srikkanth-m Reviews

Gaami (2024)

A missed opportunity for a story on a grand scale.

[5/10 · 8 March 2024]

Gaami is a story of a reclusive Aghora trying to find a cure for his condition. We are introduced to three parallel plot lines, much like an anthology, and we get to see the characters struggling at various levels. The rest of the story is about whether they would be able to overcome their struggles.

While this story had a lot of potential to be a blockbuster thriller, the director's lack of conviction in handling the subject makes this an average watch. The writers take almost 45 minutes to kick start proceedings in act 2 while not giving us anything to hold on to in act 1. While transition to act 2 starts with an interesting premise, the director could not sustain that curiosity into act 3. The movie falters quite drastically in act 2 with illogical adventure set pieces that seem ridiculous.

This writing needed good dialogues but what we get instead is a bland exposition that barely creates any impact. There are too many liberties taken which dilute the seriousness of the plot. Although the movie redeems itself a little bit in act 3, by the time it gets there all the interest is lost as there are too many unanswered questions in the end.

The director focused more on the visuals instead of focusing on storytelling. We barely get any reasoning for the events happening on screen and we are expected to somehow connect emotionally with the characters which did not happen.

Bottomline, this story had a lot of scope and potential to be a spectacle in the right hands. But director Vidhyadhar Kagita fails to deliver the impact.

Malaikottai Vaaliban (2024)

The best technicians cannot fill the lack of a coherent story

[5/10 · 25 January 2024]

Malaikottai Vaaliban follows Vaaliban(Mohanlal) and his group of mercenaries/warriors who fight other warriors in different villages and who never loses a fight. Lijo Jose Pellissey takes his own time to establish Vaaliban as a charismatic warrior with his lengthy scenes and long shots embellished with a subdued background music. The framing, the music and the theme reminds the westerners of yore. Vaaliban ends up at his native village where he fights off the Portuguese ruler who enslaves the local people. The story moves at brisk pace from here on exploring various genres with some unexpected twists, albeit uninteresting, and culminates at an inconclusive juncture.

Lijo Jose Pellissery's obsession with static frames is evident here. The movie plays out like a theater play with long pauses between scenes and overly melodramatic dialogue. The choice of instruments used to provide the background score elevates this feeling which you may love or hate depending on your mood. The movie feels like it overstayed its welcome after a certain point.

Mohanlal as Vaaliban shines with his ever-expressive eyes and flawless portrayal of an arrogant mercenary. Harish Peradi gets an important and meaty role as Vaaliban's mentor which he portrays with finesse. The true star of the movie is the cinematographer Madhu Neelakandan who captivates the audiences with his immersive frames and color. You rarely say that camera work is the main highlight of a movie, and this is one of those.

But in the end, as the saying goes, even the best technicians cannot save a movie with barely any story to hold on to.

Garudan (2023)

A mind blowing investigative thriller that is worth a rewatch

[8/10 · 4 November 2023]

Garudan is a new movie directed by debutant Arun Varma. Written by Midhun Manuel Thomas of Anjaam Paathira fame with Suresh Gopi and Biju Menon playing the lead characters. Jakes Bejoy scored the music. Simply put, Garudan is a satisfying crime investigative thriller with some twists that I have never seen before.

To delve into the story, a college student is raped on a rainy night in an under construction building. The culprit barely gets a glimpse by a drunk construction worker under the flash of a lightning. However, the police fail to nab the culprit and seven months pass by. Finally, the police get a breakthrough and make an arrest. The court sentences the culprit to life imprisonment. After 7 years, the culprit is released early from jail due to good behavior. In the meantime, the police who handled the case is getting ready for retirement. The culprit files a petition in court to reopen the case to prove his innocence after serving his sentence. Why did he do that? Was he really the culprit? If not, who was? What happens to the police who handles the case and his retirement? Will the system ever find out who the real culprit was? All of these questions will be answered in the remainder of the movie.

Suresh Gopi played the cop who investigates the case and Biju Menon plays a college professor who has a PhD in finance and who gets blamed and goes to jail for rape. They are supported by Siddique, Abhirami and others. This is a Biju Menon show through and through. Suresh Gopi is at his usual best as playing a cop is nothing new to him. But it is Biju Menon who steals the show with his act.

Jakes Bejoy scored the music for this movie and it is apt and feels organic and contributes to the suspense. It is good.

