After her husband passes, a young woman finds herself inexplicably out of grief.
The essence of Ranam is simple. It seeks to highlight the plight of farmers and their struggle against injustice. But the way it is executed leaves the viewer confused and tired.
Like 5 Sundarikal before it, Aanum Pennum revolves around women.
Unnecessary distractions mar a political drama that shows much promise initially
Tovino Thomas’ Shaji evokes the flawed protagonists from some of the John Ford Westerns made in the 1950s.
The private organisation Apex wants to access this hollow earth to come up with a power source that can effectuate their sinister plans.
Despite Wynne’s many attempts at hiding his real reasons for visiting the Soviet Union so often, she sees through his deception.
The dialogues are occasionally funny but can’t measure up to the screwball comedies of old so many of them about couples on the run.
As heartbreaking as the climax is, Ulusoy forces the viewer to look at the story in a new light, one could even prod you to watch this film again, especially.
The dialogues, with vehement usage of irrelevant analogies, fuel melodrama and constrain the conversations to a theatrical zone.
Though the film has an impressive central plotline, it keeps softening its blows and leaves us with an unfulfilling last impression.
The first-timer director Koushik Pegallapati juxtaposes serious issues with comedy and philosophy to good effect in Chaavu Kaburu Challaga.
Despite the excess melodrama, Mohan Kumar Fans manages to be a smile-inducing entertainer.
Despite having able lead actors, because of issues with the direction, there is a disconnect between the audience and the film.
Filmmaker Balu Chandrashekar, who has chosen murder and kidnap as the themes for his first investigative drama, is subtle and sometimes dry in his direction.