Aashiq Imar and directed by Ahammed Khabeer (known for ‘Madhuram’ and ‘June’), I had a feeling that the narrative might have fared far better as a standalone OTT movie instead of a web series.

A Case of Too Long a Tale

The plot, at its core, is simple. Sub-Inspector Manoj and his team of four are on the heels of a sex worker’s murderer. Their leads? A fake address: Shiju Parayil Veedu, Neendakara, and a witness who claims the suspect has squinted eyes. They are solving the case within six days (6 Episodes).

It sounds gripping, doesn’t it?

However, as the story opened up, my interest began to wane. The narrative felt like a wafer-thin premise stretched far too thin; it’s pretty evident that the writer didn’t spend much time with the characters or the events. If it were a 100-minute movie, this writing might work well, but I am not sure about a crime-thriller web series.

The series takes off slowly, with the first two episodes feeling like they could have been compressed into one. The narrative regains momentum in the third episode, establishing a robust motive for the lead character (S.I. Manoj) to track down the killer. But after that, the excitement ebbs again, only to return in the fifth episode.

Although the choice to depict six days across six episodes lends realism, the thrill factor takes a hit, perhaps a side effect of my steady diet of thrillers.

Written Poor, but Executed Well

The characters, whether the killer or the police officers, lack depth and layers. The addition of officers’ personal lives seemed a ploy to stretch the runtime, lacking subtlety or layers. The writer tried to build an image of the murderer with the first five episodes, and when it was finally revealed, I found a mismatch between the buildup and reality. That’s where I felt the writer should have spent much more time with the scripting.

In the climax, the explanation of the motto felt artificial. The victim character did not pull it off well enough to make it convincing. However, I really enjoyed the villain and his subtle cues.

The series showcases commendable performances from Aju Varghese in the lead role, supported by Navaz Vallikunnu, Zhinz Shaan, and Devika Rajendran. Zhinz Shaan’s constable “Pradeep” deserves a special mention for his steadfast character arc. His obstinate and narrow-minded approach distinguishes him from his colleagues. Another noteworthy performance is that of Lal in the role of CI Kurian.

Watch Kerala Crime Files Here.

Lower the Expectations and Enjoy this Thriller

To sum it up, lower your expectations, and you may find ‘Kerala Crime Files’ enjoyable. While it manages to retain your attention, it falls short of being a nail-biting thriller. The expectations set by the trailer didn’t fully translate into the series, and it spoiled my experience with this thriller.

My Opinion: A Promising Start, but Does It Deliver? Doubtful

For more about OTT releases this week, click here.

Jithin Issac Thomas: A New Wave of Filmmaking

Master of Realism: Immersing Viewers in Jithin’s Worlds

The world of cinema is often filled with spectacle and extravagance. Yet, Jithin Issac Thomas shines as a filmmaker committed to realism. He crafts narratives with a raw authenticity that sets him apart. His movies break away from common film industry cliches, and instead, paint real-world stories and characters.

Jithin Issac Thomas & Rekha Movie Poster
Jithin Issac Thomas & Rekha Movie Poster

Look at his latest film “Rekha, (Read Rekha review here) a movie set in the small town of Kasaragod. It’s a perfect example of how much he cares about staying true to life. Every little detail in the film, like the way people talk and the unique habits of the characters, shows just how much attention he pays to getting it right. He’s not just focused on making things look real, but also on telling stories that feel genuine.

What’s really special about Jithin Issac’s movies is how he pulls you right into the world he creates. You’re not just a passive viewer when you watch “Rekha.” Instead, you become a part of it all.

You feel like you’re actually walking the lonely streets of Kasaragod, experiencing the village’s simple charm, eavesdropping on friendly conversations, and getting a glimpse into Rekha’s life. It’s an extraordinary cinematic experience that anyone can enjoy, no matter who they are.

Jithin’s films go beyond simple storytelling; they establish a genuine connection of empathy between the viewer and the story. Try watching Rekha or Attention Please.

Jithin Issac Thomas: Breaking Stereotypes and Shaking Up Norms

Jithin Issac Thomas is not afraid to challenge societal norms and break stereotypes through his bold storytelling. His films tackle unconventional subjects and explore themes that many filmmakers shy away from. By doing so, he pushes the boundaries of cinema and opens up discussions on important social issues.