The real star of the movie is Midhun Manuel Thomas. The screenplay keeps you engaged from start to finish. You become part of the narrative and you know you have a winner when this happens. The first half ends on a high and you feel the energy is dipping in the second half. However all of this is justified in act 3 which is about 20 minutes long. The pay off is worth the wait. You will probably guess who the real culprit is but you will convince yourself you are wrong because of the emotional connection to the characters. And yet something happens in the end that you couldn't have guessed.

Very rarely do you feel like rewatching a suspense thriller because you know what the suspense is. This is one of those movies. I will gladly rewatch Garudan.

Leo (III) (2023)

Story with immense potential marred by the LCU obsession.

[5/10 · 1 November 2023]

When Lokesh Kanagaraj announced a movie with Vijay after the massive success of Vikram and the official launch of the Lokesh Cinematic Universe (LCU), I was genuinely excited. The teaser did show glimpses of a potential LCU connection which added to my excitement. However, as things turned out, Leo is a convoluted mess of forced LCU connections that suffer from poor writing from the get go.

The movie starts off in a small town in Himachal Pradesh where a hyena is wreaking havoc on the streets. We see Joshy, played by Gautam Vasudev Menon, a forest officer calling Parthiban, played by Vijay, to help him subdue the hyena. Without going into too much specifics, Parthiban successfully tranquilizes the animal. The entire sequence was definitely well shot, despite being devoid of any logic. I attribute this to the typical massy introduction to our hero Parthiban.

Simultaneously, we notice the local collector and his family being murdered in their home by a gang from Tamil Nadu. In Himachal Pradesh. We are then introduced to Parthiban who runs a coffee shop and has been living in this town for about 20 years with his wife Sathya, played by Trisha, his son Siddhu played by the Malayalam actor Mathew Thomas and his daughter Mathi. We learn that Joshy and Parthiban are friends. It so happens that Parthiban happens to cross paths with the gang that killed the collector earlier in the movie. Due to some circumstances Parthiban ends up shooting everyone in that gang in his coffee shop to protect his daughter and an employee. Joshy ends up arresting Parthiban and places him on a 15 day remand. Then during the court proceedings, the judge rules that this is an act of self-defense and acquits Parthiban and also nominates him for the National Bravery Award.

This is where all logic is thrown out the window. The judge orders the police to verify whether Parthiban is a sharp shooter or not. They do this by bringing in random people from the street and ask them to shoot at dummy targets. Of course, everyone fails but Parthiban hits the bullseye every time. There is no explanation on how a person's past has any bearing on an act of self-defense. This entire sequence exists only to elevate Parthiban and serves no purpose whatsoever.

Anyway, this news spreads and Parthiban is in the news despite him trying to fly under the radar. This news about Parthiban reaches Harold Das, played by Arjun, who is in the state of Telangana and Harold Das relays the information to Antony Das, played by Sanjay Dutt, who is Harold's older brother. For some reason, they are searching for a man named Leo who resembles Parthiban. The rest of the story is how Antony and Harold track down Parthiban. How is Parthiban related to Antony and Harold? And more importantly who is Leo and what happened to him?

The entire 2 hour 45 minutes runtime is full of brilliantly choreographed action sequences. Especially a fight sequence that happens in a warehouse post-interval, where we get a single shot bird's eye view of the action that draws you in. That was brilliantly done. All the actors play their part well. One aspect that I appreciated is that despite being a mass hero, Vijay is shown as a family man with a wife, a teenage kid and a younger daughter. This is a welcome change in the industry where we see 70 year old actors romancing actresses the age of their own daughters. And Trisha playing Parthiban's wife is just a cherry on top.

This is where the good things end. What could've been a grand spectacle was marred by sloppy writing through and through. The movie is littered with scenes, characters and subplots that are illogical. For example, Parthiban requests police security. He lives in Himachal Pradesh however, he requests a highly ranked police officer from Tamil Nadu and, somehow, the judge obliges his request. I didn't know you could request a specific police from a specific state for protection anywhere in India. There is no explanation how and why a forest officer has so much power to investigate a case that is beyond his jurisdiction. Again, I don't know the details of how the system works but I can tell that this is not how it works.

Then there is the story itself. There is no mention of Parthiban cooking up chocolate anywhere in the movie despite hyping up chocolate. The coffee shop exists only for action sequences. There is no significance to it whatsoever and that is fine. However, this calls for scrutiny when this setup is hyped in the teasers and trailers. The villains are riddled with silly motivations that are, at times, laughable. Both Arjun and Sanjay Dutt have little to offer in their respective characters that were poorly written.

