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'Exhuma' movie review: An effective horror film steeped in myth, legends, and realism
Most horror film characters have scant regard for advice. They disregard obvious advice such as Do not go near the window or Stay where you are, even if it is common sense that would have saved them. In Jang Jae-Hyuns Exhuma, too, such disregard for advice happens but it is used in a unique way. An affluent Korean-American family has their grandfathers remains exhumed through a shaman (Kim Go-eun), against the caveat of a diviner (Choi Min-sik). The film uses the act of exhumation as a metaphor for how greed is the root of all evil. It is a fiendish and frightening feature that wears you to a frazzle. The film starts off in conventional horror fashion, with a mildly expository passage about how an evil spirit plagues different generations of a Korean-American family. When two of their newborns die and one has an inexplicable health condition, the family calls up Kim Go-Euns shaman and Choi Min-siks diviner to dig deep into their ancestry and help them understand what is haunting them. Terming it Graves Call, the shaman explains it as a curse from a past spirit and sets off on an exploration into the inexplicable. The first half of Exhuma is only a slight cut above your standard horror film. However, Jae-Hyuns world-building instantly draws you into the mystical world with a blend of silence and atmospherics, as well as minimal use of horror tropes such as jump scares and It's all just a dream'' moments. Gradually, the film immerses us in its world steeped in Koreas tumultuous past, especially its once-simmering tensions with Japan, and culture. It is only when the second half begins that we even realise the depth of Jae-hyuns screenplay. Take one of the central characters of Exhuma, for instance. He is the spirit of a soldier with haunting ties to the Japanese invasions of Korea. The constant weariness that the Korean characters show towards any reference to Japan, including the spirit, mirrors the complicated relationship between these two neighbouring nations. Ardent horror fans are sure to celebrate and treasure the constant juxtaposition between the Imjin War imagery and the horror sequences in the film. It seamlessly weaves in a brief history of greedy grave robbers in Korea, even amidst the shamanic rituals aimed at appeasing the vengeful spirit. Amazingly, it does not digress from the main plot, despite the multifaceted storytelling. Watching Exhuma often means flipping through pages of an ancient chapter of history steeped in folklore, myth, and realism. It is fascinating how the film works both as a cultural and socio-political allegory and as a horror feature, even as it retains a subtle sense of humour. A horror film rarely offers such a balanced mix of emotions. A nerve-racking cinematic experience rooted in ancient culture and history that does not shy away from humour is a rarity. While the pre-interval portions hint at its world of fantasy with an element of gore, the second half also shows how grounded it is in realism. For example, the use of a real Buddhist tattoo at a pivotal plot point brings out the biggest laughs you will have from any horror film. The execution is also exemplary. An early portion shows flames of fire segueing into the image of a man gasping for breath on a hospital bed with wheels. The sudden appearance of a snake with a persons head is shot with such a sense of urgency that befits the eerie atmosphere. Another fantastic sequence involves two characters trying to ward off each other and establish superiority in a jungle with mist fast enveloping the trees and the surroundings. Lee Mo-gaes cinematography not only shows the tension palpable on the actors faces but also adds to the films world-building. There are also craftful uses of visual effects for the portions where the spirit turns into a bowl of fire and circles the horizon, even as the film peels off its Feng Shui layers. There is a sense of dread in the air, on the surface, and under the earth in Exhuma. The film that discusses the perils of digging up the past ends up crawling under our skin and leaving a spine-tingling effect. Director: Jang Jae-Hyun Cast: Kim Go-eun, Choi Min-sik, Yoo Hae-jin, Lee Do-hyun, Kim Jae-cheol Rating: 4/5 ( This review originally appeared on Cinema Express )
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'Usire Usire' movie review: A lacklustre film that gasps for quality
