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.
Bibin Ashok’s songs suit the youthful hostel setting, while Shankar Sharma’s background score wisely avoids excess, heightening tension only when necessary. Ajith Achuthan’s art direction adds texture to the campus spaces. Predictable turns aside, ‘Prakambanam’ remains an easy watch. It is a film that understands its audience and plays to its strengths, even if it stops short of fully reinventing the genre.
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.
That said, “Kalamkaval” is not flawless. It feels like the protagonists have relatively narrow arcs, like the cop seeking justice and the killer driven by compulsion. The flow looks one-dimensional, at times. Then, there is definitely a trade-off. It is this: clarity and focus come at the cost of psychological depth. Supporting performances, especially from some central women actors, occasionally pierce through. Sometimes, we feel that the stories behind them deserve more space.
However, 'Kalaratri' carries an 'A' certificate, making it restricted for younger audiences due to its strong language and mature themes. Thambu Wilson, known for her work in 'Irupathiyonnaam Noottaandu', brings the right amount of depth to her role. Mariya Suma, Maria Abhish, and Abimanue Sajeev all deliver solid performances, but it is Adrian Abhish who truly steals the show, leaving a lasting impression. Lijin Eldho Alisa and Divin George Kurian's cinematography keeps viewers on edge, effectively building the suspense throughout the film.
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.
Asif Ali, who has had some brilliant outings in the recent times, including the intense family drama 'Kishkindha Kandham', is definitely making some good choices in recent times. Anaswara Rajan may not have too much screen time in the movie, but she nails her role and brings in the right conviction needed for her character in the movie. It is interesting to see veteran actors Harishree Ashokan, Jagadish and Indrans come together to be part of this movie. With just a few sentences, Harishree manages to give us some laughs in the film. The songs by Mujeeb Majeed and the costumes by Sameera Saneesh are also a highlight in this movie, which is intense and engaging at the same time.
Devadath's script has a certain balance. The film is not dark, though there are some heavy moments. Nor is it an outright comedy drama, despite some well-crafted humorous moments in the movie. Instead, 'Dheeran' is a mix of both, and the writer weaves in some convincing tricks to keep the tale engaging.
