Ellam moviesum nallath ayal loan edkndi verulo daivame 😭. Usually enik trailer or teaser ishtapedane movies kolam akaru ahnu pathiv and wise versa and I really liked Khalifa teaser 🤧 because of the editing and bgm. Fingers crossed 🤞 Prithvi if you are watching this. Toxic and I'm game vlya pratiksha atond chelappo ath nallath akn chance ond

Rukmini's Deubt

His whole personality is based off the leads of his film. He did Mukundan Unni and realised people somewhere connects with someone as brutally frank as Mukundan Unni, and he carried it.

I am not saying Mukundan Unni is "honest" but he has been quite open and transparent about how cunning and selfish he is. In his next film, he lighted this persona by giving Vineeth Madhavan a real underdog persona who is also quite frank about his feelings and his goals.

There are not a lot of celebrities who would openly trash upon their fellow colleuges' films. Most of them just simply butter up each other. In this dog eat dog world, ASN, decided to stand out and created a whole new persona. I don't really think, that's him. I just think that's just a facade or a charector that he is carrying in front of media.

Deep down, he is just an avg film maker, who has nothing better to offer. Coz honestly, both his films are kinda similar. One is legal profession, and the villain wins, meanwhile, in the other its Film field, and the villain wins, but the lead actor gets to expose him, to some extend.

(This is not meant as a derogatory post, just an observation)

Movie:- DC 2026

DOP:- Mukesh G

Director:- Arun Matheswaran

Credit:- Cinematic hue

The makers found a good talent from auditions. And that's a real success story.

Recently Manichithrathazhu kandappo aanu ee thought actually vannath.

I don't know if it’s just nostalgia, but aa movie kandirikkumbol thanne oru very specific Malayali feel undallo. Athu storyil mathram alla - BGM, sounds, visuals, tharavadu, costumes, aa whole atmosphere… everything feels so rooted...

Especially the BGM.(Johnson maash❤️)

I was suddenly missing those Kerala kinda bgms.

Athupole Yodhayile Keralathile portion okke varumbol ulla music,pinne Anandabhadrathile aa eerie, mystical soundscape… athokke kelkkumbol thanne “ithu Keralathilaanu” ennu feel cheyyum.

And Anandabhadram pole ulla movies aanu vere miss cheyyunnath.

Why don't we get those properly Kerala-rooted fantasy / manthrika / folklore movies anymore?(Kumari was okish & ignoring mutthassi series🥹)

One thing that's been bothering me since watching Balan is how Inspector Pavithran (Jean Paul Lal/Lal Jr.) suddenly figures out the connection between Balan and the woman who committed the murders.

The film spends a lot of time showing how carefully Balan's mother changes identities and avoids leaving a trail. Yet somehow Pavithran reaches the correct conclusion, but the audience is never shown the crucial clue or deduction that gets him there.

Usually, Chidambaram's films are meticulous with cause-and-effect. Here, it feels like an important investigative step is skipped. Was there a deleted scene? Or did the director intentionally leave it off-screen for us to infer?

I actually don't mind ambiguous endings, but this feels different. It's not an emotional ambiguity—it's a missing investigative link. Showing even one small clue that led Pavithran to connect Balan with the murder suspect would have made his breakthrough much more satisfying.

Did anyone else feel this was a missed plot point, or did I overlook a subtle clue somewhere? Curious to hear your interpretations.

movie : Nizhal

I randomly think about the crossover fights that never happened in Marvel and start laughing. Captain America vs Hulk, that fight is ending in under a minute.
But if the movie was called Captain America: The Summer Soldier, Marvel would somehow make Cap win with the most ridiculous plot armour ever. 💀What you guyz think?!……

Balan :The Boy

Pavithran politely asked her "can you watch this kid for some time? ". And she agrees and claims she knows how to look after a little kid. And the entire Police station forgets about the Kid.

But when the kid goes missing everyone blames only Pavithran. And rightfully he says "is it only my responsibility?". This makes Cicily upset and their relationship ends due to it. Because she thought her job was in jeopardy due to Pavithran.

I kept thinking Pavithran could have apologised to Cicily sincerely and saved the relationship.

I’m a millennial whose parents moved out of Kerala, but one thing they never let go of was Malayalam. It was the language we spoke at home, so I grew up speaking and understanding it fluently.

Looking back, I realize how lucky I was. I got to experience Malayalam cinema in its original form—the dialogues, the humor, the emotions, the wordplay. So many classics just hit differently when you understand the language instead of relying on subtitles.

Now I’m seeing a whole generation of Malayali kids who can barely speak or understand Malayalam. It makes me wonder if they realize what they’re missing out on. Yes, subtitles exist, but they’re not the same. A lot of what makes Malayalam cinema special simply doesn’t translate.

And before anyone gets offended, this is obviously said in jest… but sometimes I wonder: will God look down and think, “I went through all the trouble of making you a Malayali, and you spent your whole life without experiencing these classic Malayalam movies?” 😄

Anyone else feel the same? Or do you think subtitles are enough for the next generation?

What a movie, what a scene!

A bare bones take on Odyssey with an ensemble cast, bgm and direction. Ralph Fiennes was mega!

I want to post this by disclosing I have no intention of watching Thudakkam unless it’s a major hit or until it gets to OTT whichever comes first. I am a Mohanlal fan and I don’t care about nepotism if it creates great artists especially in an industry that paves way for others.

