Sexy Photo -Malayalam Movies

ABOUT THE FILM

The movie tells the happenings in the life of three persons in a span of three days.Sathyanath, working in a pharmaceutical company, is a committed middle class man living with his simple dreams and desires. HIis routine includes daily to and fro travel on train from Nellayi to Ernakulam south, with his bunch of friends working in various firm in the city. One day he having fallen asleep in late night misses his hometown station. Waking up, he gets acquainted with Nandan Menon, an advocate by profession.

Adv. Nandan Menon is a social activist who is hell bend of evacuating a multinational company from the shores of Maranattukara, which is planning to displace thousands from the land for carrying on with their mineral sand mining activities.

His wife Anuradha, who is a visual media journalist, is away on an assignment covering up a news story that has been rocking the state, is presently engaged in exposing the nexus between home minister Thomas Chacko and the foreign companies. On the same night Sathynathan meet Nandhan Menon in the train Anuradha, is chased by the goons of the minister, and also gets alleged for a murder.

PERFORMANCE

Sreenivasan brings in ordinariness to his portrayal that’s quite effortlessly endearing. Dileep effectively underplays his role to perfection and this role in the film offers him some meat with a vengeance. Mamtha excels in her role of a journo, and in fact never ever creates a dull moment in her sequences. But the surprise package is Jagathy Sreekumar, with a very constraint act to live up to the role of a political megalomaniac.

OTHER ASPECTS

Debutant director Renjith Shankar’s film ‘passenger’ necessarily races in a lot of fresh air and ideas to the industry. The director himself also scripts it. The film, balanced well, though with a few loose ends, never quite loses the grip as the screenplay and protagonists talks only as much as is required. P Sukumar excellently does cinematography. Biji Bal in background scoring and Saburam in art direction also amuses the audience with their cleverness.

Passenger respects the age and times that have witnessed its making. It’s a film for today. And it smells of the real world from which you had taken a break.

About the film

‘Moz and cat’ is the story of Moss D Samuel a fun loving conman who lives with Tessy, a nine-year-old kid, lovingly called as Cat, who is more than a sister and friend to him. But these orphans earn money for their daily meals through some mischievous deeds.  On such an occasion they happen to meet Nandhana, a happy go lucky millionaire, who came to the city to tame her only brother Sumesh, entrapped with narcotics and a deal of death. This meeting changes the life of moz and cat. And Nandhana takes the presents of moz and cat as an opportunity to bring back her drug addicted brother to realities of life. With the help of dangerous but intelligent ideas of moz they take on Panakkal Das, the customary villain who is there to destroy Sumesh and his fortunes.

About the performance

The film has some amusing moments in the former half but later it seems to have gone out of control and just swells out. Lack of good plot and and very similar screen ploys destroys the soul of the movie. In the acting front baby Nivedhida as Tessy deserves very high appreciation for her timings and brilliance on screen and there are several occasions that turn out to b bearable only because of her. Debutante Aswathy looks pretty and for a first timer, manages the affairs pretty well.

Dileep excels with his soft numbers in the former half, but doesn’t have much to do in the later proceedings. Rehman also does a good screen work but hais dubbing takes the grace off the character. All others in the cast are in their regular roles without much stuff to capture our imagination.

About the direction

The veteran filmmaker seems to be not in the best of his days, in story telling. Technically ‘Moz And Cat’ is not a shoddy film, though the editing by Goury Shankaran and camera by Aanandhakuttan doesn’t offer any thing new. Ouseppachan in the music department comes with a couple of lilting hpummable tunes that come as a relief.

ABOUT THE FILM

The movie has Kalabhavan Mani as Aravindan, a ration shop dealer who is finding it hard to marry of his younger sister. And in order to find ways for dowry for his sister, his himself get married and arranges to exchange his dowry amount for his sister. But all plans goes awry and he himself gets fall into debts in no time. Aravindan is now forced to take money from a local financier, who is ready to go to any extent to get back his defaults. What follows is the dilemma of the hapless man to somehow avoid the trap of the ruthless money lender who is following him relentlessly.

ABOUT THE PERFORMANCE

Mani has evidently put a whole lot of himself into this role and we can see that he tried his best to make better his emotional dialogues. Mani’s role Aravindan represents the situation of many people in our premises. Sujitha is a perfect cast as the wife to Aravindan. KPAC Lalitha as Aravindan’s mother makes a cakewalk through a role that she had done many times before. Thilakan, Sudheesh and Oduvil also have some notable roles in the movie.

ABOUT THE DIRECTION

The most important feature of the film is that director Sibi malayil came in to the picture after a long vacation. We can see the Sibi malayil touch through out the film.

