Archive for the ‘Reviews’ Category

It’s been some time since I liked a gangster film. The last good one I remember watching was A Bronx Tale but it was not a traditional gangster movie like Goodfellas or Scarface. So Carlito’s Way was a welcome change. A good old mob story with Al Pacino. But the star here was Sean Penn. With those geeky glasses and springly hairstyle he’s the last one whom you’d think would involve in such criminal activities. Even though the screen space was less for him he’s the one who steals the show.


When Al gets shot in the very first scene and the camera keeps on taking 360 degree turn its beautiful to watch. Even though you know that it’s a climax we all are intrigued to hear what led to it. And thus begins the climax of Carlito Brigante (Al Pacino). I loved both his accent and the others in the area who call him Brigante with that thick accent.

Carlito you know is a powerhouse but he keeps his calm so that he doesn’t want to get involved in any criminal activities. But whenever he is pushed into it he comes out of it effortlessly. Because that’s where his roots are. But on the other hand David Kleinfield (Sean Penn) who tries to get into criminal activity even though succeeds, gets his hands dirty because that’s not his background. When Carlito says that David is a lawyer and not a gangster it has that much depth.

On the other hand it’s not only David who suffers for his mistakes but its Carlito. That’s what he keeps on saying, “it keeps on coming back to me no matter what I do.” Carlito is a tired guy. He wants a settled life but he’s not allowed to do so. Not that people push him into the hole wantedly but they’re used to seeing him as a hot shot and want him to remain the same. Anything less he does becomes a nothing story. The question is how long he could command respect when he’s not doing what he does best.

There have been constant references between Al Pacino and Kamal Hassan but after watching so many of Al’s films only through this I got to know Kamal indeed imitates Al but no harm. It suits him well and is good to watch. Al Pacino too couldn’t have looked better with beard and jacket throughout. This becomes my second favorite movie of his. First would still remain Dog Day Afternoon but it pushed Donnie Brasco one step down because even though Al was terrific as a sad man in Donnie Brasco, Carlito’s Way was wholesome.

The beauty in this film is its story telling, the treatment given to a gangster film. Usually it’s either the past that haunts a gangster or it’s the glory that brings them down but here it’s his friends who brings him down. That in spite of knowing that there are no friends in this business. He hardly trusts people but even the very few he trusts they bring him down. Throughout the film all problem he faces is because of Sean Penn and that’s one hell of a revenge scene.

The climax sequence, the chase from Sean Penn’s Hospital to the gun shot was terrific. Most of it was like Untouchables. But in Untouchables it looked like De Palma wanted to self-infest the tension but here the tension was building on its own. It was less fancy than the cradle coming down in stairs. The escalator scene was brilliant and heroic. In fact after the scene where Al throws bullets in dust bin, this was the best scene. Somehow railway stations make up for good action sequence be it Bourne or Untouchables or Carlito’s way. All was terrific.

I almost forgot about the Benny (John Leguizamo) by the time the final shot was about to arrive but he made the change. I’d have preferred Al to live somehow but that’s how it is.



What I thought to be a love story of the past proved to be a poetic story of love and betrayal. A beautiful mix of poetry and prose with brilliant music by Amit Trivedi. Time and again he proves that he’s the best in business. He carries the film in his shoulders throughout. A peaceful movie like this would have suffered a lot without Trivedi. It was like an entire opera piece played in diminuendo. There were mild romantic scenes on side, villainous scenes during the interval and dramatic scenes during climax. Everything was well supported by Trivedi’s music. This movie would have been words written in water without Trivedi. Even though it’s very tough to choose which part I liked the most, the pre interval block had some awesome music.