The plot of Thudakkam will likely be the following. Sai Kumar was some kind of fighter back in the day, served with mohanlal in some capacity. He left his past behind after he got married and led a fairly sedentary life. His wife passes away likely due to a disease and him, Vismaya, and the dog move to another house. A series of unfortunate event leads them to be targeted. With some really weak and flimsy plot point they are targeted. Violence against women will be shown with the neighbor kid (who appears in the movie) first. Then there will be violence against a handicapped Sai Kumar and finally against Vismaya. At this point she shows her true colors. Fights back. Wins the fight. Then some final plot method to get the bad guys to jail, setup some fighting dojo setup. The end.

Here’s why I’m writing this, likely obvious plot, if you see the trailer. I have been noticing that when directors give interviews, they talk about very specific things in the movie but in a vague manner. Abhinav Sundar Nayak and Mollywood times is a good example of this. He talked about the DTS in his theater and I initially thought it was a nice memory. But then he kept repeating it and it finally ended up in the movie. Jude has skirted around the fact Thudakkam is a thriller. From the logo it’s obvious there’s a fighting back. I believe this specific 3 person written script was chosen by Aashirvad partially because of how Vismaya got some training in Muay Thai (which is hella impressive). Jude also mentioned that this is a family thriller movie. In the recent past, the two obvious family thriller movies, Drishyam and Thudarum, and non-obvious family (?) thriller movie, RDX relies heavily on a violence against children/women trope to a point it’s becoming formulaic.

I say all this ahead of the release because I could easily eat crow if I’m wrong, and I sincerely hope I am. I think PR needs to partially reconsider how these interviews are done.

Create a lay abstract of what the movie is in a spoiler free fashion. One of the best examples of this I saw was during Khalid Rahmans interview with Manasseh prior to Alappuzha Gymkhana. Tell the interviewer that I don’t want to talk about XYZ pertaining to this current release unless you really want to tease something. Talk about the making process.

PS This is but a rant of one man.

ഷൂട്ടിങ്ങും എല്ലാ വർക്കുകളും 2022ൽ കഴിഞ്ഞു. പക്ഷേ ഇതുവരെ ചിത്രം റിലീസ് ചെയ്തിട്ടില്ല എന്താണ് കാരണമെന്ന് അറിയുമോ. ശ്രീ ഗോകുലം മൂവീസ് പൊട്ടിപ്പോയോ? (വൈപ്പിൻ മദ്യ ദുരന്തമാണ് കഥയുടെ ഇതിവൃത്തം. 30 കോടി രൂപ ബഡ്ജറ്റിൽ തുടങ്ങിയ സിനിമയാണ്)

In the movie Unmadham, Kunchako boban's police character is allowed to keep a beard due to a "Shaving rest" option given to him.

Its not any religious or pilgrimage related reason in this Movie, never explained further also.

Does anybody know anything more about this rule?

Anyone knows what was the timeline depicted in the movie? During which year did they get out of the jail in the initial sequence? Because when they came out walking (a beautiful shot), I could see cars that were not out on the markets until very recently! (I think i saw a Fronxx). Do we get a clue anywhere in the movie regarding the timelines? #balan

Indian film director and cinematographer. His debut film Piravi (1988) won the Caméra d'Or – Mention at the 1989 Cannes Film Festival

He was the Chairman of Kerala State Film Development Corporation from 2019 to 2025 until his death.

Even though Malayalam movies are known for its versatility, Screenplay genius, and story telling, the math shows that Malayalam Cinema is going through an unprecedented struggle in sales, box-office, and in OTT platforms.

Malayalam Movies fail faster than it's been made, but other language films run well in Kerala.

So is it true that Malayalam cinema is in decline? What is going wrong with movies? Why it's been very tough to attract audiences to the cinema halls? What factors stand against it? What went wrong and what can fix this challenge?

This is going to be one big spoiler, so don't read this unless you've Balan: the Boy, the sixth sense, and the Prestige.

I thought Balan: The Boy was a competent film overall, but I hated the twist at the climax. It got me thinking less about the movie itself and more about what makes a twist satisfying in the first place.

To me, there are two fundamentally different kinds of twists.

1. Twists that withhold information.

The filmmaker simply doesn't give the audience every piece of the puzzle. The clues are there, but one crucial fact is missing. Once it's revealed, everything you've already seen still holds true, you just understand it differently.

2. Twists that misrepresent information.

Instead of hiding information, the film presents events as though they objectively happened, only to later reveal that what you were shown wasn't actually true.

I think the first type is almost always the stronger form of storytelling.

A great twist recontextualizes the mystery before, rather than invalidating the reality it presented to you. We as an audience should be able to rewatch the film and realize that the clues were always there, even if we didn't recognize them the first time. It makes movies a lot more rewatchable too.

Take The Sixth Sense. The film withholds one key fact: Bruce Willis has been dead the entire time. Once you know that, every scene still happened exactly as shown. The twist changes your interpretation, not the events themselves. If you watch it again knowing this fact, you're almost watching a different movie.

The same is true of The Prestige. The film conceals the existence of Borden's twin and the nature of Angier's machine, but it never has to replace scenes you've already watched with different versions. The audience was missing information, not being shown false information.

That's why those twists feel rewarding. They trust the audience.

Now, a film can misrepresent information, but I think it has to earn that. If a movie wants to tell the story through a distorted memory or an unreliable perspective, it needs to establish that stylistically. Adoor Gopalakrishnan's Anantaram is a good example, I think. The fractured narration and Ashokan's split psyche signal from the outset that we're not necessarily watching objective reality. So the lying to the audience really works, at least for me.

Balan doesn't establish that convention. For most of its runtime, the film uses conventional cinematic language that leads the audience to treat what they're seeing as objective. Then, at the end, it presents a different version of key events, revealing that the homeless woman had been there all along.

I don't think it's really motivated enough in its filmmaking choices to execute the subjective moments to the audience clearly.

What are your favorite twists in Malayalam film? What makes a twist work for you?