Director and writer Jeetu Joseph takes a big risk with the characterization of Mohanlal’s George Kuttey. Unlike the first two instalments the man is less sure, and the vulnerabilities are layed bare. The emotional guilt of a burdened man gives Drishyam 3 some of its best moments. Mohanlal as expected embodies the weariness giving an immersive performance. Siddiqui as the other family man also makes his presence amply felt
Drishyam 3 begins with a brief information on what happened in the first two parts. How George Kuttey’s peaceful life gets disrupted with the entry of a police officer son. A necessary crime which follows and George successfully dogging the law two consecutive times. The third part begins with George Kuttey settling down as a successful film producer. The dust seems to have finally settled down with Ansiba Hasan’s Anju recovering from psychological trauma. However underneath the happy family dynamics there is a certain fear on old skeletons surfacing again especially the central protagonist. How the past catches up with the return of Siddiqui’s Prabhakar with some additional foes forms the main core of Drishyam 3.
A strong aspect of Drishyam 3 are the lived in family dynamics. Like the first two installments Jeetu Joseph takes his own sweet time in setting up the proceedings. For some the slow pace may feel cumbersome, still this is necessary in the larger scheme of things. A special mention must be of how Esther Anil as the younger one has been used. Esther gets a significant amount of screen time more than holding her own opposite Mohanlal and Meena. Whether it’s mocking the mother on double standards or commenting on inter caste marriages the actress is a delight to watch.
Mention must also be made of Meena’s conversations with Mohanlal. The husband-and-wife warmth has come out in a solid manner. Two scenes in particular deserve a mention. One is Rani telling George Kutty on how he should let his guard down somewhat and let the daughter’s fly. Another one involves George Kutty getting emotionally disturbed when a past incident catches up. She tries to soothe him down by saying that he shouldn’t be too hard on himself.
As already mentioned Jeetu Joseph has taken a big risk with the characterization of Mohanlal. This both a plus and a minus depending on how the viewers take it. But the director deserves appreciation for making George Kutty more vulnerable. For a significant chunk of the movie Mohanlal is shown to be anxious particularly the interval block. There is an important conversation too where George Kutty lays bare his emotional state of mind. In this portion he explicitly talks about not knowing from where the attack will come. It is fantastic to see Mohanlal going all guns blazing at this age too. The veteran actor is in splendid form portraying the various emotions in a fantastic manner.
Siddqui as a Prabhakar gets a prominent part in the second half and he makes it count with an arresting act. Yes, it is baffling on how Prabhakar has forgotten the nature of his son’s crime. Having said that Siddqui is first rate in portraying a determined husband who wants to see his partner recover from depression. Asha Sharath has minimal screen time, nevertheless she gives a good account of herself.
Among others Murali Gopy and Kalabhavan are also solid in their respective characters. Murali Gopy plays the part with restraint and a certain wisdom. Whether its cautioning Prabhakar or the dialogue about legal system having more loopholes than solutions the actor makes his presence amply felt. Kalabhavan brings an intimidating physical presence as an old adversary waiting to get his revenge.
A couple of things which don’t work for Drishyam 3 are the subplots of social media and journalism. Both these start of promisingly but go nowhere in the final outcome. Also, the over exposition towards the end with repetitiveness hampers the proceedings. Because of this the culmination doesn’t give you the same high as the previous two installments.
Among the technical departments Satheesh Kurup’s cinematography is of fine standard. He effectively captures the tense moments and the overall emotional suffocation especially off George Kutty. The background score is also effective in building the tension.
Final word: Drishyam 3 is worth watching for those who like emotionally layered thrillers and of course Mohanlal’s fans
Patriot written and directed by Mahesh Narayanan is a good example of how to use star power while narrating an important story. Patriot has a dystopian feel especially the works of George Orwell. By nature, the film has a fair amount of technical jargon. Also, it’s not an out an out-star vehicle. But Mahesh Narayan deserves absolute credit for bringing up the importance of questioning the government policies rather than blind patriotism
Production Companies: Anto Joseph Film companies, Blue Tigers London etc.
Running time: 3 hours
Ever since its release on May 1 Patriot has seen a diverse range of opinions especially the central subject of surveillance. The different tangents within the main storyline hasn’t worked for everyone. But Patriot is definitely a big screen watch both for the scale and the contemporariness of the issue it handles.
Without giving much away Patriot follows the journey of Dr Daniel James (Mammootty in great form as always). He exposes a mass surveillance conspiracy leading to an exile from India. He flees to London running a popular YouTube channel Vimathan. Through the YouTube channel he continues to question the government policies. However, a situation comes when Daniel gets out of exile leading to multiple developments. Mohanlal in an extended cameo is colonel Rahim Naik. Rahim is Daniel’s best friend. Other important cast members include Fahad Fassil as an ex-army officer and the owner of Shakti corporation, there is also Kunchako Boban in multi shaded role. He starts off as Fahid Fassil’s colleague/partner in crime and then turns into an important subordinate/helper for Daniel James and Rahim Naik.
