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Seven Review

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'Seven', starring Havish as the hero, hit the screens this Thursday.  The romantic thriller is directed by Nizar Shafi.  Here is our review of the latest box-office release.

The film begins with the murder of two characters by an unseen character.  It takes a leap and we see a distraught woman named Ramya (Nandita Swetha) approaching a cop (played by Rehman) regarding her missing husband Karthik (Havish).  A few scenes later, the cop shocks Ramya by narrating the story of Jenni (Anisha Ambrose), whose husband too has gone missing.  The missing guy in this story, too, is Karthik.

The cop goes hunting for Karthik, whom he strongly believes is a fraudulent philanderer cheating innocent women.  But, much to his shock, he stumbles upon some clues that might be pointing at the innocence of Karthik.

Who is Karthik and why is he eluding Ramya and Jenni?  Is there more than what meets the eye?  Answers to these are found in the second half, where Saraswati (Regina Cassandra) and a few more characters are introduced.

Much of the first half is a combination of romance and crime thriller.  The romantic scenes sustain interest in the plot that is about to unfold.  The colleagues (played by Vidyullekha Raman, Dhanraj, Venu and others) at the office, however, could have added humour quotient.  

Rehman's investigative endeavours are fairly engaging but they could have been better.  The cop should have been razor-sharp, arousing curiosity in the viewer.  

The second half does come with its share of spine-chilling moments.  Having said that, it doesn't invest much in the character named Krishnamurthy.  It's as if we are supposed to derive all entertainment from the murders and murders alone.

When you are showing a series of murders involving an unlikely character, there has to be a sense of pathos in it.  The murders can't be perfunctory, the emotional character can't be shown to be carrying them out like a cold-blooded, professional killer.  You have to weave a certain world around her.   What is more, this character should have been introduced right in the beginning. That would have ensured that the audience would keep invested in it right since the first half.  The character seems to be out of its mind even when she is supposed to be joyful.  

It's all good to show a few characters deciding to go to any extent to show gratitude towards their saviour.  But how slice-of-life is it to show not one or two but more doing something extreme merely out of a sense of gratitude?  They should have been shown to be emotionally invested in the life of the avenging character for better effect.  

Karthik behaves as if he is more irritated than saddened by the happenings in his life.  Just consider the scene where he is in a conversation with a journalist (comedian Sathya's character punctures the intensity in the proceedings) after being on the run.  

As performances go, Regina Cassandra shines through a rather lazily-written character.  Rehman fits the bill and Havish passes muster.  Nandita Swetha is outcompeted by Anisha Ambrose.  Pujitha Ponnada doesn't get much space, so also Tridha Choudhary and Aditi Arya.  

Chaitan Bharadwaj's BGM works fine.  The songs are just about OK.  Nizar Shafi's cinematography is adequate.

'Seven' is engaging to an extent and the climax is an experiment.  There should have been more of profound writing.  It is occasionally nail-biting, but the proceedings should have come with higher emotional quotient.  The technical departments do an adequate job.

Rating: 2.75 / 5.0

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Orlando Cepeda dies

Movie Review: In ‘The Bikeriders,’ the birth of a subculture on two wheels

This image released by Focus Features shows Jodie Comer, left, and Austin Butler in a scene from “The Bikeriders.” (Focus Features via AP)

This image released by Focus Features shows Austin Butler, left, and Jodie Comer in a scene from “The Bikeriders.” (Focus Features via AP)

This image released by Focus Features shows Austin Butler, left, and Tom Hardy in a scene from “The Bikeriders.” (Focus Features via AP)

This image released by Focus Features shows Damon Herriman, left, and Tom Hardy in a scene from “The Bikeriders.” (Focus Features via AP)

This image released by Focus Features shows Jodie Comer in a scene from “The Bikeriders.” (Focus Features via AP)

This image released by Focus Features shows Austin Butler in a scene from “The Bikeriders.” (Focus Features via AP)

This image released by Focus Features shows Emory Cohen, from left, Jodie Comer and Austin Butler in a scene from “The Bikeriders.” (Focus Features via AP)

This image released by Focus Features shows Tom Hardy in a scene from “The Bikeriders.” (Focus Features via AP)

This image released by Focus Features shows Michael Shannon in a scene from “The Bikeriders.” (Focus Features via AP)

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Still images have been a source of wonder and mythology in the films of Jeff Nichols.

“Mud,” Nichols’ Twain-soaked Mississippi fable, seemed derived from the magical sight of a boat held aloft by a tree. “Loving,” about a ‘60s interracial marriage, took inspiration from tender Life magazine photographs taken of the real-life couple. Nichols’ latest, “The Bikeriders,” is based on photographer Danny Lyon’s 1968 book of the same name, for which he spent four years with a Chicago motorcycle club.

It’s not hard to see what Nichols saw in Lyon’s black-and-white stills. There’s the stylish raw materials — the chrome bikes, the slicked back hair, the black leather jackets. But there’s also a just emerging antiauthoritarian, easy-riding spirit and camaraderie. Like the central figures of “Loving,” they are classically drawn outsiders who encapsulate something glorious and uneasy about freedom in America.