In Rekha, he used a subtle method to do this. But In “Attention Please,” he is louder about this.

Jithin is dissecting the sensitive topic of caste discrimination. The protagonist, Hari, played by Vishnu Govindan, is an aspiring screenwriter who faces ridicule and dismissal due to his caste and complexion. Jithin fearlessly exposes the deep-rooted prejudices that exist in our society, forcing the audience to confront uncomfortable truths.

It’s Jithin Issac Film, Expect Turns!

This commitment to breaking stereotypes extends beyond social themes. Jithin’s films take unexpected turns and subvert conventional storytelling norms. He keeps the audience on their toes, constantly questioning what will happen next.

In “Rekha,” what initially appears to be a simple love story takes a sharp turn towards an intense revenge thriller. This unpredictability challenges the audience’s expectations and leaves them in a state of surprise and contemplation.

In Rekha , he is trying to challenge that “I am Man!!” pride set by the conservative society with “I am a woman” pride.

By breaking stereotypes and shaking up norms, Jithin Issac Thomas encourages viewers to reflect on their own biases and preconceived notions. His films have the power to ignite conversations and spark change in society. They serve as a reminder that cinema has the potential to be a platform for social commentary and introspection.

Jithin Issac films serve as a catalyst for change and inspire audiences to think critically about the world around them.

A Voice for the Voiceless: Speaking Up Through Cinema

Jithin Issac Thomas has carved a niche for himself as a filmmaker who amplifies the voices of the marginalized and overlooked. Through his cinematic endeavors, he serves as a catalyst for change and raises awareness about pressing social issues.

Jithin’s commitment to giving a voice to the voiceless is evident in his films, which tackle a wide range of subjects with sensitivity and empathy.

Addressing Social Injustices

Jithin Issac Thomas’ films don’t just entertain; they speak. They talk about the folks we tend to forget or ignore. It’s like he hands them a microphone and says, “Here, tell your story.”

In his film “Attention Please,” he fearlessly shines a spotlight on caste discrimination. The character of Hari, an aspiring screenwriter from a Dalit background, faces ridicule and discrimination from his flatmates. Jithin’s portrayal of Hari’s struggles not only exposes the deep-rooted prejudices prevalent in society but also challenges the audience to reflect on their own biases.

Attention Please: Trailer

Another film that showcases Jithin’s dedication to addressing social issues is the anthology “Freedom Fight,” in which he directs the segment titled ‘Pra. Thoo. Mu.’

This narrative explores the themes of rebellion and resistance, encouraging viewers to question oppressive systems and stand up for justice.

Jithin’s storytelling compels the audience to confront uncomfortable realities and motivates them to take action against societal inequalities.

Amplifying Women’s Voices

In the film “Rekha,” the titular character takes center stage as a tomboyish woman who confronts an act of injustice and embarks on a path of revenge. Through Rekha’s journey, Jithin challenges gender stereotypes and highlights the strength and resilience of women in the face of adversity.

Through Rekha, Jithin gives a voice to these women. He tells us that ego, revenge, pride, all these are not just a “Man thing”. It’s challenging “I am Man!!” pride with “I am a woman” pride.

Rekha Movie Trailer

In interviews, he emphasizes the need for more representation and equal opportunities for women in the film industry. By shedding light on their stories and perspectives, he aims to create a more inclusive and equitable cinematic landscape.

Jithin doesn’t just make films. He makes statements. And those statements speak for the people who need to be heard.

The Art of Uncomfortable Conversations

In his own words, he creates “not to please or appease an audience, but to make them think, to make them uncomfortable.” This audacious approach sets him apart from many filmmakers of his generation and makes his films unique and thought-provoking.

I believe, Jithin’s ultimate goal as a filmmaker is to inspire social change and create a more inclusive and empathetic society. Through his films, he seeks to spark conversations, challenge societal norms, and encourage viewers to reevaluate their perspectives.

In an industry often driven by commercial considerations, Jithin remains unwavering in his commitment to meaningful storytelling.

Read more film case studies and stories here.

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.

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.