A strong aspect of Patriot is the central subject of a spy software called Periscope. This reminds us of the current developments with a strong resemblance to Pegasus. This is further enhanced by scenes in the movie talking about the misuse of an individual’s private data. Mass surveillance as a topic isn’t particularly new but what makes the difference is the dystopian touch given by writer and director Mahesh Narayanan. There is a line in the movie with Mammootty talking about the human farm concept. A comparison is drawn with George Orwell’s works to explore a world controlled by algorisms and a certain lack of data autonomy.
The movie also questions citizens attitude in supporting government’s method of surveillance, the character of Mammooty has been excellently used as a voice of dissent raising relevant questions.
What also works for Patriot is the layered plot underneath the topic of mass surveillance. The character dynamics with the past histories also makes the film engaging. A specific mention must be made of a crucial pre climax reveal, it gives a psychological insight into the character of Fahad Fassil.
Mention must also be made of how the women characters have been integrated. Yes, the likes of Revathy, Nayanathara and Darshana have minimal screen time but their integration at different points deserves praise. More importantly they come across as strong women for example Revathy in the first half as the chief minister. An early exchange between her and a politician is a solid example of understated authority, there is no significant raise in the voice, but the formidable nature is palpable. Revathy scenes with Mammooty are very limited but it’s a treat to watch the two veterans together.
Nayanathara appears from mid second half as Daniel’s ex-wife Lathika. Much like Daniel she is also fighting a battle against Fahad Fassil’s Shakti Sundaram. The daredevil nature of the role has come out wonderfully both in the writing as well as acting.
Coming to the reunion of two legends Mammooty and Mohanlal, the timing of the latter’s entry makes for a fantastic scene. This is further added by Fahad Fassil’s dialogue mirroring the legendary status of the veterans. The friendship scenes between Daniel and Rahim has come out in an organic manner with some wonderful punch dialogues. Especially those delivered by Mohanlal. Mohanlal also gets a solid action block in a hospital setting. Its a treat to watch the legendary actor kick some ass even at this age.
Kunchako Boban as already mentioned has a multi shaded role. His relationship dynamics with the effervescent Darshana and how a certain incident leads to shift in equation with Shakti is solidly written and enacted.
Fahad Fassil as the manic villain with daddy issues is deliberately hammy but it works in the context of the movie. Mammooty has the most screen time in Patriot and the actor chews the scenery in his usual style. The fighting spirit of Daniel has been excellently brought out by him.
On the technical front the large scale has been well captured through the lens of Manush Nandan. A specific mention must be made of an intense chase scene amidst Daniel needing urgent treatment. An action sequence in a moving private jet also deserves praise. Sushin Shyam’s music is nicely understated jelling perfectly with the movie’s tonality.
An overview into the best movies from our neighboring states across different genres with particular focus on Kotha Lokah Part 1 and Bad Girl
2025 can easily be termed as a fantastic year for veteran actor Mohanlal. Whether it’s a revenge drama like Thudarum, a political thriller like Empuraan part 2/Lucifer. The actor had a rollicking time in the slice of life Hridayapoorvam too. A big reason for the movie success was Mohanlal’s comic timing. In spite of a very thin plot overstaying its welcome Mohanlal’s antics with numerous moments of self-depreciation made it a breezy watch. Coming to the other legendary actor Mammootty: he had a good outing as well with Kalamkaval. It’s based on a real-life serial killer called ‘Cyanide Mohan’. Cyanide Mohan was notorious for targeting a certain section of women. Kalamkaval is more of a Mammootty show reel than a cohesive film. As expected, the actor was top notch in portraying both the charming man as well as the ruthless criminal.
2025 has also been a solid year for Tovino Thomsas. In Narivetta he played a happy go lucky guy to empathizing and standing for the tribal community. In Kotha Lokha Part 1 Tovino had a fun extended cameo with the whacky characterization. Last but not the least his act in Empuraan 2 was also impressive. He played the grey shades convincingly.
Narivetta Movie Poster
Among the Malayalam movies this year a special mention must be made of the Dulquer Salmaan produced Kotha Lokah Part 1. The movie is a very good mix of western tropes with Indian Folklore. Dulquer deserves a huge appreciation for a backing a female centric project like this. Director Dominic Arun did a very good job in integrating real word issues through a conservative police officer played by a suitably creepy Sandy. Kalyani Priyadarshan made full use of the author backed role coming up with a very good act. Apart from the ones mentioned above there is also the taut investigative drama Officer On Duty directed by Jithu Ashraf.
Coming to Tamil movies films Bad Girl directed by Varsha Bharath needs to be specially mentioned. The movie is a wonderful coming of age through female lens. The plot focuses on a young woman from an orthodox Brahmin family. Her quest for liberation and eventually finding peace was well written and enacted.
Mari Selvaraj’s Bison on the other hand is a rousing tale of breaking social shackles. In spite of the staple sports elements and overdose of blood the movie does succeed in engaging the viewers. The caste of the Dhruv Vikram’s Kittan isn’t explicitly stated but the viewers can understand that the family comes from lower caste due to some of the conversations and obstacles faced.