In the exhilarating first half of “The Bikeriders,” which opens in theaters Friday, Nichols is less compelled to build a narrative around his bike gang, the Vandals (based on the Outlaws) than summoning an intoxicating atmosphere reminiscent of those old photographs. “The Bikeriders” eventually becomes saddled with heavier plot mechanics — you can almost sense his riders growing weary from having to strap narrative devices onto their bikes. The movie wants to ride, but it’s not sure how much story to pack for the trip. But this is a vivid dramatization of the birth of an American subculture.

The framing device Nichols settles on is Lyon, himself, played by Mike Faist, who’s conducting interviews for his book. His conversations with a woman named Kathy ( Jodie Comer ) bookend and sporadically narrate the movie.

Kathy, also based on a real person, seems at first an unlikely spokesperson for the gang. She speaks with a thick Illinois accent (an actorly distraction throughout) and has no affection for motorcycle riders. But one night at a bar, she sees Benny ( Austin Butler ) across the smokey room and, even if she doesn’t admit it at that moment, falls for him. Again, it’s not hard to see why. Butler is by now well removed from Elvis Presley but the suppleness with which he can sink into mid-century America is no less apparent. Benny drives Kathy home, parks his bike outside the place and patiently waits for her boyfriend to skip town.

Nichols, a devotee of films like “Hud” and “Cool Hand Luke,” is a filmmaker who works very consciously within classic American idioms. In Butler he has his James Dean, making Tom Hardy his Marlon Brando. Hardy plays Johnny, Benny’s best pal and the one who starts up and presides over the Vandals. (The “whaddya got” clip of Brando from “The Wild One” is even briefly seen on a small TV in “The Bikeriders.”)

The Vandals, as a club, start about as simply as kids might call a tree house to order. They’re a bunch of guys who like riding motorcycles and like talking about them. Simple as that. But men come like moths to a flame, attracted by the tough lifestyle, the cool jackets with patches and a way out of mainstream America. Among them are Cal (Boyd Holbrook), Cockroach (Emory Cohen), Funny Sonny (Norman Reedus) and Zipco (Michael Shannon).

“Obscenity and motorcycles travel hand in hand,” someone says, with pride.

The early days of the group are, it would seem, a lot of fun. Barroom brawls and riding carefree through corn fields. Most of these guys don’t have much, but they have each other. And their loyalty is total.

Kathy isn’t so sure sure. She watches the growing gang — a completely male bunch — with skepticism and fear for Benny. (In a scene teased in the film’s opening, he’s beaten badly enough to be hospitalized.) Sometimes, they throw down purely for fun. They are the original Fight Cub.

But soon, Kathy isn’t the only one with doubts at what they’ve created. As their gang grows, what the Vandals embody is less clear, even to Johnny and Benny. Some of the new entrants are coming straight back from Vietnam. Their old hijinks give way to more serious crimes. In one chastening scene, Kathy finds herself very nearly assaulted by its members. The gang — and all its posturing of toughness — begins to feel more like a trap for even its leader. Benny is drawn into a choice between the Vandals and Kathy. The homoerotic subtext is understated but not ignored; when Benny and Johnny discuss their future together, they do it gently and intimately, in the dark, like a secret confession.

As the Vandals’ original ideals disintegrate, it can feel like “The Bikeriders” gets locked into a familiar “Goodfellas”-like structure, but with a telling shift in narrator for a drama that’s ultimately about masculinity. This is a movie that’s juggling a lot of contradictory ambitions. It wants to be authentic but it wants to tell a grand America saga. It wants mythology but also naturalism. It’s those instincts that have made Nichols one of the most essential filmmakers of his generation, even if the results have sometimes been underwhelming by a hair. Even his best, most firmly rooted films (“Take Shelter,” “Mud”) strive for a balancing act that can be elusive.

But I think it’s those dual impulses — and, again, all the cool jackets — that makes “The Bikeriders” work. The movie is unabashedly romantic about the Vandals but it’s equally dubious about the rugged masculinity they embody, too. “The Bikeriders” has its hands firmly on the throttle just it does the brakes.

“The Bikeriders,” a Focus Features release, is rated R by the Motion Picture Association for language throughout, violence, some drug use and brief sexuality. Running time: 116 minutes. Three stars out of four.

Follow AP Film Writer Jake Coyle at: http://x.com/jakecoyleAP

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Aattam review: A magnificent film that brilliantly explores male hypocrisy

There's no simple way to describe anand ekarshi's aattam. it is both a play and a movie. it is also a play within a play within a movie. it is also a courtroom drama, albeit sans a courtroom. however, above all, aattam stands out as one of the most brilliant malayalam movies in recent times..

Just when you believe you’ve unravelled a character in this film and understood their true nature, they utter something incredibly banal or logical, completely shattering your perceptions of them. It’s only after a certain point that we realise they are like us and we are like them — taking stances and forming opinions based on convenience and how much of ours is at stake.