The movie is an out and out action movie for which music is the key. Anirudh has single handedly carried some movies with his background score. But I am disappointed to say that his music is starting to become repetitive and in this movie it is comical. The score and scenes felt like an attempt to force north and south poles of a magnet to stick. It is the same old techno trance music that Anirudh likes to give but this time the lyrics are downright childish.

Then there is this forced insertion of characters from the LCU. The addition feels inorganic and only there to build up the hype on the franchise. I thoroughly enjoyed Khaithi and Vikram. But after watching this movie, I wonder if Lokesh Kanagaraj is a one hit wonder. Kaithi may have been an exception to the rule and Vikram may have been a fluke.

Despite all this, the film did have a racy screenplay in the first half which takes a nosedive in the second half.

Kaala Paani (2023– )

An illogical soup of unnecessary sub-plots that drags beyond its boiling point.

[3/10 · 30 October 2023]

Kaala Paani is billed as India's first survival drama series by Netflix. Kaala Paani is about people, their relationships and their connection to nature and history during the onset of a deadly bacterial infection in the Andaman and Nicobar Islands. Set in the year 2027, the characters are familiar with dealing with an epidemic because they all lived through the COVID-19 pandemic. While Kaala Paani boasts an intriguing premise, it falters in its execution by over-indulging in its numerous subplots.

Kaala Paani or Dark Water as the name suggests is the name given to the bacteria infected waters of a lake on one the Andaman islands. On the one hand you have the native Oraka tribe who are actively trying to help people from the bacteria and on the other we have humans, both good and bad, trying to advance their agenda in their own way.

In the year 2027, a mysterious disease starts spreading in the Adaman islands with peculiar symptoms. First, a set of black patches appear on the necks of the infected persons accompanied with fever. Then the symptoms subside for two to three days and suddenly there would be an acute onset of hiccups after which the infected persons die within a few hours. As you have it in a typical movie trope, there is a dedicated yet secretive medical doctor researching the cause of this mysterious illness. She doesn't trust even her colleagues to uncover the cause. Then you have a loyal medical practitioner who follows rules and protocol to the T. You have an evil corporation with the help of an evil policeman trying to profit off of a large-scale festival celebration in the islands post COVID-19. You also have a well-intentioned politician who sees this event as an opportunity to boost tourism to the islands and thereby putting some money in the pockets of the local population.

Also, you have a family with a teenager who travels to the islands from mainland India for sightseeing. The teenager, being a teenager, wants to attend the festival while the parents want to go sightseeing as they don't like to attend the party. While tourists are pouring into Port Blair, you have environmentalists fighting to protect the land and hence the Orakas who are the tribes native to the island. Next, you have the evil corporation itself trying to profit off of anything and everything headed by a boss whom we never see.

If all these characters sound cliche to you, then they are. You get to see every cliche you have ever seen in any movie or a TV show. As the disease intensifies, one doctor makes a shocking discovery that the water was infected by an ancient bacteria but sadly succumbs to an accident on her way to alert people. This paves the way for a young immunologist and epidemiologist to continue the research and discover a cure while fighting off strict rules from her superiors in the government.

As the plot thickens, we see the disease, LHF-27, spread from a mere 10 people to an entire settlement triggering calls for isolation and sheltering in place. Tourists are trapped where they are, families scattered on the islands, more people getting infected and doctors and politicians trying to contain the spread of the disease.

While this sounds like the COVID-19 pandemic situation, Kaala Paani mixes this chaos with subplots highlighting the struggles of each of the characters and how this situation brings out the best and worst in them. You have a father longing to reunite with his children, a young scientist trying to find a cure, a politician trying to protect people. You name a character and a motivation, you get to see that here. And this is where Kaala Paani gets it wrong. This is where it over indulges in each character's backstory and fires off a subplot. While the reasoning provided is meaningful, it completely derails the main story and focuses too much on the subplots making it feel like the boredom we've all experienced during the pandemic.

Too many unnecessary plot points ruins the mood. It makes it difficult for the audience to anchor the emotions on a character. Some characters are killed for no reason. Some situations could've been avoided with a simple dialog. Character arcs and emotions seem forced upon us. All this while, people continue to die and somehow finding a cure takes a back seat for a good chunk of the narrative. It is only in the penultimate episode or so the characters finally realize that there is an epidemic and discover a cure. However, the narrative quickly shifts back to the characters and how the situation has changed them over the course of the 8 episodes.

