Chathurmukham, starring Manju Warrier, scores well because of the novelty of its ideas, anchored by cautious and skilful execution
Director Dileesh Pothan and screenwriter Syam Pushkaran deliver one more winner.
Rejishh Midhila’s Innu Mudhal is a perfect example of a film with a simple core idea narrated with enough colour and ingenuity. It makes you feel good without overdoing it.
Mandela’s opening scene has an impactful shot that, for me, goes straight into the most daring frames of Tamil cinema.
The tonality and treatment are self-explanatory, with the story woven around a series of pranks, as hidden cameras capture the bewildered reactions of people.
There’s also the constant suggestion that Sulthan is The One, with a Baahubali-esque scene in which the baby is held aloft by the uncles.
He seems to have found the perfect technique to deliver a powerful message in a film that also entertains the viewer.
He is a killing machine, a father dealing with the death of his only daughter, a dedicated officer committed to bringing down terrorist organisations, but he is also the charming Nagarjuna.
The gypsum plant in her town closed its doors rendering almost all of the population there jobless, and even its ZIP Code was discontinued.
Irul is marred by miscasting and a disappointing final twist
Cinematographer Sanu John Varghese makes an assured directorial debut with a convention-breaking film.
Sajin Baabu’s new film doesn’t spare anyone; it shows people as they are
The story is about a couple who decide to hire a nanny to help manage household chores as the woman tries to overcome writer's block and finish her novel.
Even the routine slang jokes are presented with a dash of freshness and in a less annoying manner.
With much respect to the efforts that have clearly gone into the making of this film that involves very many elephants and of course, VFX, it’s the wafer-thin, predictable plot that lets it down.