There’s no simple way to describe Anand Ekarshi’s debut feature Aattam (The Play), which was recently screened at the 28th International Film Festival of Kerala (IFFK). At its core, the film revolves around a woman who faces sexual assault in a space she had considered safe. Simultaneously, it is about a group of men who come together to ‘discuss’ or ‘investigate’ the matter. At the same time, it is also about the insensitivity with which a patriarchal society responds to such cases. The film also exposes male hypocrisy and how men, ultimately, wield influence even in matters they lack understanding of. It also highlights the issue of men not knowing when to shut up and the denial of opportunities for women to speak. Aattam, simultaneously, shows how the burden consistently falls on women to prove the authenticity of their experiences, whereas men often receive a free pass without needing any explanations. Aattam is both a play and a movie, like KG George’s all-time classic Yavanika (1982). It is also a play within a play within a movie. The film can be likened to a courtroom drama too, albeit sans a courtroom. However, above all, it stands out as one of the most brilliant Malayalam movies in recent times.

Anjali (Zarin Shihab) is the sole female member of a drama troupe called Arangu, which consists of 12 male actors, in addition to the director. The film begins by depicting their preparations for staging a play. Anjali assumes the central female role, while Hari (Kalabhavan Shajohn) takes on the male lead and Vinay (Vinay Forrt) plays a significant role in the cast. Following the play’s conclusion, two of Hari’s non-Indian friends visit backstage to congratulate them and extend an invitation for a stay at their resort in Kochi.

The team accepts the invitation and enjoys the night together. However, after the party, at midnight, Anjali, who is sleeping on a diwan cot by an open window, is groped, leaving her traumatised. A few days later, she confides in Vinay, her romantic partner, about the incident and says that Hari did it. Vinay escalates the matter, though Anjali does not want anything to be done about it and just wanted to erase it from her memories, and brings it to the attention of team leader Madhan who urgently calls for a team meeting of all male actors, excluding Hari. They convene at Madhan’s house to discuss the issue and seek an ‘amicable solution’.

The remainder of the film follows their discussions, arguments and the unravelling of their true selves as tensions rise, especially when personal matters come into play.

The film’s greatest strength lies in its intricately crafted screenplay, deftly transforming a sexual assault into a play, a discussion topic and even a case to be investigated, all without diminishing the gravity of the incident or the fact that it was a crime. Early on, the film employs sharp scenes to effectively explore and reveal the characters, their traits, nature and socio-economic backgrounds through dialogues, actions, attire and even subtle glances, laying the groundwork for the unfolding narrative.

As the actors ‘enter the stage’ for the ‘discussion’ play and gather around a roundtable, reminiscent of Sidney Lumet’s 12 Angry Men (1957), the film takes on the tone of a courtroom drama, with arguments and counterarguments presented by parties with little to no knowledge of the situation. Apart from seamlessly allowing the narrative progress in a gradual real-time pace, in contrast to a play or even a movie, Aattam continually provides new masks and attire to each actor as well, while also disrobing and exposing them in tandem. At the same time, the meticulous precision in the writing of each dialogue enhances the depth of the film. Even with its real-time progression, Aattam maintains its essence as a play, divided into acts, allowing us to witness actors entering and exiting each setting or, at times, the stage itself.

Writer-director Anand Ekarshi adeptly exposes the blatant misogyny, sexism, hypocrisy, ego, envy, lust, selfishness, pseudo-righteousness and more from all the characters evenly, leaving no one untouched. It also ensures that Hari’s presence and command are felt throughout, even when he is absent on-screen. Special commendation is deserved for the emphasis placed on the hypocrisies of the holier-than-thou teacher and former newspaper editor, as people often mistake such superficial persons for good ones.

While Aattam delves into the flaws of these men, it consistently keeps Anjali in focus. The film avoids attempting to victim-blame her in any manner, even when almost all characters utter such dialogues and eventually become rape apologists towards the end for personal gains. The film provides Anjali proper agency and never casts doubt on her for even a single moment, which is indeed laudable for a mainstream Malayalam film.

While every actor, nearly all with theatre backgrounds, delivers spectacular performances, Zarin Shihab stands out with her flawless portrayal, skillfully navigating and effectively expressing all the emotions of Anjali. Vinay Forrt and Kalabhavan Shajohn also excel in their respective roles.

Anand Ekarshi’s adept framing of each shot and the strategic use of various shots, especially close-ups that evoke a sense of necessary suffocation, align with the tone and mood of the respective moments, making the film a true gem. Thanks to his decision to conduct a 35-day workshop before filming, every shot in the film appears nearly perfect, with absolutely no flaws. Cinematographer Anurudh Aneesh and Anees Nadodi’s art direction also warrant special praise for the overall brilliance of the film. Mahesh Bhuvanend’s masterful editing contributes to the seamless flow of the movie. Basil CJ’s music, though filling the screen only when required, effectively enhances instances that demand it.