Bison also featured a strong woman character in the form of Anupama Parameswaran playing the fierce Rani. Her character is seven years older to Dhruv Vikram’s one. This added an interesting dimension to the romantic subplot in spite of Anupama’s brief screen time.
Following is a brief overview into the best movies from our neighbouring states (2025)
Malayalam
Kotha Lokah Part 1 (Chandra): Dominic Arun’s Kotha Lokah Chapter 1 can be easily called India’s Wonder Woman. The movie is an excellent mix of western superhero tropes with a solid Indian folklore. The film bears a slight resemblance to the Tripti Dimri starrer Bulbbul too in terms of the men targeted by the female protagonist.
A strong aspect of Kotha Lokah Part 1 is the world building done by Dominic Arun as well as Santhy Balachandran. The establishment of Kalyani Priyardarshan’s mysterious nature and how it connects with Naslen’s Sunny was very well done. The growing bond between Sunny and Chandra with an undercurrent of romance makes the viewers wish that the two had met in different circumstances.
Mention must also be made of the origin story timing. The haunting visuals of Nimish Ravi coupled with Jakes Bejoy’s music elevate this emotional stretch further. As Chandra Kalyani combined strong physical agility with solid acting chops, Naslen on the other hand was an absolute riot with his one liners. There is an inherent sweetness to the part in spite of a certain lazy nature and Naslen brought that out wonderfully
Thudarum: Tharun Moorthy’s Thudarum in more ways than one feels like a Drishyam 3 with Mohanlal playing a family man. Nevertheless, the movie is a gripping watch with some impactful social commentary on police atrocities and a false sense of pride.
In simple terms Thudaram focuses on the transformation of a former stuntman/driver Benz (an excellent Mohanlal). However, one-night changes everything connected to a truly despicable CI George (Prakash Varma doing absolute justice to the role).
A strong aspect of Thudaram in spite of the straightforward writing are the moments leading up to Benz transformation. It doesn’t come across as jerky and the reason for that are the adorable family moments of the first half. Viewers feel for Benz during a disturbing revelation. Mohanlal is simply outstanding especially in that sequence. The themes of abusing power as well as a common man’s fight against injustice came out solidly through the transformation of Benz.
Empuraan 2/Lucifer 2: Prithviraj Sukumaran’s sequel to the 2019 Lucifer stirred up a major controversy due to its hard hitting depiction of communal violence with a harrowing scene reminiscent of Godhra riots. The film went through some reediting because of the political backlash. In spite of the changes there is no denying that Empuraan 2 takes a strong stand against religious extremism and its terrible effect on humanity. Mention must also be made of how Prithviraj explored the concept of “Power corrupts, but absolute power corrupts absolutely”. This angle came out excellently through Tovino Thomas’s Jathin Ramdas. His character goes through a major switch in comparison to the first part and Tovino did an extremely fine job. The character of Manju Warrier too has a different arc this time. There is a strong inner strength to Priyadarshini. This evolution was a delight to watch. The actress especially shined in the confrontation scenes with Tovino. Mohanlal as Abraham Quereshi/Lucifer once again shined with his trademark effervescence bringing in the right amount of charisma and mystery. The character of Abraham Quereshi often feels a cousin brother to George Kutty from Drishyam movies. Mohanlal especially shined in the sequences involving Indrajit Sukumaran’s Govardhan and also a pastor cum figure.
Narivetta: Narivetta directed by Anurag Manohar with story by Abhin Joseph is based on a real life tribal protest in 2003. The broad storyline encompasses the themes of land rights, state misusing its authority and the determination of marginalized communities. At the centre of this plot is Tovino Thomas’s Varghese Peter: A rookie police constable. The movie starts off in a non linier format with Varghese Peter running away from cops. This immediately grabs the viewers attention. Later we come to know to that Varghese is a police himself. From here the flashback starts establishing the initial happy go lucky nature an and how the gradual transformation happens.
A strong aspect of Narivetta is Tovino Thomas’s layered characterization: from the initial lack of clarity and then the post interval portions of finally understanding the politics of superior officers. How he comes to empathise and stands up for the tribal’s protest gives the movie some of its best moments. Tovino Thomas particularly shined in the face off between the police and Adivasis. These scenes benefit immensely from the fantastic cinematography and background score too.
Mention must also be made of the friendship between Peter Varghese and Suraj Venjuramood as an empathetic police official Basheer. The friendship between the two came out well leading to some poignant moments.
Officer on Duty: This Jitu Ashraf directorial is a taut investigative drama with an excellent Kuchako Boban as Harikrishna. The director along with Shahi Kabir was successful in humanizing the titular protagonist both as a police officer and human being this in spite of an extreme short temperedness. The movie also benefitted from Vishak Nair and co. He perfectly embodied the ruthless and psychotic nature of Christie. The second half has numerous intense sequences with the hero after this villain gang keeping the viewers on the edge. The portions of Harikrishna and Christie taking on each other are more for those who enjoy gruesome action: nevertheless for raw action lovers these sequences are a treat. Mention must also be made of an important flashbacking establishing the motivations of Christie. This involves a dastardly police officer whose atrocious behaviour sets the tone for a heinous set of crimes.