Usire Usire comes on the screen with delayed anticipation, yet manages to pique curiosity as it welcomes back cricketer-turned-actor and Bigg Boss Kannada contestant Rajeev, alongside a guest appearance by none other than star Kichcha Sudeep. A film that transcends caste boundaries and adds a valuable climax rooted in a real-life incident, will this promise a breath of fresh air? Set against the backdrop of middle-class life where caste is but a faint whisper, the film follows the intertwined lives of two families from different religious backgrounds. Manu (Rajeev Hanu) and Saira Bhanu (Srijita Ghosh) defy societal norms with their childhood friendship, only to be separated by circumstances when Saira moves to a different town with her parents. Fifteen years later, Manu finds himself entangled in the complexities of love upon reuniting with Saira Bhanu in college. Though Manu initially faces hiccups, his romance with Saira Bhanu blossoms, but against the parents wishes, leading them to elope and start afresh. However, their happiness is short-lived when Manu discovers Sairas severe heart condition. The film raises questions about the endurance of childhood innocence and the sacrifices made for love. As Manu struggles to save his beloved, the narrative crescendos to a climax based on real events, with Sudeep adding value to the film with his emphatic performance. Despite its promising premise, Usire Usire falters in writing and execution. The director loses the plot early on, leaving crucial scenes and character developments disjointed. While Rajeev shines in action sequences, his portrayal lacks depth. Due to a lack of clear vision, the sequences involving Rajeev, which feel repetitive, become tedious to watch and test our patience. Srijita Ghoshs performance feels out of sync with the rooted flavour that the film was going for. Guest appearances by noted Telugu actors Ali and Brahmanandam add little substance, while attempts by Manju Pavagada at humour fall flat, especially his attempts at physical humour, with exaggerated body language. The performances of the rest of the actors including Rajesh Nataranga, Sadhu Kokila, Devaraj, Suchendra Prasad and Tara go unnoticed. Except for the climax and Sudeeps blink-and-miss appearance, with a poignant message, Usire Usire falls short of its potential, delivering a tedious watch marred by inconsistencies. Even with an emotional core, the poor execution leaves a lot of the films potential untapped. Usire Usire Director : CM Vijay Cast: Rajeev, Srijita Ghosh, Ali, Brahmanandam, Manju Pavagada, Rajesh Nataranga, Tara, Sadhu Kokila, and Devaraj Rating : 2/5
'Kangaroo' movie review: Perfect balance of thrills, suspense and emotions
Imagine the tenderness of a kangaroo nurturing its childa universal image of parental dedication. Now, picture that essence transposed into the soul of a film that is wrapped in the cloak of a crime thriller with a chilling touch of horror. Kishore Megalamane crafts this narrative through a series of deaths, tallying up to a staggering 125, with nearly 70 classified, including 12 women, as suicides. Set against the backdrop of Chikkamagaluru, the films focal point of investigations is the Anthony Guest House. Enter Prithvi (Aditya), a dutiful police officer transferred to Chikkamagaluru thrust into a mission that demands sacrifices, a notion accepted by his understanding parents as well as his pregnant wife and psychiatrist Meghna (Ranjani Raghavan). As Prithvi immerses himself in his new assignment, a chilling revelation emergeshis own brother (Nagendra Urs) is counted among the suicide victims. What commences as a whodunit swiftly morphs into a thriller, offering audiences an edge-of-the-seat experience sprinkled with horror. Yet, amidst the adrenaline rush of the investigation lies an emotional core, lending justification to the unfolding chaos. At the outset, director Kishore Megalamane boldly presents a tale that defies convention as he weaves together elements of crime and horror, while striking an emotional chord with equal measure. My attention was caught when Prithvi makes his psychiatrist wife Meghana a part of the investigation, which transforms into the linchpin of the story. Through her character, the essence of maternal care is delicately woven into the fabric of Kangaroo. From the moment Prithvi assumes command of the investigation, Kishore keeps audiences spellbound, stitching together all the characters and events. Every twist and turn, every interaction with fellow officers and witnesses, is meticulously presented, propelling Kangaroo into a league of its own as a suspense-laden drama. Aditya has often been drawn towards cop roles, although not always captivatingly so. My favourite of his cop roles comes in Edegarike, where his performance stood out, and now in Kangaroo, he brings a similar essence to his charactersubtle yet commanding, devoid of extravagant fights. He navigates most of the narrative through conversation alone, with his eyes and facial expressions effortlessly drawing the audience into his investigations. Credit is due to director Kishroe for extracting such a performance from Aditya. Ranaini Raghavans role is equally compelling; she is the soul of the story, showcasing two extreme shades. Departing from her usual serial appearances, she delivers an impactful performance on screen, stealing the show in the climax while defining the traits of a kangaroo with precision. The supporting cast also shines, enhancing the investigative genre, complemented by Sadhu Kokilas evocative background score. Kangaroo maintains a high standard in the making throughout, ensuring the audience remains engrossed in the investigation and emotional bonds, especially in unravelling a kangaroos identity in this blend of crime and suspense. Kangaroo Director: Kishore Megalamane Cast: Aditya, Ranjani Raghavan, Nagendra Urs, Kari Subbu, and Ashwin Haasan Rating: 3/5