Aattam movie cast: Vinay Forrt, Zarin Shihab, Kalabhavan Shajohn Aattam movie director: Anand Ekarshi Aattam movie rating: 4 stars

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Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at [email protected]. ... Read More

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മലയാളി ഫ്രം ഇന്ത്യ: തിരിച്ചുവന്ന് നിവിന്‍ പോളി, ഒപ്പം ഗൗരവമേറിയ രാഷ്ട്രീയവും

അന്ധവിശ്വാസങ്ങൾക്ക് നേരെ തുറന്നുപിടിച്ച കണ്ണാടി; 'പഞ്ചവത്സര പദ്ധതി' റിവ്യു

'ചിരി നിറച്ചൊരു പ്രണയം', പവി കെയര്‍ടേക്കര്‍ റിവ്യു

രണ്ടര മണിക്കൂര്‍ ഫണ്‍ റൈഡിന് ക്ഷണിച്ച് ഫഹദും പിള്ളേരും; 'ആവേശം' റിവ്യൂ

പൂണ്ടുവിളയാടി നിവിന്‍, ഞെട്ടിച്ച് പ്രണവും ധ്യാനും; രസച്ചരട് മുറുക്കി 'വർഷങ്ങൾക്കു ശേഷം'-റിവ്യു

ഇത് ലോക്കലല്ല, വെസ്റ്റേണുമാണ്, ത്രസിപ്പിക്കുന്ന അഞ്ചക്കള്ളകോക്കാൻ, റിവ്യു

ചിരിപ്പിക്കുന്ന കള്ളൻമാര്‍, ധാരാവി ദിനേശന്റെ കഥയുമായി മനസാ വാചാ, കളം നിറഞ്ഞ് ദിലീഷ് പോത്തൻ- റിവ്യു

ആര്‍ത്തി നിറയുന്ന അന്ധകാര- റിവ്യു

ഇത് മമ്മൂട്ടി യു​ഗത്തിന്റെ തുടർച്ച; ഞെട്ടിച്ച് അർജുനും സിദ്ധാര്‍ത്ഥും; 'ഭ്രമയു​ഗം' റിവ്യു

പക്കാ കോമഡി-ഫാമിലി എന്റർടൈനര്‍‌; 'ജെറി'റിവ്യൂ

ചിരിപ്പിച്ചിരുത്തും ഈ ലവ് സ്റ്റോറി; 'പ്രേമലു' റിവ്യൂ

ദുരൂഹതയുടെ ചുരുളഴിച്ച് ടൊവിനോ, എൻ​ഗേജിം​ഗ് മൊമന്‍റുമായി 'അന്വേഷിപ്പിന്‍ കണ്ടെത്തും'-റിവ്യു

വേറിട്ട വഴിയേ 'എല്‍എല്‍ബി'; ലൈഫ് ലൈന്‍ ഓഫ് ബാച്ചിലേഴ്സ് റിവ്യൂ

ചിരിപ്പിച്ച് വിമര്‍ശിച്ച് 'അയ്യര്‍'- റിവ്യു

നമ്മള്‍ കരുതിയ ആളല്ല 'വിവേകാനന്ദന്‍'; കമല്‍ ചിത്രത്തിന്‍റെ റിവ്യൂ

Movie Reviews (മൂവി അവലോകനങ്ങൾ): Get the Movie reviews of the latest blockbusters, in house movies and everything about the cinema in Malayalam. Read about the upcoming movies from Mollywood, Bollywood, Kollywood and Hollywood industry and watch the latest upcoming movie trailer. Know about the Critics Rating, വിമർശകരുടെ റേറ്റിംഗ്, Movie Critics സിനിമ വിമർശകർ, movie story, മൂവി സ്റ്റോറി, genre, സ്റ്റാർ കാസ്റ്റ് and star cast. Keeping track of all the movies releasing on friday to the movie reviews. Catch up with all the movie gossip, Music album, സംഗീത ആൽബം, Story line, cinema rating, Movie Rating, മൂവി റേറ്റിംഗ്, reviews from the critics, and much more online only at Asianet News.

Netflix’s ‘Supacell’ Is a Bold and Daring Drama About Black Superheroes: TV Review

By Aramide Tinubu

Aramide Tinubu

• Prime Video’s ‘My Lady Jane’ Is Outlandish, Ahistorical and a Great Bit of Fun: TV Review 2 days ago
• Netflix’s ‘Supacell’ Is a Bold and Daring Drama About Black Superheroes: TV Review 3 days ago
• Eva Longoria’s ‘Land of Women’ Is a Dull and Corny Affair: TV Review 3 days ago

In his new Netflix series, “ Supacell ,” creator Rapman examines the lives of five ordinary Black South Londoners who develop unexpected superpowers. Though the excitement of supernatural abilities and the magic of science fiction ripple across the show, the series also explores major themes that disproportionately affect Black people, including human trafficking, extreme surveillance, pervasive global anti-Blackness and predatory medical practices. 