Tamil
Bad Girl: Bad Girl directed by Varsha Bharath is a refreshingly different coming of age through female lens. The tumultuous journey of the female protagonist in finding liberation is relatable for numerous millennial women.
The storyline of Bad Girl primarily focuses on Anjali Sivaraman’s Ramya. It’s about the many turbulent life scenarios she goes through. Ramya does many things defying the general social norms. Often times the movie feels like a character study rather than plot driven. The title here isn’t a judgment it’s more of a reflection on how traditional culture perceives a woman’s attempts to find her autonomy.
This is a major strength of Bad Girl movie. Varsha Bharath did an excellent job in showcasing the journey starting from Ramya’s teenage life. The generational differences between a mother and daughter came out in an excellent manner. As Ramya’s anxious mom Shantipriya was brilliant too in portraying the motherly concern as well as a rebellious woman in her own ways.
Veera Soora Dheeran (Part 2): S U Arun’s Veera Soora Dheeran (Part 2) is a good example of a star vehicle done right. Unlike the director’s last Chittha this one is more generic: nevertheless, the film makes for an engaging mass cinema with good character build up. The title Veera Soora Dheeran (Part 2) functions both as a sequel and prequel simultaneously: Prequel because there is an important flashback establishing the events leading up to the titular protagonist current predicament.
The storyline of this movie happens in one night. It involves the return of a once upon a time trusted henchman Kaali (a robust Vikram). Kaali is a settled man with a dark past. But due to certain circumstances he is left with no option other than to help a former boss Periyar Ravi (Telugu actor Prudhvi Raj in a different role).
A strong aspect of Veera Soora Dheeran (Part 2) is the balance of massy pitch with Kaali’s vulnerability. There is a palpable tension especially in the first half with Kaali going through a lot of internal and external conflicts. The cat and mouse game has some thrilling moments like the portion of a dangerous landmine.
What also works for the movie is the equal importance given to other characters. Prudhvi Raj as already said is seen in a refreshingly different role and he simply aced it. S J Suryah too is wonderful avoiding his usual mannerisms. The character starts off as a sincere police officer but he soon becomes a man consumed with revenge and calculated malice. This sharp writing makes the movie an intelligent masala film. Yes things start to stagnate with the flashback portion nevertheless there is a lot to enjoy
Bison: Mari Selvaraj’s Bison has a template story but what makes it click is the rousing manner in which the protagonist breaks numerous societal shackles. The film is based on the life of a legendary Kabaddi player Manthi P. Ganesan nicknamed as Bison. Upcoming actor Dhruv played the title role.
A strong aspect of Bison is the brilliant performances headed by a fantastic Pashupathy: From being emotionally conflicted to becoming an important pillar of support the character goes through myriad emotions. Pashupathy simply nailed the graph of Veluswamy. Mention must also be made of how Mari Selvaraj uses the characters of Lal and Ameer. Yes the portions could have done with some serious trimming but the humanness with which Mari Selvaraj portrays them is excellent. The subplot of warring factions is never presented in a caricaturist manner. Lal especially stands out in the scenes supporting Dhruv Vikram’s Kittan.
Anupama Parameswaran has a small but significant role: Her character Rani is older to Dhruv Vikram’s Kittan and the romantic subplot particularly Anupama’s fiery performance makes the love story interesting. It’s good to see movies normalizing the heroine being older than the hero and more importantly having a happy ending. As Kittan Dhruv did a fine job in justifying the tough persona. He particularly excelled in the scenes of showcasing vulnerability.
Dragon: Ashwat Marimuthu’s Dragon is a roller coaster ride of emotions. It’s in equal parts emotional and also a laugh riot. Through a terrific Pradeep Ranganathan Ashwat broke the trope of a rowdy boy being cool. A serious issue like the consequences of taking shortcuts was also portrayed well without being overtly melodramatic.
A strong aspect of Dragon is the dynamics between Pradeep Ranganathan’s Raghavan and Mysskin’s Mayilvahan. Mayilvahan knows Ranganathan inside and out: he makes a re entry into the protagonist’s life at a very crucial point. Mayilvahan is a righteous man but at the same time he isn’t a caricature. He believes in giving second chances. Mysskin brought certain warmth to the part in spite of an outwardly stern nature. Mayilvahan pushes Raghavan in making him realize the mistakes. The dynamics between these two characters takes the graph of second half to a whole new level.
The post interval portion has a crucial message about redefining heroism as nobility rather than as just success. A key emotional outburst from Pradeep Ranganathan elevates the film to a higher moral plane: something which we don’t generally see in the mass template. Mention must also be made of Anupama Parameswaran as Raghavan’s ex. She brings in an emotional resonance especially in the second half.
