Mollywood Times

Mollywood Times Movie Review & Rating: Trust me here; Mollywood Times indeed had the potential to be a masterpiece. There are several moments in the movie where director Abhinav Sunder Nayak and writer Ramu Sunil’s sheer brilliance knock our socks off. The movie’s core ideas, as well as the way they are presented at various junctures, are nothing short of spellbinding. However, just as Vineeth Madhavan’s (Naslen) obsession with becoming “the best” filmmaker in his field leads to his downfall, Mollywood Times’ obstinacy in being a one-of-a-kind film might have cost the dark comedy dearly, as its focus shifts solely to this mission after a point, overlooking its soul.

Mollywood Times" is, in essence, a film that every aspiring filmmaker should watch before considering making films as the only career option to get an idea of how this industry operates (and maybe read Sidney Lumet's 'Making Movies' too). Some scenes and dialogues are likely to offend some, but these aren’t made up; these are actually valid points, whether someone likes it or not. If you don’t like it, try to deal with it. Why should a filmmaker suppress his/her creativity just to earn the brownie points of a select group? Take the caste element, for example, which is one of the things addressed during a few crucial moments. Some filmmakers make mediocre-to-terrible films, but they get a pass (along with a couple of awards) simply because of their background. It's a fact! And kudos to Abhinav for including it in the film.

The dark humour used never trivialises the seriousness of Vineeth's struggle. Instead, it makes the setbacks easier to absorb while keeping the storytelling lively and engaging. Nayak and fellow editor Nidhin Raj Arol ensure that even the quieter stretches are presented with enough visual flair and momentum to hold your attention, with Jakes Bejoy's score doing the rest of the uplifting. Still, it is the writing that emerges as Mollywood Times' greatest strength. Ramu Sunil's screenplay excels at throwing one unexpected obstacle after another in Vineeth's path, beginning with the rude reality check he receives at a short-film festival. The movie never attempts to soften his flaws either. Vineeth is conceited, self-preserving and often blinded by a confidence he fails to realise can be off-putting to those around him.

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.

That honesty becomes both the film's greatest strength and its biggest weakness. The first half moves with confidence, humour and curiosity. Every new stage of Vineeth's journey feels exciting because we are discovering cinema alongside him. The second half deliberately slows down and shifts its focus from aspiration to consequence. The intention makes sense, but the execution may not work for everyone. At times, the narrative becomes so invested in showing the struggle that it starts circling the same emotional territory. The idea is clear, but the film occasionally gets trapped within its own philosophy of fate, choices and consequences. Yet even when the narrative loses momentum, it never loses sincerity. Naslen plays a huge role in making that happen.

All said, not everyone will embrace Mollywood Times, as those who believe cinema should primarily inspire hope are unlikely to enjoy its worldview. This is a film that repeatedly argues that talent alone is not enough. Reputation, timing, connections and pure luck often matter more. Sometimes the wrong people win, sometimes originality goes unrewarded and sometimes success arrives for reasons that have little to do with merit. Even when it becomes messy and overindulgent, it remains undeniably sincere. In the end, Mollywood Times may not be as sharp or tightly controlled as Mukundan Unni Associates, but it is bold, provocative and frequently compelling, finding horror not in ghosts but in the price of success.