That said, Drishyam 3 is not a bad film. It goes for the low-hanging fruit and relies on one certainty: Mohanlal's Georgekutty will always be one step ahead of the cops. And Mohanlal's brilliant performance, despite the script's shortcomings, keeps us glued to the screen for two hours and 39 minutes. His wife, played by Meena, and daughters, played by Ansiba Hassan and Esther Anil, get roles that require them to simply agree with what Georgekutty says. Esther Anil has several dialogues that bring in some welcome comic relief.
G.D.N. encapsulates all this and more. But it recounts one event after another, almost like checking off milestones, instead of weaving them into a cohesive narrative. In fact, G.D.N. often feels like a Wikipedia page stretched into a feature-length screenplay.
Rajeevan is not a superhuman – he is beaten, bruised, but clear-headed enough to know that his one mistake cannot cost his wife and children. I, Nobody works best as a character study of this man. Meera, too, is not just a housewife and a caregiver. She has a mind of her own and does not hesitate to reprimand Rajeevan when his choices spill over into her life and her children's.
Its sincerity and visual beauty are undeniable, but a more layered screenplay and stronger performances from its leading women would have made this gentle romance far more affecting.
Sree Vishnu's natural comic instincts surface occasionally, keeping the mood from becoming too heavy. It is also genuinely refreshing to see him in a serious role after a string of comedy outings, and he handles the transition with reasonable ease. But even he cannot paper over the cracks in a script that consistently opts for convenience over craft. Mrithyunjay is a thriller that knows what it wants to be but does not quite get there. The ideas are interesting enough to hold your attention, and the setup is promising enough to make the eventual disappointment sting a little more. With sharper writing and a greater willingness to let its characters earn their victories, this could have been one of the better Telugu thrillers in recent memory. Instead, it settles for being a frustrating reminder of what might have been.
Parasakthi's core is interesting, and it hits even today because Hindi imposition still exists even after decades. The film showcases how it's not just Tamils who are fighting against it, but also people from other states with their own native languages fighting to preserve what's rightfully theirs. While the film takes the commercial route in ending with Tamil Vaazhga (Long Live Tamil), it also speaks for people from other states who suffer from imposition. GV Prakash's music, especially Senai Kootam and the background score, elevates the protest scenes. The film also takes us back to the 60s with brilliant cinematography by Ravi K Chandran and Sathish Suriya's editing. Parasakthi is an emotionally and politically strong film that captures the fight of our ancestors and reminds us of the fight that we need to carry for the next generation.
Vaa Vaathiyaar is a film with a fascinating concept that ultimately plays it safe. Nalan Kumarasamy's vision is evident in the quirky characters and unique setup, but the execution doesn't match the ambition. Karthi's committed performance and some genuinely entertaining moments in the first half, especially the interval experience, make it an enjoyable experience, but it's hard not to feel disappointed by what could have been.
Director Venky Atluri's Vishwanath and Sons, starring Suriya and Mamitha Baiju, is a feel-good family drama that talks about childhood trauma, healing and what companionship mean.
