Aadu 3: Part 1 feels like a film trapped in its own ambition. While it expands the universe in an interesting manner, it loses sight of the tight, irreverent humour that made the previous films click in the first place, notes Sreeju Sudhakaran.
Mammootty plays a prisoner in the film, who is serving a sentence for double homicide.
The film has been garnering critical acclaim at film fests.
The period film titled Njan, is directed by Ranjith.
The film has the famous Attukal Pongala festival as the backdrop and the Censor Board initially refused to give a screening certificate.
A lowdown on all the goings-on in the Malayalam film industry.
Upacharapoorvam Gunda Jayan is a good respite from the dark, violent films we have seen in recent times, observes Divya Nair.
The film makes an effort to add sparkle to the so-called 'new gen' formula, but ends up being a damp squib.
The latest updates from the Malayalam film industry.
Dulquer Salmaan plays a character from the 1930s in Ranjith's Njan, and media person John Brittas makes his big screen debut in Madhu Kaithapram's Vellivelichathil.
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Director Jimson Joy tries to combine an old-style narrative with so-called 'new gen' cinema in Bicycle Thieves, but fails to get it right.
Tamil film Thani Oruvan is perfectly executed, says S Saraswathi.
Malayalam film The Dolphins gets preachy after a while, says Paresh C Palicha.
Once you are done paying your respect to God and Grasshoppers, you circle back to the human beings in Gold, and that's when things become progressively more and more muddled, observes Sreehari Nair.
Despite its stiffness, in Aarkkariyam, a supernatural glow does shine out of the ordinary.
What Director Mahesh Narayanan captures perfectly in C U Soon is the texture of our online conversations, observes Sreehari Nair.
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