This film was a very different approach to period films. Period films either trace good people, bad people or it’s a clash between good and bad. And nowadays we can safely assume that good equals to poor and bad equals to rich but this film broke those mould. When we see Sonakshi suffering from wheezing and his dad being ever so calm and adorable you hardly get to hate them. Just because they are Zamindars they aren’t bad. On the other hand even though Varun (Ranveer) comes down as a guy with royal Enfield and ray bans he’s supposed to be the one who is to benefit from Zamindari act because he doesn’t have royal ancestors. In a normal film you root for Varun but here you hate him. He comes as a menacing villain here. And the wheezing that Pakhi (Sonakshi) has isn’t just a tool to sympathize but a well written difficulty of an individual which makes more sense towards the climax.

Sonakshi Sinha doesn’t really appear as a femme fatale but here she was one. One who would get the respect of an individual too. I’ve never been fond of her even though she had acted well in Dabaang. And that’s the only film which I’ve seen of her. She was lovely in Lootera, especially as a playful daughter of a Zamindar. One who is naïve enough to fall in love for a guy who has come to cheat his father.

If the first half was about some cute romance and treachery, what lifted the film to next level was the second half. With the style of first half it’d have been a good movie to watch out for but with the second half Vikramaditya Motwane shows what he’s capable for.

I loved the parts where Ranveer gets back to Sonakshi’s apartment as there is always tension between them which is not sexual. The best scene was the one where he gives her a shot for her ailment. The last leaf scene could have been so easily spoilt but here it was beautiful. Even though it was dramatic the drama worked perfectly well.

By being poetic this film stoked my curiosity to get into poems.

Jigathanda could very well be the film of the year. Even though the release was limited the crowd loved the humor. Of course most of them wouldn’t have got the technical nuances and the cinematic references but still it caters to the masses with comedy working exceptionally well for the audience. And when the film ended the director got a standing ovation. If these things are not enough and only TV publicity are necessary, God help good cinema.


The trailer kept me intrigued for a long while and I was dying to watch this film but the censor certificate problem along with the producer and actor/directors quarrel it took its own sweet time to release. What you see in a trailer is a black comedy, a musical of course and there is a gangster who invokes laughs. We see Siddharth kneeling down and there is a heroic dialogue of him taking revenge. What I thought to be a revenge story turned out to be a brilliant black serious satirical comedy.

Karthik’s Pizza was definitely good but it was a clean entertainer with not much risks so the next film of his I didn’t have much expectations. But the trailer raised the bar. And finally when I watched the film I was surprised by the amount of talent he had. He had made a movie equivalent to Soodhu Kavvum and that’s not an easy job.

See the eye for details. The film has one of the brilliant opening scenes ever. A closed theatre which operates as a club with Malarnthum Malaratha song. We see a man entering which is a surprise but we of course know its Bobby Simha. As soon as he sits to play cards we see people surrounding him and shooting him as part of an encounter. The camera pans out and that’s when we hear “Madurai nagar kandu…” The film runs to the flashback mode and what leads to that scene is the story of the film or that’s what we think.

The detailing doesn’t end there. You hear the Good Bad Ugly background along with Indiana Jones interval card and Sowrashtra words being mouthed by Ambika and Lakshmi Menon. Ambika didn’t have much to do but whatever little she has done she did a fabulous job. Even the Sowrashtra diction was perfect.

Siddharth absolutely didn’t have any applause and Karunakaran had the maximum response but the show stealer was Bobby Simha. One fabulous performance by that guy. He is in fact the hero of the film. Siddharth except for the climax scene didn’t have even a single heroic scene. He has to be given credit for taking this role. Karthik rightly calls him a very professional actor. All the heroism/villainism was by Bobby Simha. His opening song Ding Dong was not only treat to hear but it was a treat to watch too. See the shot where he’s almost killed by a group of people, camera against the sun, he gets into the car, shoots and comes out the other side. All the while camera panning and the sun against it. It’s as brilliant a shot could get. And every time some member of the gang is introduced. It’s at the same point, same shot where Bobby Simha was introduced.