Tourist Family: Tourist Family directed by Abhishan Jeevinth is a highly optimistic yet an important tale of humanity. The movie broadly encompasses the themes of displacement, identity, familial bonds and the need for empathy through an immigrant family seeking refuge in Tamil Naidu.
This family consists of Dharamdas along with his wife and sons. Sasikumar and Simran played the husband and wife: The two sons are played by Mithun Jai Shankar and Kamlesh Jagan. Yogi Babu is the relative helping out Dharmdas and co.
A strong aspect of Tourist Family is the family friendly tone in the age of macho heroes and expansive set pieces. The plot is very simplistic but what makes the difference here is the narration. The movie has ample moments of fun as well emotionally poignant sequences. The family dynamics have a lived in feel too further enhanced by the cast.
Sasikumar as Dharamdas did a wonderful job in portraying the different facets. Simran as Vasanthi played the role with grace and also a strong inner strength. Among the two sons Kamalesh Jagan brought in some laughs with his comic timing. Yogi Babu as the relative also delivered some chuckles.
Manchu Vishnu donning multiple hats of an actor and writer takes a while to find his footing, however he comes into his own in the moving post interval portions specifically the climax. For Shiva devotees Kannappa will be a delight. Akshay Kumar as Shiva lends in the right amount of serenity and Prabhas as Rudra makes his presence amply felt in an extended special appearance.
Production Companies: AVA Entertainment and24 Frames Factory
Music: Stephen Devassay
Cinematography: Sheldon Chau
The story of a tribal hunter turned shiva devotee Kannappa is an important part of Indian mythology. The tale of Kannappa is closely connected with Srikalahasteeswara temple in Andhra Pradesh. The story of Kannappa was brought to life by the moving Bhakta Kannappa played by an excellent Krishnam Raju. The movie was a major commercial success and is remembered fondly to even this day.
Vishnu Manchu’s Kannappa is an modern adaptation of Bhakta Kannappa with added commercial elements. The destination is the same, but the packaging varies. For those who haven’t seen Bhakta Kannappa the plot of this one revolves around Thinnadu (an earnest Manchu Vishnu). He is a fierce hunter rejecting anything connected to god and divinity. He is far removed from the world of faith. R Sarathkumar as Nathanathudu plays the village head of a particular tribe. Nathanathudu is the complete opposite of his son Thinnadu, in spite of not liking his son’s views towards god Nathanathudu never forces his religious beliefs on him. The story essentially looks at the transformation of Thinnadu when he stumbles upon an Shiva Lingam changing his entire outlook towards religion and the existence of god. This is the story in brief.
Before getting deeper into the movie its necessary to get the comparisons out of the way. Manchu Vishnu is no Krishnam Raju and that is very visible in the initial portions. His warrior like presence has a certain stiffness, at times he seems to be aping Prabhas in the action and romantic portions. However Manchu Vishnu slowly starts to grow on the viewers getting the soul of Kannappa right. As earlier mentioned the post interval portions are far more engaging a big reason for this is Manchu Vishnu’s act, his portrayal of Shiv bhakt embracing a trance like state is excellent. In the climax where he removes his eyes has a wonderful intensity moving the viewers. Mention must also be made of Manchu Vishnu’s act in the fiery dialogues where he questions the act of human sacrifice in the name of rituals.
Prabhas as Rudra also plays a major role in making the second half better. The screen time of Prabhas is short but the interactions with both Mohan Babu and Manchu Vishnu are a perfect blend of humor and philosophical wisdom. He adds significant depth to Kannappa’s spiritual journey.
Prabhas as Rudra
The father and son dynamics between Thinnadu and Nathanadu also has some nice touches. An emotional conversation featuring the ghost of R Sarathkumar and Manchu Vishnu touches the viewers heart in particular. R Sarathkumar lends a certain dignity to his part.
Coming to others senior actor Mohan Babu as Mahadev Shasthri has a commanding presence, he nails the arrogant nature as expected while also shining in the sequence showcasing remorse. Mohanlal in a completely new look brings his signature gravitas. His pre interval sequence with Vishnu setting the base for the second half is nicely done.
The devotional songs of the second half also lift the movie. The song Shiv Shiv Shankar in particular is well tuned, it makes for a good watch and listen. Sheldon Chau’s cinematography is of a good order too. He does a fine job in capturing both the vast landscape and also the mythical moments through his lens.
A major problem with Kannappa is the attempt to make the story more pan India. The love portions featuring the two leads feels completely out of place, they feel more situated for a modern love story rather than the story of a non-believer turned devotee. Preity Mukhandan has a fiery presence starting off with promise but soon she just turns into a regular commercial heroine. The overdose of skin show leaves a bitter after taste occupying more space than necessary. Even the romantic songs featuring the two also lengthen the running time rather than aiding the narrative. The war sequences feel straight out of Bahubali and Hollywood movies. The clumsy CGI in some places don’t help matters either.
The likes of Bramhanadam and Saptagiri also feel out of place. The first half needed a much tighter edit, the village conflicts and the battle to protect a sacred lingam needed to be shortened since the main crux of Kannappa is the transformation story.