'Prasanna Vadanam' movie review: A gripping thriller-drama that perfectly plays to Suhas strengths
HYDERABAD : If you are walking into Prasanna Vadanam expecting a thriller, the first half an hour might belie your expectations to some degree. Even though the film unfolds with the visuals of a fatally injured Surya (Suhas) being taken to the ICU, the sequences that follow have a surprisingly laidback energy. We learn that the jovial, good-hearted Surya has managed to overcome the trauma, and learned to lead a normal life free of any emotional baggage. However, just as we are making peace with the narratives nonchalant demeanour, as Surya looks at people around him going about their life with a calm mundaneness on a rainy night, director Arjun YK turns the tables on us, reminding us of his storys true ambitions. The central conflict comes into place as Surya witnesses something horrific, and decides to do something about it. The cards fall in one swift move, instantly taking us into the middle of the action. From this point onwards, Prasanna Vadanam maintains tension in the narrative, springing up one twist after another, barely giving us time to think. Its hard to talk about Prasanna Vadanam without giving away spoilers, but the film truly gets into its groove around the interval mark when we get clarity on who the real antagonist is. Writer-director Arjun YK knows that any taut, thrilling narrative depends equally on its evil forces as much as its goodness, and creates an exciting villain figure here who is repulsive and riveting in equal measure. The film often catches us off-guard with its twists and developments; the antagonist stays ahead of not just the protagonist but the audience itself, and thats a win. Its easy to label Prasanna Vadanam as a plot-driven thriller, but a lot of the credit goes to the tension that stems from the unpredictability of the antagonist. We stay invested in the narrative on two levels, fearing and rooting for Surya while dreading the villains next move. What makes Prasanna Vadanam more compelling is that we are also made privy to the antagonists backstory and motivations, which makes the character more human while not compromising on the menacing aura the villain needs. Despite an occasional hiccup and a few logical loopholes, the narrative manages to keep us engaged due to this compelling cat-and-mouse dynamic between the good and the evil. Moreover, while maintaining its essence as a taut thriller, Prasanna Vadanam acquires a rather free-flowing tonality in the second half. The lines between comedy and tragedy occasionally get blurry in this story about an ordinary man straddling a chaotic situation, and Arjun YK makes space for some absurd humour too. There are plenty of moments in the second half where the protagonists vulnerabilities add to the tension, like a riveting action sequence that takes place in a public toilet. The director uses the dynamics of a constrained physical space to great effect, as we see Surya struggling to break free from the clutches of two psychopaths. At the same time, Prasanna Vadanam doesnt shy away from delving into moral ambiguity or the messier parts of its protagonist Suryas predicament either. At one point, Surya threatens a baddie with killing his infant baby if he doesnt help him out. We know Surya eventually wont do it, but are caught off-guard nonetheless, wondering for a quick moment whether Surya has actually become capable of evil, after enduring ill-treatment. In the final act, Arjun YK makes ingenious use of the romance track which up until now had felt completely perfunctory, without coming across as gimmicky. These portions offer a roller-coaster of emotions, as we empathise with Suryas helplessness while being fully aware that something macabre could occur at any moment, and this tension again goes back to having a tragicomic protagonist at its root. Prasanna Vadanam benefits hugely from an exemplary actor like Suhas, who breathes life into his role. The actor often elevates minor moments, lending a lot of rawness and humanity to a character that could have easily come off as a typical hero figure in the hands of another star. Suhas never makes Surya invincible, always reminding us of his ordinariness with small touches, like the one where his shoulder flinches after he pushes open a locked door, or when he desperately picks up a half-smoked cigarette from the pavement while being on the run for hours. These moments ring true, but more crucially, they remind us that, at its core, this is the story of a common man who is not above moments of deprivation or utter despair. Film: Prasanna Vadanam Cast: Suhas, Rashi Singh, Harsha Chemudu, Payal Radhakrishna Director: Arjun YK Rating: 3.5/5
'The Fall Guy' movie review: Barely amusing but loaded with ample romance & action