The three sidekicks to Simha and the way Siddharth tries to get the story about him was absolutely hilarious. In fact the way Siddharth gets to be director was hilarious. The first ten minutes ridiculing a TV show was funny. Funnier thing was this films’ media partner is Vijay TV. And there is a scene where someone in Madurai is killed by three people and we see arrow marks. For some time I thought it’s again going to be some film that ridicules media.

This is also a brilliantly written film by Karthik Subbaraj. Never imagined a film by a director who has come from US to be this good. In the midst of this gangster musical the way a director’s cinematic ambition included was a treat to watch.

Even though the last few minutes reminds us of Velli Thirai. The film wooed me a lot well before that. There were a couple of references about friendship, don’t know whether it was because I watched it on a friendship day or there is always a friendship reference in all the films.

True to its title it was a musical gangster story. Both the musical and gangster part worked very well. Background music throughout was fabulous and all the songs were a treat to watch too. Loved the energy in Paandinattu Kodi. Response wasn’t great in theatre for songs but that’s always a problem watching films in A-class theatres. Otherwise it was one hell of an experience.

I never expected such an honest attempt in making a horror movie. I thought it’d be like Evil Dead which I absolutely hated. But boy it was such a neat picture. It started to woo me right from the first scene. Which horror movie starts in a country far from us, in an archaeological dig and has characters ranging this wide. If it’s a horror movie it’s always about a middle class happy family or a bunch of youngsters high on dope. Oh, how badly we’ve got used to it.

the exorcist

It would have been brilliant if you had not known the film to be of the horror genre because right away it doesn’t jump to demons. It builds slow and steady like a beautiful family drama. If the first 15 minutes give you kind of Indiana Jones feel – well which archaeology film doesn’t? – The next 5 to 10 minutes shows Ellen Burstyn as an actress and here whereabouts. What an actor she is. The director could have easily used some simple character but a famous actress who is divorced, has a loving child and in the midst of shooting… He definitely deserves an applause.

Then there is a priest. There will always be a priest in a horror movie but generally that priest comes out of the blue and not like this, someone who gets spot by Chris while taking a stroll who has an ailing mother and also a confused individual himself. That’s another peculiarly brilliant character that I found out.

The story builds and builds like a Tolkien novel. And that’s a great feel. It’s only till you see the ghost the tension is at its peak. First when Regan is playing with her mom we could see a telekinetic movement, then the face of a demon here and there. This continues for a while until all the tests get over and she becomes truly possessed.

It’s a common thing with horror movies to have a cute girl die last or the sweetest of girls get possessed. But Linda Blair as Regan Teresa was such a cutie and there is a scene where her mom talks to her about her birthday plans in bed. If other cute scenes were cinematic reality, that was realism itself.

There were many iconic scenes like the head turning scene, the stairs scene but nothing was overdone. It didn’t scare me much but achieved its purpose. And also the detectives’ role was icing on the cake. Another character which could have been easily avoided but wasn’t.

If Shining was all about class, Exorcist was all about honesty!

Malayalees make beautiful movies. At least from what I’ve seen. They make beautiful movies. It is still from a foreign angle I’m seeing the movies. Not going to theatre blindly and getting surprised by it. As it has crossed various stages and enter into my hard disk finally it thus goes through various process and I know for sure it’s a good movie. But I guess I should make a family outing to Ega as a regular affair.

usthad hotel

There is a beautiful scene in Tokyo Drift. My favorite car film. The hero’s girlfriend takes him for a ride in mountains. She drifts past the mountains. The camera is inside the car and we hear no sound except they two talk. Then the camera pans outside and we see cars drifting one after the other with no noise at night. It’s beautiful to watch even though it’s highly impractical. That’s how Malayalam movies are that I have watched. It’s beautiful, slow, and impractical but again I come to the first point. It’s beautiful.