Final word: Kannappa is a delight for Shiv bhakts specifically the intense climax, its a sincere effort to bring alive the tale of a non believer turned devotee for the modern generation.
Much like the first part, director and actor Prithviraj Sukumaran creates an intricate world gradually revealing the various layers. The movie beats are familiar to part 1: at the same time he is successful in building fresh socio-political scenarios particularly the angle of religious propaganda
Production Companies: Lyca Productions, Aashirvad Cinemas etc.
Running time: 2 hours and 59 minutes
Lucifer 1 directed by Prithviraj Sukumaran and featuring the legendary Mohanlal was a good mixture of fan service and a turbulent political landscape. The movie focused on the huge vacuum left by the death of Sachin Khedekar’s PK Ramdas. The power dynamics, particularly who would become the next leader formed the central plot of the movie. Mohanlal’s Stephen Nedumpally is a powerful and mysterious man changing the course of the story. Initially not much is known about him but slowly viewers come to know about the influence he yields. He plays a significant role in the ensuing political drama.
A major strength of Lucifer 1 was the grey shades of not just Mohanlal but also the other important players, specifically Vivek Oberoi who nailed his negative role. The biblical references also gave the movie a certain gravitas. With Lucifer part 1 Prithviraj Sukumaran showcased a different side to Malayalam cinema. The second part of Lucifer comes after a significant gap of six years. Part two of Lucifer/ Empuraan has clearly upped the scale in terms of presenting a larger-than-life cinema while retaining the political undertones.
Lucifer part 1 image
The second part of Lucifer begins with a disturbing incident of communal violence. Hindu pilgrims are killed in a burning train leading to an absolute mayhem (we are reminded of Godhra). There is a lot of bloodshed with a small Muslim community being butchered, raped and killed by Balraj (Abhimanyu Singh) and his men. The lone survivor is Zayed Masood (Prithviraj Sukumaran). These beginning portions set the political undertones of part two. From here the focus shifts to God’s own country Kerala. Jathin Ramdas (Tovino Thomas) son of late PK Ramdas blinded by hatred towards his late father makes the decision of joining a party which is both extremist as well as communalist. Abhimanyu Singh’s Balraj is the head of this one. The subtle political subtext of the plot can be easily understood if the viewers scratch beneath the surface. Running parallel to this, an international conflict between two crime syndicates unfolds. At this juncture Stephen Nedumpally also known as Abraham Quereshi makes a comeback to the state of Kerala.
As already mentioned, Lucifer 2 has an intricate plot gradually revealing the various layers. The first half has a slow build up as it juggles between various tracks. This can be a patience tester for a section. Also, Mohanlal’s entry much like the first part takes its own sweet time but the slow build up is worth the wait in the eventual scheme of things.
The delicate balance between fan appeasement and the social commentary is a sheer delight to watch. At the beginning of the movie there is a quote “Power corrupts, but absolute power corrupts absolutely.” This angle comes out strongly in the character sketch of Tovino Thomas whose personality has undergone 360 degrees turn. The creeping ideological differences between Jathin Ramdas and the sister Priyadarshini played by Manju Warrier give the movie some of its best moments.
One of the major themes in Lucifer 2 is the angle of religious extremism and the terrible effect it has on humanity. There is an important dialogue delivered by Nikhat Khan in an extended special appearance regarding how the future generation shouldn’t get caught in the trap of religious propaganda and the dangers of religion as a tool in politics.
Mohanlal as Stephan Nedumpally also known as Abraham Quereshi/Lucifer once again delivers a strong act in spite of having a late entry. Mohanlal brings in the right amount of charisma and mystery making Stephen a very enigmatic person much like his other popular character George Kutty from the Drishyam films. The actor conveys a lot with his subtle expressions. A particular mention must be made of Mohanlal’s performance in the scenes where he meets Indrajit Sukumaran’s Govardhan and a pastor cum father figure. There is a visible political and religious subtext giving the viewers goosebumps.
Manju Warrier’s character has a different arc this time and the actress does a very good job in showcasing the evolution of Priyadarshini. The way she portrays the strong inner strength in a nuanced manner makes for a wonderful watch.
Prithviraj Sukumaran as Zaya Masood much like the first part has limited screen time, still he makes his presence amply felt. The backstory gives a certain emotional heft which Prithviraj makes complete use of. Of course, the dynamics between Stephan and Zaya could have done with more exploration, still the back story gives an emotional insight into why Zaya is a trusted aid of the titular protagonist.
Prithviraj and Mohanlal from a song in Lucifer/ Empuraan 2
Abhimanyu Singh as Balraj also makes a significant impact, although his character arc lacks the nuances of what Vivek Oberoi played in the first one. Tovino Thomas also shows his versatility with his excellent portrayal of a changed man.
Tovino Thomas also shows his versatility with his excellent portrayal of a changed man
Technically speaking Lucifer2 / Empuraan is a visual feast with its grand scale. The cinematography of Sujith Vasudev enhances the movies visual appeal. The background music is also of a very high standard particularly in the combination scenes of Mohanlal and Prithviraj.