It’s amusing to note that Razak’s recent take-on, on the ‘blade mafia’ in the state through Parunthu remains not a patch on the original script that he himself had cooked up in Ayirathil Oruvan.Aayirathil Oruvan’ has interesting visual support by cinematographer Venugopalan. The songs by Mohan Sithaara are very average. But Sibi Malayil has taken deft steps to avoid unnecessary background scores in much of the scenes.

At the time when you watch the film you will meet with some situation that may some times happen or going to happen in your life.

A view of the story

The movie has Jagathy as Kariyachan, an NRI who returned from Middle East to enjoy a peaceful life at home. He sets up a private bank near his house with the help of his wife Molly, who takes care of every day- today matters at home and office. His life is all immersed around his wife Molly, only daughter Teena and in their regular house hold chores .Girija Vallabha Menon (Mukesh) one of his regular clients who is into textiles  business is a habitual womanizer, who runs a secret life away from his wife Sreelakshmi who is an orphan, left alone suffering the pain of childlessness. Kariyachan who is at first reluctant to follow the ways of Girija Vallabahan gradually gets changed. He accumulates modern habits and newer friends, starts dressing up like a youth in flashy costumes and spending money as newer before. These all leads the families of the two into unexpected turmoil, which forms the rest of the story.

About the performance

Jagathy Sreekumar as Zachariah performed well, and tries his best to live up to the lighter sequences. And Mukesh is in his umpteenth time playing the same role of a man who lives in falsehood and deceit makes a cakewalk through the proceedings. Urvashy as Molly wonderfully sustains and enlivens the story with controlled performance throughout the movie. Padmapriya appears beautiful but don’t have much to do. Thilakan is in his usual self providing the needed tempo to the movie.

About the direction

Venu Nagavally a versatile director and a talented actor directed the film ‘bharya swantham suhruthu’. But Venu Nagavally fails to utilize the best of the sequences in paper and manages to end up with   not more than a satisfiable product.The movie has an excellent script about fooling around, treachery and related struggles, resounding in its social relevance by Cheriyan Kalpavaady. He packs the dialogues with many careful insights that is very much engaging and thought provoking. The film also includes at least a couple of unwanted songs by Alex Paul.

But in spite of all these shortcomings this film is one of the better products of the year, which will not let you completely dissatisfied.

About the movie

Lollypop is about the story of a young man Franco and his sister Jennifer, who runs an automobile workshop at fort cochi. Having lost their parents at a very young age, they were brought up by Fr. Kuriakose a priest who is also a lawyer. Franco’s friend Eby a junior doctor in the nearby hospital has a huge crush on Franco’s sister Jenny. Jenny has an enemy in the college called Rose and interestingly, Franco falls in love with Rose. Paachi a pickpocket enters at this stage. Paachi tries to pickpocket Franco, but is caught red-handed. Later, they become friends and Paachi becomes a worker at Franco’s workshop. Paachi coming into Franco’s life and how Franco tries to settle the Jenny-Rose fight forms the crux of the story.

About the characters

Malayalam’s youthful heroes Prithviraj, Kunchacko Boban and Jayasurya team up once again with Lollipop, which is directed by Shafi. Prithviraj was enacted as Franco and Roma as his sister jenny in the film. Jayasurya is paachi the pick pocket in the film. But we can see over acting by Prithviraj, and Jayasurya & their inabilities to manage comedy well.   The role of rose jenny’s arch rival in the college is done by Bhavana and the junior doctor Eby is Kunchacko Boban. Fr .Kuriakose’s role is handled by comedian Salim Kumar. The tomboyish performance from Roma is just a repetition of Chocolate.   Bhavana has nothing to do than just listening to the macho styled Pritvi as she’s his lover.

Kunjakko Boban is like as he’s always – fair & handsome gentleman – for whom any girl will fall for! Salim Kumar is simply good. Like many of his previous movies, his comic tactics has worked this time too. Suraj Venjaramood is also just fine, though irritating many times, he managed to make people laugh atleast with his witty pranks

About the direction

The film is directed by Shafi and scripted by Benny.P.Nayarambalam but unfortunately both the script and direction is not up to mark. We can observe a bad scripting & bad execution of script from Shafi the director. Music is done by Alex Paul and the songs are just okay types.

RATING: 2/5

Hailessa is a film that virtually falls off the screen in shreds. As its name suggested it’s very tough to attract the viewers by this kind of movie.

ABOUT THE FILM

The movie modeled like the comedy hits of the nineties which has Suresh Gopi in the leads as Unnikrishanan, an orphan, reared by his foster father Madhavan who run a fertilizer plant. Due to some local scuffle, he is forced to leave the village and to take up a job as an assistant to Ganapathy Iyer (Lalu Alex), a handicapped millionaire. Unnikrishanan, who is a school dropout, is ready to engage in fisticuffs whenever situation demands. He with his friend Ulpalaakshan (Suraj Venjaramood) gives word to Iyer that they will find him, his wife and child who went missing years ago. And when they find it difficult to accomplish, they present a girl Shalini (Muktha) before Iyer as his estranged daughter. Quite happy with the developments, Iyer immediately plans to marry off Shalini his friend’s son settled in the U.S. Thereafter, the old mistaken identity game is placed to ensure every associated chaos, till the end.