Ustad hotel would have been a lot better if it had cut of the emotional part at the end. But can’t blame our directors. They are used to conclusions. They are used to dramatize the films no matter how sublime that could be. Taking of the last 30 minutes or so. The movie was like a gentle breeze. I love the pace of Malayalam films. Elipathayam is a class act. We’ll safely negate that out of the list. In the current generation of movies Indian Rupee thus far is my favorite. The pace of all the current generation movies are perfect. Just good enough so that you could relax in theatre. It’s like a spa treatment, an ayurvedic Kerala massage.

I’ve always loved the background music in current generation Malayalam movies but they spoil it in songs but for the first time the background as well as songs was equalized. There aren’t many songs in the films but whatever appeared was in the same scale as that of the background and wasn’t a hindrance.

Food and the angles which were used to showcase them were wonderful. This film would give you much more feel when you watch in an empty stomach. I bet you can’t go without buying food during interval when you watch it.

Dulquer looks a lot more comfortable in Malayalam films. May be Vai Moodi Pesavum was his only bad film. May be it’d have worked if it had been in Malayalam. His expressions are limited. He makes face the same way he does in Vai Moodi Pesavum or Bangalore days but maybe that’s his style. On the other hand Thilakan is fabulous. Not as fabulous as Indian Rupee but again a genuine role. But nothing can beat his villainous role in yesteryear Tamil movies.

The director very well knows that the movie is going to be about a hotel and food. But instead of starting the movie with a restaurant background or about a story of food it starts with a family expecting a child. Yes food is there in the foreground but for the next 15 minutes or so it’s about a family expecting a boy child and how he gets to become a chef. That’s a beautiful way to build a character/movie.

Anjali Menon looks like such a promising talent. She writes quite beautifully. Makes me wish to join as an assistant to her.

Airplane would have been what Andaz Apna Apna for the North Indians. It was great movie to watch sitting laid back on a sofa and munching chips. Both of which I don’t like as a matter of fact. Airplane was funny right from the first scene where an airplane crashes part of airport but we don’t see anything about that story after it.


The movie strikes with its satire even with its title. It’s Airplane! and not just Airplane. There were many funny scenes but the best of the lot was the one involving auto pilot. It’s a wonderful never thought before technique of using an air balloon. The humor goes one notch up when she blows air for it to inflate again so that the auto pilot can take command.

I’m not sure why the premise of airplane for chosen for this comedy. But it involves all the cliché that can be used like a kid entering cockpit as he wishes, people getting ill because of fish, pilot getting ill, a war veterans love story, a floor crews antics and  a motivational speech at last. Everything sticks together to give a decent enough entertainment that would last for an hour and a half.

Like how Andaz Apna Apna even though was funny didn’t appeal to me as much as it’d have for people up north. It was the same story with Airplane!

Linklater steals my dreams. First he stole mine with Before series, now he’s tracing a life of an individual, he has already made Slacker which I’m yet to watch but I thought I’ll be the only one who has that idea. And he makes an animation film close to Slacker here. Though I can’t say Waking Life was my dream, it definitely was part of my dream. I wanted to make something related to this.

waking life

Waking Life didn’t appeal to me as much as Before series did to me. But I don’t think any other movie will ever do. Before sunrise wasn’t just my dream film but it was also about my dream love, dream life. But here even though it didn’t appeal to me as much as the former it wasn’t because it is an animation. In fact animation is used to fullest advantage here. The images are unsettling, literally! The images keeps on hanging here and there. They aren’t in a constant plane. That’s because everything is a dream. If it’s a dream you don’t have to stick to boundaries. It’d be a lesson to Indian filmmakers to use the dream context rather than using it just for songs. See how confined our thinking is.

And of the various unsettling images there is a beautiful scene where Wiley gets up from one of the dreams. The image goes from black and white abstract lines to colored full framed images. But as the scenes are dreaming there is a 100 percent chance of that scene being not noted. But the idea is fascinating.