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Amid the onslaught of Marvel and DC Comics titles in film and on television, the superhero genre isn’t rare. “Supacell” has the familiar and sometimes predictable themes found in these types of projects, including ultraviolence, teamwork and hardships. Moreover, some small story beats lean toward the absurd, like Dionne and Michael’s luxury car and condo in London on a delivery driver and social worker salaries. Also, a club scene in Episode 3, “Sabrina,” showcases Sabrina leaving Sharleen alone on the club dance floor for a restroom trip, which would never happen. 

Still, Rapman’s exploration of what it means for Black people specifically to gain powers makes the show unique. Throughout the series, Andre is forced to confront his criminal past as he struggles to maintain employment. Despite her competency as a nurse, Sabrina encounters both overt racism and sexual harassment at work. All of our heroes also contend with gang culture and knife violence in their South London neighborhood. Through all of this, while Michael is desperate to form a bond with his fellow heroes, they are all hyper-focused on themselves. As a result, “Supacell” considers how individualism has caused fractures in Western societies, specifically in Black communities that previously thrived because of collectivity.  The show also reflects on why our dependence on technology undoubtedly comes at a cost. 

The series has an array of storylines and characters, but Michael and Dionne’s relationship stands at the heart of “Supacell.” The depth, intricacies and beauty of Black love are so rarely showcased on screen that seeing a young couple who has built a life together from their teen years into adulthood is beautiful to behold. Throughout the show, the audience is privy to the duo’s highs and lows and why our desire to shelter loved ones doesn’t necessarily spare them from anguish and hardship. 

In December 2020, Black folks gathered on social media platforms to joke about receiving superpowers when, on the 21st of that month, Saturn and Jupiter aligned for the first time in 400 years, and Black Twitter was all abuzz saying the cosmic event would unlock extraordinary skills in Black people. It was wishful thinking, of course, but the memes, tweets and TikTok videos were enjoyable nonetheless. However, as “Supacell” suggests, for a community that has been continually victimized and discriminated against for generations, Black people gaining ultrahuman capabilities would generate an onslaught of various issues. In fact, it could quickly transform into a nightmare for the entire race, especially if those wielding true power in society use these distinct qualities for their own gain.

“Supacell” premieres June 27 on Netflix .

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What to watch with your kids: ‘A Family Affair,’ ‘WondLa’ and more

Common Sense Media also reviews “Disney Junior’s Ariel” and “No Time to Spy: A Loud House Movie.”

A Family Affair (PG-13)

May-December romantic dramedy has sex, language and drinking.

“A Family Affair” is a romantic dramedy about the unlikely but passionate connection between a woman in her 50s (Nicole Kidman) and a man some 20 years her junior (Zac Efron). Expect a sex scene in which two characters get drunk, kiss, fall into bed and tear off each other’s shirts. When someone walks in on them, viewers see a woman topless from behind and on top of a man. There is additional drinking, plus sex, relationship talk and language including “f---,” “s---,” “damn,” “b----” and “a--.” The movie features talk of what people might look like naked, getting “banged up” and taking STD tests. Characters, mostly White and wealthy, learn lessons relevant to their different stages in life, including prioritizing their own interests and not taking others for granted. (111 minutes)

Available on Netflix.

WondLa (TV-G)

Lively sci-fi series has lots of mystery and some violence.

“WondLa” is an animated sci-fi series about a human teen in a post-apocalyptic world. Starring Jeanine Mason as Eva, a scrappy 16-year-old raised alone in a bunker, “WondLa” follows her adventures as she explores a wild planet filled with pitfalls and scary creatures (as well as some new friends, including a giant telepathic tardigrade voiced by Brad Garrett). Expect sci-fi violence, including destructive laser guns, violent monsters and lots of peril on Eva’s journey to find her human family. Based on the books by Tony DiTerlizzi, this series is a great pick for families with school-age kids who are ready for adventure. (Eight episodes)

Available on Apple TV Plus.

Disney Junior’s Ariel (TV-Y)

Fresh take on beloved mermaid will delight littlest viewers.

“Disney Junior’s Ariel” is a “The Little Mermaid” series appropriate for even the youngest viewers. Ariel (voiced by Mykal-Michelle Harris) and her friends face gentle challenges, and former villain Ursula (Amber Riley) is now a kind older woman who shares her magical powers for good, with the help of her friendly eel sidekicks, Ebb and Flow. There are no romantic storylines, and none of the mermaids wear revealing clothing. Each episode focuses on a positive social-emotional lesson, and the series celebrates Caribbean people and cultures. (Eight episodes)

Available on Disney Junior and Disney Plus.

No Time to Spy: A Loud House Movie (TV-Y7)

Family spy act has iffy behavior, peril and potty humor.

“No Time to Spy: A Loud House Movie” is a continuation of the “Loud House” TV series. The Loud family dynamics remain true to the show; they’re boisterous and bickering, yet close-knit and loyal. Unlike the show’s usual focus on everyday life, the movie shifts to exciting external conflicts. The preteen protagonist Lincoln’s (voiced by Bentley Griffin) fascination with another character’s past as a spy leads to decisions that put the family in danger. Expect cartoonish fistfights, thrilling high-speed chases and falls from great heights. While fans will find the extreme scenarios familiar, newcomers might be surprised by the characters’ self-absorption. But the Loud family eventually finds strength in working together. Adult-tailored gags include nods to spy films like “No Time to Die” and references to bachelorette parties and high prices. There is bathroom humor, but the language is mild (mostly variations of “butt” and “dang”). Although the ending is heartwarming, it includes a moment of parent-child separation that could be unsettling for more sensitive kids. (102 minutes)

Available on Paramount Plus and Nickelodeon.

