Tag Archives: Malayalam

Madhuram(2021) Malayalam Movie Review

I have had a lifelong fear of hospitals and have always thought of them as giving off negative energy and a sense of dread. It is within those confines however, that director Ahammed Khabeer delivers one of the most heartwarming, feel-good stories in Malayalam this year in the simple but profound ‘Madhuram’.

Weaving its story around a group of bystanders who find camaraderie in a government hospital, the director introduces us to myriad characters, each with their own joys and pain. Indrans is captivating as a retired postman, finding solace in the romance him and his ailing wife of 40 years share.

Joju George has a uncanny ability to make the audience feel and empathize with almost every expression he goes through on screen and the National Award winner revels as ‘Sabu’, a happy-go-lucky chef looking after his sick wife. His chemistry with Shruti Ramachandran is electric and is the best part of the movie.

Arjun Asokan picks up a brave role, a far cry from the usual characters he plays. Understated, diminutive and even submissive, ‘Kevin’ may frustrate you at times but his character development through the movie was a joy to watch.

Veterans Lal and Jagadeesh are both is terrific in short cameos while Navas Vallikkunnu keeps showing us he deserves full-length character roles, packing a punch with his presence in just 2-3 scenes. Jaffer Idukki continues to grow from strength to strength and is at his nuanced best as ‘Kunjikka’.

The music of the movie contributes majorly in amplifying the experience and the emotions, especially the sensational ‘Gaaname’ , that will surely stay with you long after the movie ends. Hats off to Hesham Abdul Wahab for a fantastic new set of compositions after he enthralled us with ‘Darshana’.

This does not mean the movie didn’t have its downsides. Nikhila Vimal was given precious little screen time and dialogues to work with and her character comes across as one dimensional. Fahim Samar was inept as ‘Thaju’ and one cant help but think a better actor could have made that role more impactful and endearing.

Ultimately Madhuram’ is a simple, heartwarming tale of coming to terms with what life throws at you, no matter how dire or seemingly unsurmountable the challenges may be. This, along with the delightful #Home (2021) is what feel-good movies should aspire to be rather than the preachy, melodramatic, template messes makers like Jis Joy keep putting out.


Review by nidhunmoviebuff

Kaanekkaane (2021) Malayalam Movie Review

Malayalam Cinema is just kicking every competitor out by a margin when it comes to delivering quality content this year. Due to pandemic many films have decided to be on hold so we are getting less films which ultimately is causing less quality and not just quantity. While every other industry is struggling to deliver two to three classic movies in 2021 (including Hollywood), Malayalam industry is running a riot. If i am not miscalculating then Kaanekkaane is like 9th or 10th quality product delivered by Malayalam cinema in 2021 so far. The number might go higher in remaining 3 months of this year and the final count of Malayalam Cinema would be higher than combined total of rest of the Cinema Industries in India. I hope, i am not exaggerating and i will surely be happy to make a stats of comparison by the year end.

Kaanekkaane is a film that gives a new dimensions to human conscience through cinematic liberty. What we have earlier seen in Drishyam 2 this year but here it’s different, rather say it’s completely opposite figuratively. Deputy Tahsildar Paul Mathai arrives in town for some court matters. He is warmly received by his son-in-law Allen. Wondering when he would see his grandson again, Paul is leaving Allen’s home, when something catches his eye. There comes the shift in the lives which leads to an emotional and thrilling journey of all these characters. It reminded me of Svati Bhatkal’s Documentary ‘Rubari Roshni’ (2019), produced by Aamir Khan Productions which gave a thought-provoking message of Forgiveness. Sometimes it’s better to forgive and let go the culprit than seeking revenge and all these stories in there were coming from true events and so it became an eternal Classic for me. Here, Kaanekkaane gets the same but with a single episode unlike multiple stories in Rubaru Roshni. Kaanekkaane has got a treatment of a thriller and the atmospheric genius work can be notice through consistently hopping background score and excellent Cinematography.