Linklater lives on the dialogue, thrives on it. To his advantage all the characters in his film are honest individuals so the philosophical angle works perfectly. May be all his films are dreams. All ideal characters whom you want to meet if you are an artist. See here, a lady talks about how words have no definitive meaning, how it goes from one person to other and the other makes something of it. The person who actually says those words assumes that the receiver has got what she tries to say. The beauty of it is she explains everything through words and we don’t know what to be understood of this.

Pleasure was when Ethan Hawke and Julie Delpy came into the movie. It was lovely to watch them. Julie’s smile was so real even in animation. It’s a treat to watch. What a women she is. Making me fall in love every single time. For a moment I thought this film is an amalgamation of all his previous films but again I wasn’t sure because I was not exposed to much of his films. But finally came to a conclusion it couldn’t be as all characters were similar but for that single reason I couldn’t dismiss the fact that the movie is not a culmination of his previous movies.

I wonder why Linklater is not as famous as his peers who make great independent movies. Is it just because he’s using dialogues? But by using dialogues he doesn’t become literal. He gives whole new meaning to words and voices. He does with dialogues what Paul Thomas Anderson does without it. And good thing is he also makes you genuinely happy unlike other greats who push you into depression while watching their movies.

This movie has a lot of parallels to The Discreet Charm of Bourgeois, another movie about dream in dream. Bourgeois pushed me into depression with its greatness but Waking Life didn’t. That doesn’t mean it’s any less great that Bourgeois but Linklater has this discreet charm to make movies that connect with people.

Waking Life is in a way, modern version of Origin of Species with topics ranging from existentialism to politics to afterlife. The beauty here is not like reading one chapter after the other as taught in school. But a profound way of learning where we see each and every individual ready to answer our unasked questions. Linklater probably has read a lot, has a lot of knowledge otherwise he couldn’t write like this, couldn’t write at all for that matter. But what he specializes is the way he jump topics. How Salinger does in Catcher in the Rye, how we do while we talk with our peers during lunch. So here the information is not imposed forcefully on us but rather falls on our ears like honey dew words.

Waking life is one such film where u tend to love it more every time you think about it, converse about it, read about it than at the time you actually watched it.

That red line thing at the end of first movie got clearer in the initial few minutes of the film. It was confirmed that the virus is spreading and the population is deteriorating. The title also was interesting with every word except planet starting with caps.

Dawn of the planet of apes

I got irritated with the very first scene of the movie. When the apes talk there was subtitles for it. It might be because 1) the apes have evolved so much that their sign language has become so complex for us to understand or 2) my copy of the rise of the planet of apes didn’t have subtitles for the apes scene (which even if I had missed I’ve no regrets at all as I loved it) or 3) the director simply didn’t wish to take any risk thinking that audience would get bored. Whatever may be the cause the subtitles thing totally turned me off. And 3D. Enough said! I really would like to know if there is any decent theatre without those 3D glasses. It’s so annoying. Funny thing was my friend trying to hold it throughout the film as it wouldn’t fit.

If the first movie was like any superhero movie the second one was like the dark knight. When it was said that Dawn of the Apes was the best sequel since Dark Knight I didn’t think that the comparison would be so literal. Anyways it’s nowhere near The Dark Knight. The only idea that could be appreciated is the apes behaving as we humans too. As we out rightly supported apes in the first movie it would be very tough to change opinion but the director achieves it in this film. After a long time we support the humans. Tired of all those stereotypes where people point at humans for all the bad deeds happening to planet. Why not some aliens come and we kick some ass outta them instead of weeping for the fuel we wasted. So in that way it was a relief.

If Caesar was MGR in the first film, he was a Sivaji Ganesan here in the second film. Highly sentimental and soupy. It was like watching an ape version of Devar Magan. I liked Koba, the real bad ass (Some Koba had favourited by review in twitter too). It was a treat to watch when he takes command. I especially loved the scene where he cleverly cheats two guys who practice shooting. That for me was the best scene in the film.