In the end, we are left with no conclusions to anything or anyone. This is the classic example of "much ado about nothing". Had the makers focussed on fewer characters that drive the story forward in finding a cure, then this would've been an excellent watch. It felt like the makers wanted to make an Indian version of The Lost set in the post-COVID era and ended with a mess of characters and subplots. At times Kaala Paani appears preachy with its message about Orakas, their connection to nature, how humans destroyed their habitat, etc. This is all fine but this series fails to get its priorities straight.

All the while, one question kept coming back to me as much as I wanted to resist. When an epidemic situation arises in an India territory, especially after COVID-19, what was the Indian government doing? We get no mention of the Indian government anywhere. No mention of the WHO. Nothing. Instead we get fed in the narrative that the burden rests solely on a young scientist to discover a cure without any help purely based on intuition.

Despite the obviously lengthy and illogical plot, Kaala Paani keeps us engaged due to its outstanding cinematography that captures the beauty of the Andaman islands and also the trauma of an epidemic. The actors have done well in their roles and the music, although loud at times, is apt to build the tension.

In essence, while Kaala Paani had potential, its lack of focus and overwhelming subplots dilute its core message and tension.

Kaala Paani is streaming on Netflix.

Paachuvum Albhuthavilakkum (2023)

"Pachuvum Athbutha Vilakkum" Shines Amidst Incongruities

[8/10 · 30 May 2023]

"Pachuvum Athbutha Vilakkum" is a thought-provoking Malayalam language film that showcases the transformative journey of its protagonist, Pachu, portrayed brilliantly by Fahadh Faasil. Directed by Akhil Sathyan, who also serves as the film's writer and editor, this film delves into the depths of humanity, presenting a simple yet profound tale that captivates the audience from start to finish.

One of the film's greatest strengths lies in its storytelling. Through Pachu's eyes, we witness a compelling character arc that takes him from being an opportunistic individual to someone driven by a genuine desire to help others. The narrative skillfully weaves together numerous sub-plots that gradually unfold, providing us with a comprehensive understanding of Pachu's remarkable journey.

The performances in "Pachuvum Athbutha Vilakkum" are commendable across the board, with Fahadh Faasil delivering an exceptional portrayal. As Pachu, Faasil effortlessly immerses himself in the character, breathing life into every nuance and emotion. However, it is also worth mentioning the noteworthy performance of Anjana Jayaprakash as Hamsadhwani, the lead actress in the film. Anjana played her role with conviction, effectively complementing Pachu's character arc.

Hamsadhwani, named after the melodic raaga in Carnatic music, adds an intriguing layer to the film. Often sung as a beginning raaga in performances, Hamsadhwani's name could hold hidden meaning, symbolizing the start of a new chapter in Pachu's life. Anjana Jayaprakash portrays the character of Hamsadhwani with conviction, effectively complementing Pachu's character arc. Her portrayal adds depth and emotional resonance to the narrative.

While the film is engaging, it does suffer from a few incongruous sequences that detract from its overall impact. For instance, there are instances where certain sub-plots seem disconnected from the main narrative, adding unnecessary length to the film. These sequences, while not adding substantial value, divert the attention from the central story and undermine the film's cohesiveness.

Furthermore, there is a particular instance involving an encounter between Pachu and a child on a train. Initially, the child speaks in English but is instructed to speak in Malayalam. This inconsistency in language use seems out of place and could have been addressed more effectively through thoughtful dialogue. These incongruities hinder the film's thematic cohesion and detract from its otherwise strong narrative.

Directed by Akhil Sathyan, "Pachuvum Athbutha Vilakkum" skillfully explores the intertwining journeys of Pachu and Hamsadhwani. The intricate character dynamics and their development throughout the film contribute to its overall impact. The synergy between Fahadh Faasil and Anjana Jayaprakash brings an added layer of authenticity to the narrative, further enhancing the viewing experience.

In conclusion, "Pachuvum Athbutha Vilakkum" impresses with its thought-provoking storytelling and remarkable performances. Fahadh Faasil shines as Pachu, while Anjana Jayaprakash leaves a lasting impression as Hamsadhwani. Directed by Akhil Sathyan, this film beautifully captures the essence of its characters and their transformative arcs. While some incongruous sequences hinder its cohesiveness, "Pachuvum Athbutha Vilakkum" remains a commendable cinematic experience that resonates with its exploration of humanity and personal growth.