Common Sense Media helps families make smart media choices. Go to commonsense.org for age-based and educational ratings and reviews for movies, games, apps, TV shows, websites and books.

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'Adrishyam' Review | Narain, Sharafudheen captivate in decent mystery drama

A missing idol, a team of police officials, a mystery woman and a kidnapping case. As a mystery drama, 'Adhrishyam' has its heart in the right place, with sufficient twists and turns to keep the audience guessing, till a point.

The pace reminds you of Tamil flicks of the same genre, but that shouldn't be surprising since 'Adrishyam' is a bilingual film, which caters to both Malayali and Tamil audiences.

Narain plays Nandakumar, a police officer who is asked by Purushothaman (Prathap Pothen), a top police official, to investigate a woman missing case. Sharafudheen (Rajkumar), a police officer from Tamil Nadu, is also part of the investigation. Simultaneously, Joju George who is an independent detective also starts a probe.

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Though it looks quite promising, the film struggles to progress naturally in some areas. The hospital scene, for example, involving a rich man (John Vijay) who wants to sear a child is very dramatic, though it soon becomes the turning point in the film. Also, in some areas the loopholes were evident, like when the makers failed to establish the connection between Purushothaman and Nandakumar. This lend incompleteness to the film.

Director Zac Harris has done a decent job keeping the mystery intact, though he hasn’t been able to infuse much freshness to the plotline.

But given that, the twists in the movie are quite interesting, especially when you consider that it is Zac's first film.

The characterisation is decent, but the use of multiple characters seemed unnecessary, as it tends to be too confusing. Joju George's role remains a mystery in the film, almost to the point that his character seemed like an unnecessary presence.

Its great to see Narain, who works predominantly in Tamil cinema, back in his home turf. As usual, he exudes enough charm on screen, though his character could been given some more meat.

Sharafudhin, who is getting a couple of variety roles, does justice to his character. It's a welcome surprise to see him handling romance with so much ease.

Joju George, who is capable of emoting best with his eyes, does justice to his role. The intensity is intact.

Anandhi and Athmeeya Rajan's performances are also, but there is limited space for women characters in the plot. Ranjin Raj's music lends charm to the film, while the background score by Dawn Vincent was also good.

It is good to see filmmakers exploring surrogacy as a subject, but a careful handling of sensitive topic is needed.

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'Bramayugam' Movie Review: What's Good, What's Bad; Find It Out From Viewers' Words

Mammootty has teamed up with Rahul Sadasivan who has a penchant for horror stories. They have collaborated for the first time for 'Bramayugam' which has hit the screens on Thursday.

Apart from Mammootty, it has Arjun Ashokan, Sidharth Bharathan, Amalda Liz, Manikandan R. Achari and others in the cast. The Malayalam movie has Christo Xavier's music, Shehnad Jalal's cinematography and Shafique Mohammed Ali's editing in the horror film.

Within the darkness of Kerala's dark ages, a haunting melody of freedom echoes as a singer flees the clutches of enslavement. Seeking solace and sanctuary, he stumbles upon a mysterious abode, veiled in magic and mystery. Welcomed by its enigmatic owner, the singer finds refuge but soon discovers that beneath the facade lies a sinister force, threatening to unravel his newfound peace.

#Bramayugam All Kerala Theatre List | In Cinemas from Today @allnightshifts @AanMegaMedia #BramayugamFromToday pic.twitter.com/2RI0pm4ok0 — Mammootty (@mammukka) February 15, 2024

Prepare to be spellbound by this mesmerizing journey into the heart of the ancient place, where legends come alive, and mysteries abound. It has to be noted that the movie has been entirely shot in black-and-white.

• #Bramayugam - Excellent first half 🔥🔥🔥 #Mammootty Sambhavam 🥵🤯 pic.twitter.com/3xvbZmVKH9 — Cinepedia (@TheCinepedia) February 15, 2024

The movie has created a lot of hype with its trailer and promotional materials. Mammootty's looks have piqued a lot of interest among his fans. Will it live up to the expectations? Find it out from viewers' words:

Excellent First Half Mamukka's brilliance performance Outstanding execution

veee: Mind = Blown!! #Bramayugam Rahul Sadasivan is India's proud answer to Jordan Peele. An absolutely terrific folklore horror with brilliant metaphorical layers on power corruption and human greed. And Mammootty delivers another flabbergasting beast of a performance. Going again!