The performances in the film have made it even better. All the characters look real excluding couple of bluffs. Tovino Thomas, Suraj Venjaramoodu, Aishwarya Lekshmiand Shruti Ramachandran and everyone in the supporting cast have delivered upto their potential. The screenplay is slow at the beginning with those pauses and all but after a while the same pauses start looking thrilling and give you chills. The storytelling becomes more intense and matured as the time passes and because it has a runtime of about 120 minutes, it holds pretty much fine despite slow start.

The writing makes the job easy for the director as it tries to gamble within a offbeat theme. The conflict between two different human conscience is not a regular thing in any cinema industry. If you remember Hollywood Classic ‘Ox Bow Incident’ (1943) which gave a staggering speech on human conscience then i don’t think any film has come close to that in these 8 long decades. So, it’s an unusual thing and the way it is goofed up with human relations, guilt, compassion and forgiveness it all makes it super exclusive in a way. There are few things that have gone wrong but it’s not a big issue as Director Manu Ashokan has managed to find a getaway to a certified triumph. In final words, another fabulous Malayalam Film this year and very close to a Classic tag.

RATING – 7/10*


Mumbai Police (2013) Malayalam Movie Review

Mumbai Police is a revelation. I cannot proclaim it to be the best thriller I have seen, but it has to be applauded for what it tries to accomplish. Roshan Andrews has gone a notch above the standard genre fare we have come to expect in Indian thrillers and gave us something which will, in turns, haunt and genuinely surprise. This is in no small part to the accomplished writing duo of Bobby-Sanjay and the brilliant Prithviraj.

ACP Anthony Moses (Prithvi) is just about to solve a crime and report it to his boss, Farhan (Rehman), when he is caught in a bad accident which leaves him without any memory of his past. Farhan tries to help him jog his memory and get the name of the culprit, but Anthony has no clue to his past or to his impending future. However, his reflexes and training from his previous life are still in tact and he realizes he would need to use these to piece both his life and the case together again. The crime is of a very personal nature to both the officers, as it involves the murder of their colleague and close friend, ACP Aryan John Jacob (Jayasurya) while he was receiving a gallantry award. Together, the trio had been known as the ‘Mumbai Police’ owing to their earlier presence in the Mumbai police department. As Anthony re-pieces together the jigsaw, he realizes everything is not as it would seem and the seemingly bizarre directions and conflicts the investigation takes as opposed to the initial attempts in the case alienates his team and further confuses his already addled mind. All this ultimately leads up to a climax which can only be termed as amazingly bold and genuinely shocking in its denouement.

Apart from the climactic reveal, the movie also must take plaudits for its mostly different approach to the standard police thriller. There are hardly any bombastic dialogs and mustache twirling here. The investigating officer is not exactly the epitome of all vices, as he himself realizes in the course of his second life. The introduction of alternative sexuality into Malayalam commercial cinema has to be hailed as a landmark in this generally conservative segment of viewers. Background music is pretty apt and gripping for the most part and there are no songs to break the flow.

The supporting characters all do a great job. Jayasurya, Rehman, Aparna Nair and Riyaz Khan (in a cameo) are all commendable. There is also a surprisingly strong performance from the veteran, Kunjan, as one of the officers on the team. However, this is Prithviraj’s show all the way. He has done tougher roles than this and will probably have bigger hits. But the conviction of a mainstream actor of his stature to take up a role which pushes the envelope in terms of what is ‘acceptable’ for commercial leading men in Indian cinema has to be thoroughly appreciated. I have been a fan of this guy for a while now, and he keeps giving reasons why, despite all the unfounded criticism against him, he will always be relevant. Take a bow, Prithvi, Roshan and Bobby-Sanjay, for hopefully bringing in a much needed wind of change in this industry.

Review by praveen77


Produced by Anto Joseph and written and directed by Mahesh Narayanan, MALIK is a political-crime drama that has the current OTT sensation Fahadh Faasil playing the lead. The movie gets an Amazon Prime release. Mahesh Narayanan is well known for his bumper hits “TAKE OFF” and “C U SOON” that the OTT crowd enjoyed making Fahadh Faasil a name to reckon with across the country.