ABOUT THE PERFORMANCE

Through out this film Suresh Gopi has once again proved that comedy is definitely not his forte. His macho mannerism is hardly vulnerable to play such lighter roles. . Muktha, by the way, is a good looking girl.  Suraj Venjaramood and Bheeman Raghu manage to create some sparkles of quality wits at times but the majority of their attempts go in vain to shake the funny bone.

ABOUT THE DIRECTION

There is nothing to much talk about the direction. Many viewers came to the theaters with a desire to see a good film, because one of the interesting films in Malayalam –EE PARAKUM THALIKA-is directed by Thaha. But this time the viewers get disappointed. We can easily say that this kind of movies will destroy the future of Malayalam film industries.

About the film

The film is about an orphan, who is called as machu and is rose to financial heights after starting his life as a scrap dealer. While living in a posh house in a posh locality, he sees a beautiful girl in a soap and talcum powder commercial and falls in love with her. In order to fulfill his dreams machu follows the advice of his neighbor, business man Andrews Pereira, who gently persuades Machu to invest his earnings in stocks. Unfortunately the next day Pereira vanishes to Singapore with machu’s money. Left with no other options, Machu leaves for Singapore in hot pursuit of his lost money. There he confronts with Pereira and he proposes to marry Pereira’s daughter Diana as compensation for his financial loss. The second half of the film is all about machu’s trick to win Diana over.

About the characters

Mammotty as machu in movie has tried his level best to save the show, but in vain.

Telugu actor Navaneeth Kaur debuts into Molly wood through ‘Love in Singapore’ playing the heroine to Mammotty. She is doing the role of the role of Diana, the daughter of Pereira in the movie. The role of Pereira is handled by Nedumudi venu. Heroine Navaneeth Kour as Diana has nothing to offer with a very weak character development

The majority of the sequences are contrived and solely for cooking up some ‘funny moments’ with the clichéd dialects of comedians Suraj Venjaramood, Salimkumar and Bijukuttan, but majority of the time is wasted in preparing some funny and half baked giggles.

About the direction, script and music

When we watch Rafi-Mecartin’s latest film with Mammotty Love in Singapore, we tend to agree with critics cribbing that Malayalam Cinema today has lost its past glory due to the wrong scripts and themes selected and their presentation. The director duo of Rafi-mecartin seems to have lost their minds here, in creating an old fashioned comedy, lacking associated high Jinks. . It hurts us to say that slapstick wizards like Rafi- Mecartin, is in their lowest point of their filmy career with thow desperate Singaporean episode.

The script is illogical with a lot of ambiguities and incredible twists. For instance, the film gives no convincing explanation why villain Nedumudi Venu cheats Machu and escapes to Singapore. Music director Suresh Peters has come up with some foot tapping music, but even these numbers fail to put the movie on track. The other technical crew members, including Sanjeev Sankar (camera) and Boban (art) have done their routine jobs.

Rating: 2\5

Raman is yet another anti-war film that underlines the agony, horror, and human costs of armed conflict. Its predominant focus is on the American invasion of Iraq that it vehemently sees as one of the most ghastly acts of terror in the history of mankind.

About the film

Raman is the central character of the film, who is a dumb person by that name, lives in a small village and wanders about with children and playing with them. Besides the activities related to Raman’s innocence we can see that many other problems coming in to the picture, such as terrorism and the insecurity arising out of it; dead fish floating on the waters of the little village as a result of pollution; water scarcity; farmers committing suicide owing to financial problems etc.

The film portraits how Raman reacts to these issues. There is plenty of video footage through which it tries to get its message across. And there’s Diya (Avantika Agarker) who is a journo documenting the atrocities of the aftermath. She seems a woman who has been torn apart emotionally, and who has emerged out of a messy marriage, desperately trying to string together the rest of the beads of her life. All this is weaved together in a rather sensitive manner and moves on to a very symbolic climax.

About the performance

Anoop Chandran, who has mostly been seen in comic roles, gives an excellent performance as Raman. There’s nothing much to be said about the others in the cast. The film belongs to Anoop Chandran.

About the direction

Raman, directed by Dr. Biju, who earlier had directed Saira, is a film that deserves to be seen and appreciated, in spite of the few flaws that it has. Raman is a film that attempts to do too many things at once without ever focusing on any one specific point.

The film is quite ambitious and neatly photographed though it does not match up to its aspirations. There’s a striving for gutsy realism as well, that works intermittently. But sadly the woe and horror of it all never really gets across the screen.