Final word: Lucifer 2/ Empuraan is a worthy follow up. It treads on familiar lines while giving something new.
There are enough Rajini moments to keep the fans satisfied Jailor ( Tamil). 3 out of 5 Starcast: Rajinikanth, Vinayakan, Ramya Krishna, Yogi Babu and others special appearances ( Shiv Rajkumar, Mohanlal and Jackie Shroff) Director and writer: Nelson Dilipkumar Producer: Kalanithi Maran Production Company: Sun Pictures Music: Anirudh Ravichander Genre: Action/comedy Running time: 2 hours and 48 minutes
Jailer, directed by Nelson Dilipkumar, is a commercial potboiler with a mix of everything. There is the father and son emotion with a climax that is reminiscent of Kamal Haasan’s Bharateeyudu. There is also lot of dark humour generated through Yogi Babu’s character. The film takes the viewers back to Baasha times. Like in Baasha the protagonist in this film also has a violent past.
The film begins with the introduction of a gang who smuggles temple sculptures. The head of gang is Varman (Vinayakan). The opening scene establishes the brutality of the antagonist. From here we move to Tiger Muthuvel Pandian (Rajinikanth). Pandian is a retired jailor who now spends most of his time making YouTube videos with his grandson. His son Arjun (Vasanth Ravi) is an assistant commissioner of police who is on the trail of Varman’s gang. Arjun is warned by many not to dig too deep into this case but he refuses to stop the investigation. One day Arjun goes missing and the viewers are led to believe that he is dead. But things are not as simple as they appear to be. In brief Jailor is about what happened to Arjun and how Muthuvel Pandian nullifies the baddies with the help of some delightful cameos.
For any masala potboiler it is necessary that the villain is on par with the hero. Jailor doesn’t disappoint you there. Nelson has created a terrific antagonist with the character of Vinayakan. Vinayakan makes a huge impression with just his body language. Even in the lighter moments the actor does a very good job. A special mention must be made of Harshath playing one of the henchmen. In spite of limited screen time he makes a good impact.
Rajinikanth and others in celebration mood
The family moments particularly those between Rajinikanth and his on-screen grandson leave a smile on the viewers face. There is palpable warmth between them.
The dark humour in the film mostly lands thanks to Yogi babu’s comic timing and the banter that both he and Rajinikanth share. Even the action scenes have a certain element of fun.
Coming to Rajinikanth’s Muthuvel Pandian Nelson has done a good job in designing the character. Initially we see Rajinikanth underplaying but later the character transforms into a menacing force. This has been showcased well. The emotional bits are also done well. There are scenes where there are no dialogues but the emotion is still very much felt.
Vinayakan, the perfect villain
Anirudh’s music and background score is another strong pillar for the film. It elevates the scenes in a major way. My favorite song in the film is Rathamaarey which showcases the family bond.
Finally the cameos have also been integrated well. It is a treat to watch Rajinikanth sharing screen space with Mohanlal and Shiv Rajkumar.
What doesn’t work for Jailor is the subplot of Sunil and Tamannah. It only adds to the length of the second half. Ramya Krishna as a typical housewife plays her part well but some of Rajinikanth’s scenes with her come across as too misogynistic.
Keeping the flaws aside it is good to see Rajinikanth playing his age like Amitabh Bachchan. Hope more good stories are written for him.
Prithviraj Sukumaran’s first directorial debut Lucifer was a well made political drama within the commercial framework but it wasn’t a film that stayed with you. With Bro Daddy the director attempts a comedy. Just like Lucifer, Bro Daddy also relies heavily on the screen presence of the legendary Mohanlal to make it work. Although Prithviraj has casted himself as the second lead it is Mohanlal who runs away with the show most of the time.
Prithviraj takes the conflict point from the film Badhaai Ho. Just like Neena Gupta’s character in Badhaai Ho here too Meena who plays Mohanlal’s onscreen wife gets pregnant at a late age, the sons in both the films aren’t happy with their mother getting pregnant at that age. However, director /actor Prithviraj Sukumaran doesn’t fully dwell into this topic, he treats it as a mere side plot as the proceedings unfold.
Bro Daddy begins off with a short animation clip. This clip gives the audience a good idea about what to expect from the film. Constant jokes are made about the age gap between father John Kattadi (Mohanlal) and son Eesho John (Prithviraj Sukumraran). The age gap jokes just don’t end here; the audiences are reminded of it at frequent intervals. The reason for the age gap between the father and son is that John and Anna (Meena) had married quite young.
They are waiting for their son Eesho (Prithviraj) to marry. Eesho works as an advertising professional. He is in a relationship with a girl who is also Anna (Kalyani Priydarshni). This Anna is the daughter of John’s best friend Kurian (Lalu Alex). The reason for Kurian naming his daughter Anna too is that once upon a time he wanted to marry Meena’s Anna. However, it wasn’t possible due to certain circumstances. But Kurian’s love for her is still there. Whenever Kurian meets or talks to her soothing background music starts playing.