The Fall Guy has an inherent charm but the charm feels algorithmically structured. It has all the right doses of action, comedy, and romance, built around each other in the right proportions, in a perfectly balanced screenplay. However, the human tendency to seek out inauthenticity keeps pointing out that the charm feels plastic and manufactured. Take for instance The uncanny valley effect, where humans would look at a humanoid robot or a CGI creation that looks vaguely human, and feel mildly unsettled because a primal part of our brain keeps telling us that what we are looking at isnt quite human. While this is largely a visual attribute, the screenplay of The Fall Guy does evoke an uncanny valley effect, with how much it tries to be a whimsical action-comedy. While we do stay engaged with the flow of the story, we cannot shake the feeling that the film is not quite what it is trying to be. After superstar Tom Ryder (Aaron Taylor-Johnson) disappears, his stunt double Colt Seavers (Ryan Gosling) must find him and get him back on the set so his ex-girlfriend Jody Moreno (Emily Blunt) can finish her big debut film, and maybe Seavers can get the love of his life back. The quirky premise has the sweet nostalgic aftertaste of an 80s romantic comedy. With a splendid chemistry between Ryan Gosling and Emily Blunt, the romance largely works. We feel the spark and even though you know where the will-they-wont-they eventually leads to, you still want the characters to end up together. However, the biggest debilitating factor of the film ends up being the humour and the dialogue. The Fall Guy religiously follows the recipe of modern comedies. We have meta commentaries on the storys structure, excessive pop culture references, drug-induced hallucination jokes, cameos nobody asked for, and a post-credit gag to wrap it all up. The humour is watered down, and bland, and the best reaction it gets out of you is that you are mildly amused, which happens sparsely. The one aspect of the film that makes the best use of the genre is the action. Director David Leitch leverages the Hollywood setting of the story and delivers a stunt sequence wherever possible. And the action is appropriate to the lightheartedness of the genre as well. There are different types of action on film. Some are intense and gripping while others, in the vein of television wrestling, look thoroughly amazing with no intention of raising your pulse. The action in The Fall Guy belongs to the latter category. In a time when films drench the screen with blood and gore, it is refreshing to see a light-hearted shade of action. It reminds us of the early 90s Jackie Chan action comedies, where visual gags are ingrained in whimsical fight sequences, where even the protagonist is not immune to failures and stunt gags. While Emily Blunt stands out with her expressive, emotionally resonant performance, Ryan Gosling amps up the charm with his laid-back, restrained approach that goes well with the overall tone of the film. The supporting characters blend into the background and refuse to stand out. The Fall Guy has all the right ingredients: An engaging story, likeable performances, romance that connects with you and is loaded with plenty of action. However, the film delivers the bare minimum and fails to hold your attention on account of a flimsy screenplay and ineffective humour. It belongs to the genre of film that entertains you by not straining your attention, that amuses you but exerts no effort to keep you hooked. You can carelessly zone in and out of focus and still feel like you had fun. The Fall Guy is the kind of action-comedy you play on your screen at home while youre doing something in the background, but when someone asks, you still say you had fun. Film: The Fall Guy Director: David Leitch Cast: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson Rating: 2.5/5
'Nadikar' movie review: A lost opportunity, high on broad strokes
In one of the early scenes of Nadikar, superstar David Padikkal (Tovino Thomas) is ready for his shot and starts reciting the lines that he has memorised. Feel evide? (Where is the feel?), shouts a veteran director (Ranjith), frustrated on seeing his lead actor hamming his way through, sans any emotion. This sequence comes after a well-shot montage illustrating Davids sudden propulsion to stardom, leading him to taking things for granted with an unmistakable air of arrogance. As the film progresses nonchalantly, one cannot be blamed if the audience, too, start pondering the same question. Feel evide? Several years after a streak of success catapulted him to fame, David is now gradually losing everything, courtesy a string of flops. The general public, the media, and his entourage are all questioning his relevance as an actor. It reaches a point where he becomes open to the idea of hiring a professional acting coach, who could potentially breathe new life into his waning career. Soon, Bala (Soubin Shahir), a dispassionate acting instructor with a strong theater background comes into the picture and it is anything but smooth for him to tame Davids tantrums. It is the second time Lal Jr is attempting a film centered around the life of a film star after Driving License (2019), which, thankfully, had the backing of a solid script that did not pull its punches. Coming to Nadikar, the intentions are evident in its portrayal of the evolution of an unruly superstar, but unfortunately, Suvin S Somasekharans lackadaisical writing approaches this narrative with broad strokes. Barring some of the sporadic