The first ten minutes of MALIK is fantastically shot and composed and sets up for an intriguing proceeding. Unfortunately the buck stops there. The film progresses slowly on a flat scale and a largely conventional note. MALIK has a bit of everything action, relation, emotion, communal tension and a good dose of politics, but none come across compelling enough. What works for the film is its unadorned narration that seldom slips into jingoism. The story still holds forte despite the presence of terrific actors. MALIK is grand yet largely restrained.

Fahadh Faasil proves yet again why he is the “darling” of Indian cinema today. He has tough competition in the form of Dileep Pothan and Nimisha Sajayan and yet delivers a strong performance. Dileep Pothan is exceptional in a role that has myriad emotions. Nimisha Sajayan is that extraordinary actress who for now looks irreplaceable. Others in the supporting cast are amazing too.

MALIK has very strong production design. Sanu John Verghese stupendous camera work is a treat to watch. Sushin Shyam’s background score is evocative. Mahesh Narayanan’s edit is tight. Dialogues are good and director Mahesh Narayanan will be a name to surmise in Indian cinema.

MALIK is a decent watch for its gargantuan ambition.





Anto Joseph Film Company and AP International produce this film that is written by Sreenath V Nath and directed by Tanu Balak. The film gets an OTT release on Amazon Prime.

The premise of CC is very interesting. A double cleft approach to a murder mystery is smart but unfortunately it shows more promise and is less impactful on screen. Lack of twists and unusual suspects is a huge letdown. The script touches upon supernatural beliefs as well but again they dissolve as quickly as they appear. What works for the film is its austere approach without going overboard. The ruse works for some time. The climax looks hasty.

Prithiviraj looks super fit in an otherwise lazy role. Aditi Balan has more to do in her role and does a good job. Lakshmi Priya is OK as the advocate.

Gireesh and Jomon’s cinematography is average. Prakash Alex’s background score does not impress. Dialogues are decent. Shameer Muhammad’s editing is fine. Tanu Balak’s direction for a debutant is good.

COLD CASE had all the potential to be an intriguing thriller but ends up lukewarm.




Biriyaani (2019)

A movie of epic proportions. Sometimes, often, we found it hard to believe; such a daring step was taken towards a coflicting topic by a movie director.

The pure life is depicted in such a way that viewers will be treated to some disturbing levels. This movie has achieved what it requires to achieve; from the nominations to the controversies. The director explored the dark corners of society and come up with a harrowing topic to make us think out of our comfort zone to a topic that is far from forgotten.

It cannot be said as a visual extravaganza, but a truthful and daring story that will disturb many a soul.

The director and the movie have achieved something that has never been happened before.
A near-masterpiece from an amazing director.



A thriller that is produced by Martin Prakkat, Ranjith, P. M. Sasidharan and written by Shahi Kabir. The film is directed by Martin Prakkat. Martin Prakkat’s last film was the critically and hugely successful “CHARLIE”.

The movie begins craftily etching characters and their dimensions while slowly evolving the plot. NAYATTU’S screenplay is simple and taut never veering away from its “hunt” despite opportunities galore. It does not preach nor prescribe like most socially relevant movies do and just relies on a “telling” narrative that is rare and unforced. It is to the writer’s credit that NAYATTU remains faithful to its cause without going overboard or being lofty.

The actors in the film Kunjako Boban, Joju George, and Nimisha Sajayan deliver convincing performances that remain pragmatic at all levels. The rest of the cast are decent.

Shyju Khalid’s cinematography is wonderful. Vishnu Vijay’s background score steps up the pace. There are two songs and are quite catchy. Mahesh Narayanan’s editing keeps the film crisp. Dialogues are good and direction by Martin Prakkat is from the top draw.

NAYATTU is a brilliant portrayal of the “drama” that is played at the top echelons and the final scene is a powerful representation of the puppets that we are..





Produced by Bhavana studios JOJI is written by Syam Puskaran and directed by Dileep Pothan. This movie gets an AMAZON Prime release..

Loosely based on Shakespeare’s Macbeth JOJI is wonderfully scripted, amazingly cast and brilliantly directed. The film does not waste any time in establishing it’s characters that come in various hues while the screenplay is all poise in building up the tension. The writing is splendid and the performances take the drama to a higher level.