Coming back to the plot, the parents of both the parties don’t know that their children are having a live in a relationship in Bangalore. Things take a turn when Kalyani Priyadarshini’s Anna gets pregnant and she decides to go ahead with the baby. Eesho isn’t happy with her decision but there is nothing much he can do. Another shock awaits Eesho when his father calls and says that he needs to discuss something important with him in person. What follows are a bunch of comic set pieces, some of them definitely land but there are also certain episodes that leave you with a bitter taste.
One of the things that Prithviraj gets right is the characters of John and Kurian, as John Kattadi Mohanlal oozes charm and vitality in every frame. His comic timing feels absolutely effortless, at no point you feel that the actor is trying too hard. His comic timing and expressions play a major role in some of the jokes really landing well.
Kurian’s Lalu Alex is another character which is worth mentioning here. The core of Kurian is his caged anger management issues. As Kurian Lalu Alex not only displays wonderful comic timing but he also gives a strong performance in the emotional bits.
For example, there is a key scene in the second half involving the big reveal. His hurt at being kept in the dark by his best friend and also his daughter is wonderfully brought out by the actor.
The father and the son equation also gives the film some lovely moments. John Kattadi comes across as more of a friend than dad to Eesho.
The biggest downer of Bro Daddy is the lack of strong emotional connect. This can be particularly seen in the characters of Meena and Kalyani Priyadarshini. Both the Anna’s start off strongly but they are left midway. The character of Esho is also something which leaves a lot to be desired.
The frustrations of Esho are understandable but there is not much development in the character that you see. Before the pre- climax there is a scene where John makes his son understand Kurian’s point of view. However, the transformation feels very abrupt and doesn’t give a complete sense of him having changed.
Some of the comedy bits are too annoying to say the least. Soubin Shahir’s event manager is meant to be a spoof but instead of being amused you feel like fast forwarding.
There is a serious hangover of Priyadarshan’s Hindi fims that you find in the comic style adopted by Prithviraj Sukumaran. This method doesn’t really pay dividends here as the humor hasn’t got that rip roaring quality to it. It is another matter that Priyadarshan himself has become a stale filmmaker over the years.
Watch Bro Daddy if you are in the mood for some light hearted fun but don’t expect too much.
Sequels are always a tricky business given the expectations of the people and it is very rare that a sequel is as good if not better than the original. Drishyam 2 is one such where it completely lives up to the expectations of those who loved the first part. It is a perfect example of how to make a good thriller. The twists and the turns keep you completely hooked. The climax and the pre climax deserve particular mention.
For those who haven’t seen the first part the plot revolved around a Cable TV operator George Kutty who is leading a happy life with his wife and daughters. Things take a turn for the worse when his family commits an accidental crime and the burden of protecting them and their secret falls on him.
The story of Drishyam 2 begins six years after the incident. George kutty now owns a theatre and also plans to make a movie. The two daughters are also grown up. Anju played by Ansiba Hasan is a subdued college student. Anu played by Esther Anil is somewhat rebellious. Meena is still the naïve wife who picks on her daughters and isn’t very happy with her husband’s plans. Asha Sharath also reprises her role of ex cop Geeta Prabhakar.
But beneath the normalcy the family is still scarred by what happened in the past. Director Jeetu Joseph paints a realistic picture of the trauma. Anju develops a medical condition because of it. This includes having nightmares and feeling fear whenever she sees the police. Meena’s character is constantly worrying about where her husband had buried the body and someone will find it one day. Whenever her husband goes out of town she asks her neighbor Sarita to sleep with her as she cannot sleep alone. Anu the youngest has kind of moved on.
However it is not just the family which has changed, the people around them have also changed. In the first part the people of the town were rooting for George Kutty’s family horrified by the police actions. This time around they have loosened their tongues. Most of them believe that they indeed committed the crime. What really happened on that day becomes a matter of gossip everywhere. The situation changes when the current IG deploys shadow police officers to get the truth out of George Kutty and his family.
Just like the first part the biggest strength of Drishyam 2 is its writing. It is tough to write a sequel to a story where the crime is the same but Jeetu Joseph does a super job in building up the plot. He also brings freshness to the sequel while retaining the spirit of the prequel.
A suspense thriller is not only about how you begin but it is also about how you end. The courtroom scene in the pre climax mirrors a crucial scene from the first film. Just when you think that Geroge Kutty is going to be punished a new twist shows up where we realize that George Kutty has pulled the rug from under the feet of everyone including the audience.
Drishyam 2 also scores high on emotions. There are many scenes which move you. If the movie has to be summed up in one line it is what the judge tells the IG in the end that both families deserve justice. The director is successful in making you empathize with both Mohanlal and also Asha Sharath, but more with Mohanlal. There are no heroes and villains here.
Mohanlal carries on from where he left off in the first part. He makes George Kutty’s character his own proving once again why he is a legend. The supporting cast also does well but Asha Sharath deserves a particular mention for her performance as a mother who wants her son’s killers to be punished.
In totality Drishyam 2 is a highly satisfying sequel to the first film.