humour, mostly involving Suresh Krishna and Balu Varghese, the film tries too hard to find a solid footing. Nadikar begins on a humble note with the video footage of an interview featuring Malayalams first superstar, Prem Nazir, sharing pearls of wisdom on how stardom is not a bed of roses and emphasising the importance of discipline to stay relevant. The film attempts to examine this notion of stardom as a meta-commentary in todays times, showcasing how the Malayalam film industry operates. Unfortunately, apart from barely scratching the surface of the underlying themes and featuring some customary tongue-in-cheek gags related to the industry, it offers hardly anything new that we have not seen before. The first hour of Nadikar moves at a brisk pace as it leaves no stone unturned in portraying Davids unhinged and insecure life as a junkie and womaniser, who cant move on from his ex-lover. However, it significantly falters in engaging the audience post the interval when David reluctantly starts embracing Balas pieces of advice on how to act. As David, Tovino does manage to deliver an impressive performance while walking a tightrope between portraying a haughty star consumed by vanity and a mediocre actor who cannot even care to move a finger to improve his craft. The film falters when it lazily tries to explore the inner turmoils of David as an orphan, which becomes the cornerstone of the characters reinvention as an actor. Soubin, too, gets to shine in a few emotional scenes opposite Tovino, but the writing around his one-note character leaves a lot to be desired. Among the supporting cast, the standout performer was the hilarious Suresh Krishna as Davids manager, reminiscent of Antony Perumbavoors association with Mohanlal, as referenced in the film. Balu Varghese, too, provides comedic relief as part of the entourage. It was also refreshing to see Bhavana in a composed-yet-fun portrayal, even though her limited presence is peripheral to the story. One aspect that soared high in the film is, of course, the costumes and styling departments who understood the assignment. While most of the technical departments were satisfactory, the sync sound and mixing felt subpar as many dialogues were partially inaudible. On the whole, Nadikar is a lost opportunity that lacks both energy and emotional connection. It could have been a compelling coming-of-age of a narcissist and a potent satire on the idea of stardom, but its unimaginative writing makes it a lacklustre affair. Film: Nadikar Cast: Tovino Thomas, Soubin Shahir, Bhavana, Suresh Krishna, Balu Varghese Director: Lal Jr Rating : 2.5/5
'Aranmanai 4' movie review: An in-form Sundar C finds the sweet spot between humour and horror
CHENNAI : Some ideas are par for the course in the Aranmanai franchise, like the nightly ghost routine, the not-so-novel use of heroines, the hit-or-miss comedy... Despite all of this, Aranmanai 4 doesnt succumb to franchise fatigue, mainly due to refreshing plot twists and Sundar Cs mastery of commercial filmmaking. Truth be told, the film doesnt get off to a good start. Advocate Saravanan (Sundar C) fights bad guys who are against a love marriage, with the scene serving as a mere exposition of his love for his sister Selvi (Tamannaah), who, we learn, eloped with her lover (Santhosh Pratap) 10 years ago. Having not heard from her for a very long time, the news of his sister and brother-in-laws sudden deaths shatter Saravanan, who leaves for the village where they reside to learn that their deaths arent as straightforward as being reported by the police. In fact, the veracity of their deaths comes under question. Things get murkier when Saravanan goes out on an investigation. And all of this is what Aranmanai 4 is all about. In a refreshing departure from the franchise, the evil being in Aranmanai 4 has no personal vendetta with the family in question. This wise choice by writers Sundar C, Venkatt Ragavan, and SB Ramadass has rendered the screenplay flexible enough to conjure mystery by showing seemingly unrelated events in random peoples lives that ultimately have a connection. Neither does the connection lack originality nor are we able to guess the eventual reveal. This suspense, a rarity in an Aranmanai film, is sustained gainfully in the first half. Discovering the presence of the evil creature, Baak, and certain qualities ascribed to it in the second half is instrumental in introducing the twists and the eventual challenges in taking it down. All of this adds spice to the second half. Audiences familiar with the Aranmanai franchise will not mind tonal inconsistency, especially when the comedy scenes evoke laughter. This film is an example of how comedy on paper can convincingly get replicated on screen. Just like the film itself, the comedy scenes also begin underwhelmingly but gradually get better. The pre-climax scene, in particular, is a laugh riot. Sundar Cs Saravanan is laudable for taking the back seat for the majority of the runtime. Feeling clueless about what happened to his family and what is going on in the village makes us empathetic towards the character. Morphing into a superhero for the climax fight has long ceased to be an oddity; it