Aadu 3 is not without its enjoyable moments. The characters are still inherently funny, Jayasurya’s presence still carries weight, and there are enough scattered laughs to remind you why the franchise built such a loyal fanbase. But it also feels like a film caught between nostalgia and reinvention, trying to scale up its world while holding on to the loose, chaotic spirit that made the earlier films work. In doing so, it delivers a watchable but uneven chapter that leans heavily on past goodwill while promising that the real fireworks may be reserved for what comes next.
‘Chatha Pacha: The Ring of Rowdies’ may not break new narrative ground, but it works as an entertainer driven by energy, nostalgia, and visual bravado. It knows exactly what it wants to be and largely delivers on that promise. For audiences willing to surrender to its noise and nostalgia, the film offers a sweaty, chaotic, and unapologetically theatrical experience.
However, despite its intriguing themes, the film struggles to deliver a truly satisfying payoff. The narrative builds towards moments that promise emotional or thematic impact, but the final culmination never fully lands. The screenplay makes Vineeth's conviction clear, but the obsessive edge that sets him apart never feels fully realised. As a result, some of the story's key turning points feel less impactful than they should.
Yet, the film does not feel entirely new. Its thematic core recalls earlier Malayalam films that have explored collective malice and moral policing. While the treatment is sharp, the central idea carries a sense of familiarity. The second half, in particular, seems to rely heavily on the novelty established earlier. Suttu the dog, who has a striking voice presence in the first half, fades away later, which slightly weakens the narrative’s tonal consistency. The film also shifts dramatically in portions, taking on the flavour of a porattu nadakam, the traditional folk theatre form. While this theatrical exaggeration adds energy, it occasionally reduces characters to caricatures. In several stretches, the exaggeration feels excessive, and by the end, the messaging becomes somewhat spoon-fed and mildly preachy.
The intent is heartfelt, but the impact doesn’t always land as deeply as it should. 'Kaalidhar Laapata' is a film that means well, and thanks to Abhishek Bachchan’s moving performance and his chemistry with Daivik Baghela, it occasionally soars. But in trying to tick every emotional box, it loses some of its authenticity along the way. Still, beneath the slightly formulaic structure lies a tender story about forgotten people, unexpected friendships, and the fragile dignity of those simply trying to be seen. It's not perfect, but it’s a reminder that even in a world quick to discard the vulnerable, moments of connection can still shine through.
While 'Pariwar' may not be an outright laugh riot like 'Falimy', directed by Nithish Sahadev, it still manages to entertain. The unpredictability of the plot keeps things engaging, at least until the final stretch. However, the climax leans into familiar territory, following the usual beats of a typical family drama. What makes 'Pariwar' stand out is how familiar its characters feel, each one resembles someone we've known at some point, making them instantly relatable. The film keeps things simple, never trying to be grand or over-the-top, yet delivers what it promises. If you're in the mood for a lighthearted family drama packed with quirky characters and effortless humour, this one is worth a watch.
The supporting cast includes Remya Suresh, Swathi Das Prabhu, and Prashanth Alexander. Although they each play smaller roles, they all do their parts well. 'Sarkeet' is an earnest attempt to explore human connection, mental health, and the migrant experience in a quiet, introspective manner. While it may not break new ground, it's a film that succeeds in its performances. Despite these minor shortcomings, 'Sarkeet' remains a quietly moving experience. It's a film that doesn't try to force its point but allows its characters to reveal their humanity slowly. For those who appreciate character-driven stories with a slower, more introspective pace, 'Sarkeet' is definitely worth watching.
Ajith of Onmanorama stated that Vala: Story of a Bangle is "a gleaming idea dulled by uneven execution." The film's tone "often tips to melodrama", which makes the audience distant.
The film is a whirlwind of chaos, but in the most enjoyable sense. From the opening scene to the closing credits, there's a constant stream of hilarious and entertaining events unfurling. While we've witnessed numerous unique comedic characters in Malayalam cinema, such as Mammootty's Rajamanikyam or Veerendra Mallayya in Chattambinadu, it's definite that Fahadh's portrayal in 'Aavesham' seems to draw inspiration from the latter. However, Fahadh manages to wholly embody Ranga as a character, ensuring that he transcends any notion of being a mere imitation. Ranga truly stands out as a remarkable creation in his own right. Sajin Gopu's character, Amban, is a significant source of comedy in the movie. His performance is downright hilarious, serving as Ranga's comedic counterpart.
In ARM, Tovino Thomas takes on the challenging roles of Kelu, Maniyan, and Ajayan, each from a distinct era and with their own unique traits. Director Jithin Lal has spared no effort in creating an expansive film, with grand visuals, an impactful background score, and impressive cinematography. The film’s scale may remind viewers of other large-scale productions like Prithviraj's Urumi. However, the true highlight of ARM is Tovino’s exceptional performance. His portrayal of the three characters, especially Maniyan, stands out as a tour de force in acting.
Ajith of Onmanorama wrote, "Although the movie started with a promising theme, it deviated from its path by following cliches, leaving the audience with a sense of disconnect.