2018 (2023)

Everyone is a hero.

[10/10 · 6 May 2023]

"2018" is a cinematic triumph that tells an emotional story of the Kerala floods and the way humanity came together in the face of devastation. This is an outstanding movie that delivers an immersive and unforgettable viewing experience, with exceptional sound design, top-notch acting, stunning cinematography, and expert direction.

The screenplay is brilliantly crafted, presenting a multi-dimensional story with complex characters and engaging dialogue that draws the audience in from the first scene. Director, Jude Anthony Joseph, showcases exceptional direction throughout the film, expertly weaving together the different elements of the story to create a captivating and emotionally charged narrative.

The cinematography is breathtaking, capturing the scale and impact of the floods with remarkable accuracy. The camera work showcases the beauty and destruction of the floods, drawing the audience in and making them feel like they're experiencing the tragedy firsthand. The editing is seamless, maintaining the pace of the story and ensuring that the audience is fully invested in the narrative.

The production design and art direction are remarkable, creating an authentic and immersive world that perfectly captures the destruction caused by the floods. The attention to detail is impressive, from the ruined buildings to the debris-strewn streets, everything is realistic and perfectly captures the feeling of chaos and loss.

The acting is top-notch, with every member of the cast delivering an exceptional performance. The actors expertly portray the range of emotions experienced by those affected by the floods, capturing the heartbreak, resilience, and hope that define the human experience in the face of tragedy.

Overall, "2018" is one of the best survival thrillers to ever come to the big screen. It's a powerful and moving story that highlights the strength of the human spirit in the face of adversity. The exceptional sound design, expert direction, outstanding acting, and breathtaking cinematography all come together to create an unforgettable cinematic experience. This is a must-see film for anyone who loves great storytelling and exceptional filmmaking.

Virupaksha (2023)

Worth a watch despite being a bit tedious

[8/10 · 21 April 2023]

Virupaksha is about saving people from evil.

The 144 minute runtime feels a bit dragged on. However, the payoff in the end makes it worthwhile. The director ensures that the audience are hooked. Despite an occasional drop in the proceedings and a lengthy first half, the movies succeeds in engaging the audience. It does have it flaws and some open ends left unanswered but overall, the story and screenplay are tight.

The movie offers a terrific sound design and cinematography that are a feast for the ears and eyes respectively. The actors are decent in their respective roles. However, some characters in the movie felt unnecessary. The story dwells too much on certain aspects every now and then which makes it a bit tedious at times.

Overall an enjoyable movie.

Neelavelicham (2023)

An average show that overstays its welcome.

[6/10 · 21 April 2023]

The sound design and cinematography were fantastic. Tovino did an excellent job. However, this is the classic case of a movie overstaying its welcome. I did not watch the original and haven't read the story before. So, I went in with a fresh perspective. The fact that they marketed this as a Horror is what killed it for me. This is a Drama through and through. There's no horror.

A lot of scenes dragged on for no reason. I was told that this is a faithful remake of the original. But because something is old doesn't make it good. TBH, had the movie paced a little faster it would've been more engaging. Most of the movie focused on Basheer befriending Bhargavi. There was no emotional connection with Bhargavi or Sasi Kumar. You don't feel invested in their characters. There was no emotional connection to Basheer either. No explanation given on what makes Basheer not to be scared of the ghost. Sure, we do understand that he is a soft-spoken character. At least one scene that establishes him would've gone a long way in establishing that emotional connection. They could've cut short the first half and spent a little bit more time on Bhargavi and Sasi Kumar's relationship.

Overall, a very average movie.

Fidaa (2017)

A snooze fest

[3/10 · 23 August 2017]

At the core this is just a boy meets girl, misunderstanding, patch-up love story. No surprises here.

The whole movie revolves around Bhanu. Bhanu is the hero of the script and Varun is a supporting character. Technically, there is no villain but in a strict sense of the script, Bhanu's will/ambition is the villain. The lead actress portrayed the character with conviction. The lead actor got the job done but his characterization is very weak. In fact, all the characters are very two dimensional and predictable, like any other Indian movie. The characters keep contradicting themselves time and again and they act out of character in every other scene.

Then there is editing. Badly done editing job makes this movie a drag fest. The scenes are long for no reason and some scenes are too short to take anything away from it.

If not for the lead actress, this movie would've been a disaster. She made this movie somewhat bearable.