is still not readily acceptable given what we have seen of him for over two hours. Also, a relatively less problematic portrayal of the leading ladies makes Aranmanai 4 better than its predecessors. Tamannaahs Selvi is a compelling character, and the actors performance sells the mandatory flashback. To a lesser degree, Raashii Khannas Maya is useful too, and crucially, isnt wasted on a romantic track or relegated to being mere eye candy. The otherworldly elements in this film, no matter how far-fetched they are, still need to come with certain rules within the storys universe. And yet, I found myself wishing that the evil spirit had been written better and not restricted to just being the cause of jump scares. Another letdown is the supposed powers of the good spirit and how the film doesnt really get into it. These are scenes that try to make the most of VFX, which too is just par for the course. Yet, Sundar C keeps things engaging enough with suspense and twists, and add some effective comedy, emotional strength, and measured music by Hip Hop Adhi, and you have got the recipe for an entertaining Aranmanai film. The cameos at the end and the lead to a fifth installment only add to the intrigue, making a strong case for the extension of this franchise. Sundar C clearly has something to fall Baak on. Film: Aranmanai 4 Director: Sundar C Cast: Sundar C, Raashii Khanna, Tamannaah Bhatia, Santhosh Pratap, Yogi Babu, Kovai Sarala Rating: 3/5
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'Malayalee From India' review: An unsubtle and preachy melodrama
During festivals like Vishu or Eid, as a Malayalee, it is common to encounter photoshoots seemingly promoting unity in diversity, especially emphasizing Hindu-Muslim harmony. Malayalee From India is an overblown cinematic equivalent of such content you casually swipe past on your mobile screens. Aalpparambil Gopi (Nivin Pauly) and Malghosh (Dhyan Sreenivasan) are freeloaders who support the right-wing party currently in power. Gopi blindly defends his party leaders communal and xenophobic rhetoric, while Malghosh is a volatile loafer filled with bigotry in his mind. This makes way for some satirical and chucklesome jabs in the films opening scenes. Gopis mother (Manju Pillai) is the one trying to make ends meet in her household, which comprises her son and daughter. Manju Pillai, as evident from her recent performances, is once again in her element, skillfully portraying the anguishes of her character. In this first hour, we are also introduced to Krishna (Anaswara Rajan), Gopis one-sided love interest or his muse for exhibiting his stalking skills. One can only wonder about the relevance of this pointless track, which is anything but romantic. It only serves to prolong an already overlong narrative. The film makes a tonal shift when Malghosh is triggered enough to do something nasty, creating a rift between Hindus and Muslims that forces him and Gopi to go into hiding. The prevailing tensions force Gopi to move abroad, a prospect that he always loathed, amidst the COVID-19 pandemic, just before the lockdowns. The beginning of the latter half sees Gopi trying hard to adapt to a completely new landscape somewhere in the Middle East with only one grumpy superior to take orders from, who happens to be Pakistani. In some of the following portions, Nivin gets to effectively showcase his penchant for comedy, even if it feels like a spoof on Aadujeevitham, as it is set on an agricultural farm in the middle of a desert. Gopi hates working under a Pakistani initially, and predictably enough, as part of his coming of age arc, they both form a special bond. The major issue of the film is unarguably the preachy monologues that bombard you one after the other. Of course, subtlety has never been a strong suit for director Dijo Jose Antony and writer Sharis Mohammed, who previously collaborated on Queen (2018) and Jana Gana Mana (2022). Unlike their previous successful films, Malayalee From India lacks the kind of gut punches or theatrically charged moments that can cleverly manipulate the audience. The only moment that comes close to achieving this is when Shine Tom Chacko delivers a rousing cameo. In the end, we get a middling film replete with topics about Hindu-Muslim tensions, biting off more than it can chew, while sermonizing the audience and stating the obvious as if there is no tomorrow. It even takes cues from Bajrangi Bhaijaan (2015), only to end with another melodramatic monologue about chasing dreams by a Pakistani teen, extolling the virtues of the people from Gods own country, with Gopi as her role model. As the film draws to a close, viewers may find themselves puzzled about its overarching message. The film initially delves into Keralas communal politics, but even after emphasizing the futility of hatred, Gopis stance on the outfits propagating hate remains uncertain. Malayalee From India ends up as another testament to the fact that storytelling requires more than just good intentions. Film: Malayalee From India Cast: Nivin Pauly, Dhyan Sreenivasan, Anaswara Rajan, Manju Pillai Director: Dijo Jose Antony Rating : 2/5
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