The film instead of adding details was plain slow. They could have made it as an action film to be better off. But forcefully trying to induce class put off the film. And they could have used some other actors as humans. That group was really bad. The apes displayed more emotion than them.

Though now the film is in Mexican standoff I don’t think I’ll be watching the third one. But would be interesting to see how the film ends. I want a high octane action film and not a war film with apes instead of humans

Why do they have so many ‘The’ in the title… its annoying.

Rise of Planet of Apes

Rise of the planet of the apes was like any other superhero movie where one gets super powers for the first time. And with great powers come great responsibility. Only difference here is the being which gets the super power is ape instead of human. Poets say that one can’t get tired of watching elephants and waves. But for me its monkeys. Monkeys are the only animal which is so awesome to watch. So I love watching chimpanzees, gorillas etc. As I’m not fond of pets, coming from me it’s a big compliment for those fellas.

James Franco is a brilliant actor who was fabulous in spider man. That guy is capable of doing great roles, sadly he gets confined to these small roles in blockbuster movies. But nevertheless he performs those roles with so much sincerity that you’d love him no matter what which side he’s on. Here too he performs his role to perfection with shades of grey and his constant confusion as to what to do with the drug. Every now and then a certain bit of villainy and confusion lures him which he brings out quite well. Like the time he gives the drug to his dad, when he takes the baby ape to home etc. These scenes would be easily overlooked so only a sincere person who knows that it’d be overlooked and in spite of that to act and excel was a great thing. Freida Pinto on the other hand looks quite sexy which was highly unexpected of her.

The film gets to the point right from the first scene. There isn’t any boring antiques about how it goes through the process. Right away we see an ape getting into the act. That’s how you do action movies. Get to the point straight away. And this movie being the first in series gets the luxury of a normal man becoming a superman, sorry, normal ape becoming a super ape. So those template scenes where the ape grows and the camera tracks it from one room to another finally leading to a place where the ape sees through the window came out good.

I liked how Caesar selects its symbol. First it draws the window symbol with a kind of heavy heart but ones it knows that its place is with the rest of the apes. It uses the same symbol to define them. That’s a nice little way to bring out the essence of the film.

Also for a moment when Caesar closes the door while Will tries to take him out. I thought he’s going to take revenge of him too but he doesn’t and also doesn’t kill anyone who hasn’t done him any harm. He was like the MGR of apes. Even though it was clichéd it was fun to watch the ape’s antiques.

The way Caesar gets to the asylum where he questions his identity and tries to fit in was a treat to watch. His various means to prove himself good and thus forming the don of the gang was again a great part of the story. But once they go on a rampage and try to escape, it was like any other film.

Also the climax I misunderstood. Instead of thinking that the virus is being spread I thought the monkeys are spreading throughout and causing rampage. The good thing about Caesar is he doesn’t want to rule the world but to lead a happy life like a middle class human being. That’s the maturity he gets with the virus. So Caesar when he says he’s home, he truly means it. James Franco does a great job even while smiling for Caesars reply.

Also the climax I misunderstood. Instead of thinking that the virus is being spread I thought the monkeys are spreading throughout and causing rampage. The good thing about Caesar is he doesn’t want to rule the world but to lead a happy life like a middle class human being. That’s the maturity he gets with the virus. So Caesar when he says he’s home, he truly means it. James Franco does a great job even while smiling for Caesars reply.

A film which everyone is loving right now and rightly so. Never has been a journey infested with so many Mallu girls. Right from my Guindy bus to the entrance of Phoenix to the end of movie. Everywhere there were Mallu girls. For the love of all increase the show I say!

bangalore days

Coming to the movie. When something is loved by everyone it defines itself. It means there wasn’t any risk involved in it. It’s not that cinema must offer something new always but that magic doesn’t work every time like it does for ‘It’s a wonderful life’. The innocence we find in Wonderful Life doesn’t happen here. However cute the movie was, it was man made cute and not the cuteness formed when it was molded.