Superbly cast, none look out of sorts. Faahad Faasil, anything said would be less about this phenomenal actor. He just aces it. Babu Raj, Sunny, Unnimaya Prasasd, Mundakayam Alex all fire up the screen.

Cinematographer Shyju Khalid’s captivating camera work and angles add great depth. Justin Varghese’s background score is smart and inquisitive. Editor Kiran Das keeps it sharp. Dialogues are good and direction top notch..

JOJI is a wonderfully crafted film that deserves a must watch recommendation..




Drishyam 2 (2021) Amazon Prime


DRISHYAM 2 is a sequel to the gripping prequel that set the cash registers ringing across the country in the languages it got remade. The sequel is an attempt to build on a few loose ends from the first part. DRISHYAM 2 is produced by Aashirwad Cinemas.

D2 begins rather very leisurely in an effort for the audience to connect with the family after a long interval. This takes almost an hour with a few “peppering” here and there to build the suspense. The writing is largely subdued compared to the original and the ingenuity of the first part is missing. A few twists are smart and a few pale compared to the first part, while some scenes are contrived. Yet what works for the film ironically, is the familiarity and our rooting for the family.

Mohanlal is immaculate as only he can be. Despite being remade in many languages, Mohanlal returns as Georgekutty once again to prove why he is the most indomitable actor that he is. Meena looks jaded. Ansiba and Esther look out of sorts. Murali Gopy is good and the rest of the supporting cast are decent.

Satheesh Kurup’s cinematography works fine. Anil Johnson’s music continues from where he left. Dialogues are good. Vinayak could have been a tad sharper in editing. Jeethu Joseph does not surprise in the direction department.

The good and bad about D2 is its familiarity and predictable outcome. With the “surprise” element missing, the film banks on our undisputed loyalty to the “family” and its headman Mohanlal.





The Great Father (2017)

Most of the reviews were good to above avg. and i had almost an idea how this film is going to be. Many of them said that the 1st half was boring and slow with a lot of emotional songs and stuff like that. But for me, the first half was a brilliant set up to follow the second half. While the first half gives us some wonderful Daddy-Daughter moments , the second half sparks into a massive blood-hunt like film which goes out of hand with every frame. The First Half for me was equal to the second half, even though many don’t agree with me.

Baby Anikha’s Acting was mesmerizing. To portray a role so difficult that brilliantly, she is a massive treasure for the coming malaylam film industry. Mammooty’s acting was brilliant, the first half being superior to the second. Arya has also done a brilliant job in portraying his character. Strong , muscular , open and a brilliant personality brings a beautiful charm to the screen . Sneha has also did good but if i could rank would’ve put her in the fourth place. Apart from these four all other characters have small roles except the frequently appearing police investigators. In Short Everyone have done a beautiful job in carving out the film’s importance to the current society.

The film handles some very sensitive issues like pedophilia , child molestation and many other issues that makes it a really socially important film. One thing that i liked above the story was the direction. If there is a thing i can say about the film – the direction was stunning, along with the camera. These both gives us a beautiful visual treat with brilliant cinematography and in saying in terms of film making ; it is a perfect package. Haneef Adeni is a major advantage to our coming Mollywood industry , with this film breaking BO records already, I am sure that we get to see more of him in the coming years.

There are some moments in the film that we begin to admire the villain’s power over the hero. Often in films we were shown the superiority of the hero over the villain. Except the climax , the villain almost emphasizes complete control over the hero’s family.

It is no twist that we get in the climax . The Villain has one or two frames in the first half and that’s it. We can never find out who the villain is, as it can became a no surprise to anyone in the theater.

An Ordinary Viewer , either with his family or alone can view this film in many ways –

ASocially relevant film A Psychological Movie A Another ‘Dark Knight’ ( Villain’s Power) A Family Daddy-Daughter Movie or An Action Masala Movie.

If I Haven’t mentioned already , the last 10-15 mins. of the film is absolutely brilliant. The shots , the camera movement , fight choreography , everything was handled with utmost professionalism and it was perfection at it’s best.

7.4 / 10

Review by CobertNeede