Parunthu starring Mammootty as a ruthless moneylender is directed by M Padmakumar. Haphazardly made without conviction is very tough to be endured let alone be enjoyed.
Director Unnikrishnan deserves a pat on his back for tweaking a formulaic and predictable storyline that will go down well with Mohanlal's fans as well as the general audience.
Mizhikal Sakshi, the new Malayalam film by Asok R Nath starring Sukumari and Mohanlal has a heartrending story of a mother, whose son is wrongly accused of a crime. Upon execution, however, the film fails to rise above the mundane.
One Way Ticket, Prithviraj's new film directed by Bipin Prabhakar has nothing new to offer. The only bright spot is the guest appearance of Mammootty, who plays himself.
Magic Lamp directed by Haridas was languishing in the cans for years at last made it to the theatres. Other than Jayaram's four roles it has nothing to boast about.
Shakespeare M.A.Malayalam, the maiden venture of director duo Shyju-Shaji starring Jayasurya and Roma, talks about writer's block to begin with but goes off tangent making it strictly watchable.
Director V K Prakash's Malayalam film, Positive, could have been a compelling film, as it is written by S N Swamy, the writer famous for his thrillers (especially the CBI series). Besides, being the stylish ad filmmaker-turned-feature film director that he is, you expect a stylish musical from Prakash, as the film is about a music band. But the film is not a murder mystery or a crime thriller or even a musical.
Pachamarathanalil, the directorial debut Leo Thaddeus tries to cash in on Sreenivasan's image but falls flat as the story does not have enough meat.
Swarnam, starring Kalabhavan Mani is a fine effort by debutant director Venugopan. The film also marks comeback of actress Praveena is worth our time.
This week's Malayalam release, Annan Thambi, is different. The writer-director team of Benny P Nayarambalam and Anwar Rasheed (their second outing after Chotta Mumbai) make it breezy and entertaining in spite of staying in the formulaic sphere.
Nothing makes much sense in Balachandra Menon film, De Ingottu Nokkiye. The only thing it does accomplish is to make a mockery of everything.
We were happy when Satyan Anthikad made Rasathantram a couple of years ago, presenting Mohanlal as a carpenter with a golden heart. The film gave us a reason to keep the faith alive in the actor that he is. Two years later, the actor-director duo try to repeat the magic with Innathe Chinthavishayam.
Malabar Wedding starring Indrajith and Gopika revolves around the custom of having fun at the expense of bride and groom on their wedding day is laudable first time effort by director duo Rajesh Faisal that could have done with some refinement.
Gopalapuram directed by K K Haridas and starring Ramana and Mukesh is tacky mixture of few genres that does not hold our interest.
Gee George's directorial debut tries to incorporate every genre in this Malayalam family saga, but fails miserably.
Cycle marks the debut of Veneeth Sreenivasan as an actor into Malayalam cinema. Directed by Johny Antony and written by James Albert of Classmates fame is a dark and humorous youth oriented film.
Sound of the Boot is another addition in the prolific output of Suresh Gopi-Shaji Kailas combo. A suspense thriller that becomes revenge saga in the second half fairs a notch better their recent outings.
College Kumaran directed by Thulasidhas sees Mohanlal in the role of a college canteen manager. It is a typical Mohanlal film with college and education system as the backdrop that the hero has to correct, ending up being an average fare.
Roudram, the second film scriptwriter turned director Renji Panicker starring Mammootty, is a typical cop tale with topical happenings of a hero taking on the system single-handedly.
Blessy's latest offering starring Dileep and Meera Jasmine is a departure from his usual style of stories that focus on the nuclear family. This film he claimed to be a combination of a love story and a thriller leaves you numb by the time it ends.
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