When the film began I was hardly wanting to look at the subtitles. Not that the film wouldn’t have made sense without it but for a complete understanding of the film I had to watch the subtitles. Audience came with a preconceived notion that the film was going to be awesome I guess. There were lots of laughs for the initial scenes which for me wasn’t funny. Not that I complain of girls giggles. But in fact till the scene of Nazriya’s marriage I was quite irritated. Again a loser, again a chirpy girl and again a guy who goes out of the mould and quite clearly a hero. Dulquer is getting a lot of praise for his role but Ranbir was way better than him in Yeh Jawani Hai Deewani. Both impractical films which the guys with passion win with a little bit of sentiment here and there.

Ok so now Nazriya is married, she’s cute and makes friends quite easily. They all fall asleep in the same bed before her marriage. That scene didn’t work for me. They being cousins was just an excuse. May be the director was afraid to just show them as friends. The first song was just a bore, a normal against-the-marriage song by a guy who’s a gypsy. Wonder why songs go so wary in a film which had brilliant background music. But I loved the scene where Nazriya’s marriage gets fixed when their parents see her and Fahadh playing with a dog. His affection towards dog is shown much before so it makes sense when he goes to Nithya Menons house just before climax and the dog there jumps on him. Similarly the radio voice we keep on hearing as soon as they go to Bangalore but only before interval we get to see Parvathy Menon. These all were well directed scenes as the character study was done quite well. If it had been even a bit more obvious it would have spoilt the feel.

Even though we continue to enjoy Nazriya’s cuteness, the real question is how long she is going to survive doing the same thing. There is one show where Nazriya comes back home after a horrid dinner party wearing a sari. Her shoulder blades are in focus and for a second she looks hot. She has a great skin tone. I’m not sure whether that shot was made after letting her know what she is capable of. But she has to do roles without this chirpy girl image. I’d like to see at least one film where she doesn’t smile.

Bangalore was a little over hyped for the film. That’s understandable and that also worked well to a certain extent. Even though I hated the first scene of Nivin I started loving him as soon as he grins after getting a posting in Bangalore. In fact Nivins story alone could have been made as a separate film. He was so fabulous. Not only him, Kalpana as Kuttans mom was fabulous. She is one awesome actress and thanks to her the best scene in the film appears. The letter from Kuttans dad was the single most hilarious scene in the film. That too when he reads it second time after knowing that he has gone to Goa was fabulous. I loved the scene where she goes to Isha Talwar and returns without saying anything. Even the climax, though clichéd was lovely. Even though everyone seem to have loved the first half I started liking the film only after the first half.

That marriage part where Fahadh acts as a husband with trouble didn’t work. We all have seen Mouna Ragam so it was nowhere near. Arjuns (Dulquer) flashback too was such a pain. Why would someone always have divorced parents or troubled childhood to become someone they want to be? Can’t someone from normal family be someone they want to be? Good that they at least didn’t show the flashback of their parents rejoining.

Much was said about Fahadh as an actor too. I don’t know whether he deserves the testimony to be such a good actor as I haven’t seen him much but from what I saw in this film. He’s capable. But his biker act in the flashback was laughable and you can’t expect one to sympathize with someone whom you’ve seen just for few minutes. One of the bikers call it, “what a love story it was!” Seriously, what a love story was it? It all ended within a blink of an eye. But that scene where he scolds Nazriya for riding fast in a bike gets meaning after the flashback. It’s again not a scene we haven’t seen before but gets the necessary impact.

The final race seen though we have seen in numerous films was again good to watch. I couldn’t explain why. A welcome change was Sarah didn’t come to the race instead Arjun goes sees her. That humor where Kuttan asks Das whether he could drive worked well. Das gets his bit of heroism at last. They all get together and Kuttan completes the story.

Finally, The Red Damsel sitting behind me in theatre, out of pure luck, if you happen to read this anywhere in internet, know that it’s me who kept on staring at you till the parking lot.