Mollywood BoxOffice: #Bramayugam : A Masterpiece Of Indian Cinema !!! 🛐🔥 Never seen anything like this before, the conviction and the execution by Rahul Sadashivan 🫡🫡🫡 #Mammootty bought his A game once again - What a Performer. We haven't seen half of what he is actually capable of 🫡🛐 #ArjunAshokan and #SidharthBharathan with their career best performances. Don't miss this from theatres. Watch only from good quality screens.

Friday Matinee: #Bramayugam - Technically well crafted film backed up by stunning performances from Mammootty,Arjun & Sidharth. Both halves worked out well & 2nd half stands above the first. Technical expertise is just outstanding & sound design & bgm needs special mention. MASTER- PIECE 🎯

Jay Yakuza: Someone said a few years ago that the most interesting phase of Mammooty's carer has just begun. How right he was! Bramayugam is @mammukka like you've never seen him before. Theater experience warranted! Is there any role left for the man to do? #Bramayugam

Jo Sh Ua: What a movie 👌👌👌#Bramayugam Second Half > First half.. Another sure shot at Box-office Black & White format 👏👏 Mammootty's ability to convey depth and emotion adds layers to the film, making it a must-watch for fans of the actor and lovers of gripping cinema alike.

ForumKeralam: #Bramayugam A must watch Big Screen experience. Something that we haven't seen and experienced in Mollywood before. Shout out to Rahul for pulling this off👏 Another banger by the man @mammukka. Kodumon Potty will be up there with his very best🔥

SmartBarani: A really good storyline with a fairly engaging screenplay, making an interesting movie with just three characters is not an easy thing.. Technically so rich.. DOP, BGM & Art Direction 🔥🔥💥Terrific performances from three lead actors, minor flaws in 2nd half though 😅 Overall a good fantasy movie that is worth a watch Rating : 3.5/5

Muhammad Adhil: #Bramayugam : A superb mix of folklore, horror and power politics. The philosophical undertone was icing on the cake. Unlike Boothakaalam Rahul Sadasivan gets away from jump scare zone to psychological fear factor. Terrific performances lead by the master himself. Brilliant 🔥 Rahul Sadasivan spends most of his time in world building and dramatic space rather than horrors and saves his theatrical moments through @mammukka's characterisation who unleashes his beast in many sequences was ready for the horror but didn't see the political layer coming which elevates the overall impact of the film. Loved the tail end where Rahul introduces the colonial angle implying about the ultimate slavery on cards. Go for it

AmuthaBharathi: #Bramayugam [#ABRatings - 3/5] NOT MY CUP OF TEA - Decent first half followed by an very Average second half !! - Yes the movie has good Sound, Visuals, extrodinary #Mammootty's performance & Few intresting sequences....but as a overall movie didn't make big impact🚶 - Horror elements didn't work & too many slow motion shots - Perfect casting. Black & White theatrical experience was good👌 Overall an AVERAGE movie

Akshay Mohan: #Bramayugam First Half.

"Ikka is in terrific form. plotting this film in black and white was the best decision." His Evil Smile 😈 @mammooka 🙏🙏

Btwits_Akash: Watched Bramayugam✨ A Malayalam film that we can proudly show others🔥 Rahul Sadasivam making🤯 Christo Xavier🥵 Cinematography, Screenplay💥 Arjun Ashokan Performance👌 Don't compare mammukka with any actors in Indian cinema he's in different league💎 #Mammootty #Bramayugam Normally I don't post review about first half, but for this I have to🔥 The best decision the director made is to make this film in BW💯 Mammukka u are beyond limits💎 Eagerly waiting for second half🥵 Age of Madness😈 Detailed review

Ramsay.: #Bramayugam excellent first half 👌 @mammukka arjun performance 🔥 Making + bgm lit 🥵

Cinema Kompany: #Bramayugam Absolutely superb! A completely unique experience that sets a new standard. Top-notch filmmaking and #Mammookka's performance is on fire! Can't wait for the 2nd half; if it lives up to expectations, Malayalam cinema is going to witness something truly remarkable!

Ansu👻: Another milestone character for his career. what a brilliant execution. 🔥 Outstanding First half reports 👌

Classic Cinema: *#Bramayugam* *First Half Review -*

*I screamed out of fear 8 Times whenever #Mammootty came 😥* *His character is so creepy and scary !!* *The person sitting near me nearly had a heart attack from one scene...that was the scariest scene of the movie 😭* *Superb Movie 👏🏻*

Nandan: #Bramayugam is a well-made horror thriller by Rahul Sadasivan. Mammootty plays a menacing Kodumon Potti with ease. Arjun Ashokan and Siddharth Bharathan are at their best. Especially Siddharth Bharathan in the climax portions was very good. Slow first half with a good second half Forgot to mention the epic background score by Christo Xavier. One of the biggest positives of the movie. #Bramayugam first half done. Slow-paced. Horror elements are good until now. Mammootty, Arjun Ashokan and Siddharth Bharathan are all terrific in their roles. BGM by Christo Xavier is epic. Onto the second half.

