Sreenivasan could so willingly be 'our little man' because in his heart of hearts he never felt trivial or inconsequential. And to the very end he stayed that way, the shrimp who knew he was a giant. Sreehari Nair doffs his hat to the late legend.
Girish AD doesn't make romantic comedies so much as he elevates the genre, observes Sreehari Nair.
'Kumbalangi Nights is a movie that respects women, but most importantly, it's a movie that loves them,' says Sreehari Nair.
Since nothing irritates Lijo Jose Pellissery more than a throwaway critical judgment, Sreehari Nair carefully presents his opinions about Malaikottai Vaaliban, a good two weeks after he first saw the movie.
Thankam delivers an engaging drama that fans of good crime-solving tales will enjoy, recommends Mayur Sanap.
It was a year of so many contradictions and contrasts that it became dangerous to talk about movies, people lost their heads discussing Friday releases, psychiatrists began dabbling in film criticism, and film critics turned into psychiatrists, says Sreehari Nair.
With Joji, Dileesh Pothan has found a way, once more, to use everything he has learnt to further push the boundaries of his art, observes Sreehari Nair.
Dear Friend is for those who idealised Dil Chahta Hai all out of proportion, and then warmed up to the premise that friendship could be a lot more complicated, and transient, observes Sreehari Nair.
A look at the winners of the 64th National awards.
Iyobinte Pusthakam is a visual extravaganza where director Amal Neerad's technical skills and the brilliance of the ensemble cast win the day.
Kumbalangi Nights is one of those movies that will put you in a good mood every time you watch it, promises Anita Aikara.
Sreehari Nair could not put up with turgid and self-serious ones like Super Deluxe and Gully Boy. His list of favourite Indian movies of 2019 contains just five names.
'Once Mohanlal's ever-swelling entourage grasped his enormous worth, once it realized that the innate Mohanlal appeal could be profited from, it set about to exploit, to make uproars, to create the Mohanlal brand.' 'And he wasn't meant to be a brand. He was meant to be an artist, a tireless explorer of the unique seas inside him,' asserts Sreehari Nair.
Every film that Sriram Raghavan makes is a compendium of ideas and sensations that tickle him. Trying to remake a Sriram Raghavan film is like getting excited by somebody else's goosebumps, observes Sreehari Nair.
'It's only in the last seven years, I have taken acting seriously.'
As Fahadh Faasil turns 39 on August 8, Subhash K Jha looks back at his favourite films featuring the brilliant actor.
'Movie plots clearly don't excite director Dileesh Pothan as much as true stories where life had come dizzyingly close to becoming like a movie and then, had fused back with life.' 'This means that a conversation he overhears at a tea shop is more likely to give Pothan a setting for his next picture than a brainstorming session inside a conference room,' says Sreehari Nair.
'By ruffling dignified feathers, and by polarising its audience, Kabir Singh has put movies and art back into our public discourse,' says Sreehari Nair.
'Article 15 is not the work of a hack, or of someone merely scooping a plot out of newspaper headlines.' 'It is a well-researched, clear-headed movie; but its findings have a purpose,' says Sreehari Nair.
And it's written with tears, blood and unspoken lines.
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