Paulose Pk: #Bramayugam : Finally a well made horror folklore from Mollywood.💯 The first half was quite engaging keeping the mystery throughout and second half unfolding them. Terrific performance from Mammukka. Arjun, Siddharth has also done a great job. #Mammootty

malayalam movie reviews

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‘Pookkaalam’ movie review: A feel-good family entertainer with a novel theme

Ganesh raj’s film, centring on a nearly hundred years old couple, is a feel-good family entertainer with a novel theme that ends rather tamely and predictably.

April 08, 2023 05:18 pm | Updated April 09, 2023 11:33 am IST

A still from ‘Pookkaalam’ | Photo Credit: Saregama Malayalam/YouTube

Happiness is Ganesh Raj’s calling card; one would struggle to find an unhappy moment in his work. Even the biggest of crises would seem rather inconsequential when treated light-heartedly. In the world that he envisions, warm colours pop out of every other frame. Light, feel-good music goes on and on in the background. Tears are mostly out of happiness, rather than sorrow. For that matter, his debut movie itself was titled Aanandam (happiness).

While Aanandam was set around a group of youngsters on a college trip, in his sophomore work Pookkaalam , it is the older generation — a couple who are nearly a hundred years old and have been married for eighty years — who takes centre stage. On the day of their granddaughter Elsy’s (Annu Antony) betrothal, Ittoop (Vijayaraghavan) accidentally discovers an old letter written fifty years ago. The letter threatens to cast a cloud on the happy occasion, bringing up to the surface the family’s buried secrets

Pookkaalam (Malayalam)

The novel theme is what drives much of the movie, but Ganesh, who has also scripted it, ensures that it does not tread on terrains that are too hot to handle, just stopping short every time the movie threatens to slip out of the feel-good zone. Well, it is not wrong to play to your strengths. It is the kind of material that could have ended up as a heart-wrenching tale if handled by someone else.

Much of Pookkaalam focuses on the warm relationship between Ittoop and his wife Kochuthresia (KPAC Leela), and the large extended family around them, at present. Yet, it takes periodic shifts to the past, of their early days of struggles and personal losses, which gives us an idea of the impact that the crisis would have on the close-knit family. The crisis also shines a light on the unpleasant episodes that people wilfully forget to keep the ship sailing smoothly. People who seem sober in their old age might have done terrible things in the past. At one point, Kochuthresia ominously tells Ittoop, “We have been living in this house for eighty years. If we dig deep around here, we might find uncomfortable things.”

Ganesh attempts to balance every emotional moment quickly with a light-hearted scene, some working and some don’t. For instance, a running joke involving a junior advocate (Basil Joseph) and his old friend (Vineeth Sreenivasan), who is now a judge, seems a bit forced. Despite all the younger cast of actors around them, Vijayaraghavan and KPAC Leela hog all the limelight with their moving performances as the couple who are facing a crisis late in their lives. In the moments that he acts stern, Vijayaraghavan brings back memories of his father N.N.Pillai’s iconic character ‘Anjooran’ in Godfather .

Pookkaalam is a feel-good family entertainer with a novel theme that ends rather tamely and predictably.

Pookkaalam is currently running in theatres

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Kalki 2898 AD Full Movie Leaked Online In HD For Free Download After Theatrical Release: Reports

Kalki 2898 AD Full Movie Leaked Online: Amid a lot of buzz, Prabhas-Deepika Padukone's much-anticipated dystopian sci-fi thriller 'Kalki 2898 AD' hit cinemas globally today (June 27). Directed by Nag Ashwin, the multi-crore budget magnum opus released in 5 languages - Telugu, Hindi , Tamil and Malayalam. While fans are going gaga over the much-anticipated film, in a shocking turn of events, Kalki 2898 AD has unfortunately become a victim of piracy within hours of its grand theatrical release.

Kalki 2898 AD Full Cast & Plot Deets

Written-directed by Nag Ashwin and bankrolled by Lyca Productions, Kalki 2898 AD boasts an impressive ensemble consisting of several big names from the Indian film industry like Prabhas as Bhairava, Deepika Padukone as Sumathi, Amitabh Bachchan as Ashwatthama, Kamal Haasan as Yaskin and Disha Patani as Roxie.

The supporting cast includes Rajendra Prasad, Saswata Chatterjee, Brahmanandam, and Pasupathy among others. Vijay Deverakonda and Dulquer Salmaan made power-packed cameos in the film.

Kalki 2898 AD Full Movie Leaked Online For Free Download: Reports

Unfortunately, the Prabhas starrer fell prey to piracy. According to reports, the dystopian-thriller was allegedly leaked online in HD for free download on multiple illegal websites within hours of its theatrical release.

The leak has come as a shock to the entire cast and crew of Kalki 2898 AD.

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Kalki 2898 AD

A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces. A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces. A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces.

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• Soundtracks Bhairava Anthem (Telugu) Music by Santhosh Narayanan Lyrics by Ramjogayya Sastry Vocals by Deepak Blue & Diljit Dosanjh

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• Jun 26, 2024
• When was Kalki 2898 AD released? Powered by Alexa
• June 27, 2024 (United States)
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• Ramoji Film City, Hyderabad, Telangana, India
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