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Porinju Mariam Jose Movie Review: It is a cinema about friendship, love, kinship and guilt

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Joshiy has proven himself a mass-action hero maker with his movies in yore with Mohanlal, Mammootty and Suresh Gopi. And this time, with a few minor appropriations for the newer times, he runs his ‘magic wand’ for Joju George.

Porinju, a good-hearted brute who is out to help everyone, wouldn’t allow anything befalls his good friend Jose. Trouble brews when Jose gets into a skirmish taking a stand for Mariyam, Porinju’s lady-love, that puts a series of violent outbursts in motion.

Porinju Mariyam Jose is a cinema about friendship, love, kinship, and guilt. It is also a subtle tribute to the 80s that does not ride on nostalgia. Porinju Mariyam Jose is Joshiy making an ‘angry young man’ out of Joju. Nylah as Mariyam, the strong, independent and the ‘damsel-capable-of-causing-distress’ reminds you of Manju Warrier in Kanmadam. Nylah transformation into the character is evident. And that lack of ease in the character shows.

Chemban Vinod is truly the star performer here. He comes in with panache and stays the ground as Jose – seamless. Jake’s Bejoy’s background score and music, with no trace of the 80s, works well with the narrative. The visuals and lighting by Ajay David Kachapilly’s are good, especially the Godfather-Esque God’s-eye shot.

Porinju Mariam Jose

Porinju Mariyam Jose is Joshiy’s tribute to the 80s, the time and the movies of the time. Time and again, without being too nostalgic about the time, he pays tribute to Bappi Lahiri’s disco, Kishor da’s melody, Kamal Hassan, Sridevi and Amitabh Bachchan. By referencing the climax of Moonram Pirai he also subtly hints at the sort of ending you could expect. The plagiarism dispute aside, Porinju Mariyam Jose has a good story at hand from Abhilash Chandran.

A good cast giving us a reasonably good performance, and a hitmaker, Porinju Mariyam Jose gets tad bit predictable. But one may watch it for the spectacle at offer by the narrative genius and the unrequited love story in the sidelines.

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Ulta Box Office Collection Report and Review

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Ulta Box Office Collection Report
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Ulta is an Indian Malayalam-language comedy-drama film written and directed by Suresh Poduval and produced by Dr. Subash Cipy under the production banner Cipy Creative Works Pvt. Ltd. The film stars Gokul Suresh, Anusree and Prayaga Martin in the lead roles, with Renji Panicker, Ramesh Pisharody, Kalabhavan Shajohn and Siddique in supporting roles. The movie reportedly is a comedy entertainer which is set up in the backdrop of a village. Principal photography began by October 2018 in Kannur, Kerala.

Ulta Box Office Collection

Ulta Box Office Collection

Ulta Movie Box Office Collection Report

Ulta Cast and Crew Details

Ulta Movie Review

‘These are days when a woman has to have another woman’s back,’ Lekshmiamma (KPAC Lalitha) says strikingly to give confidence to a team of women so that they are not shattered by an attack that she faced at night. Ulta looks at the plight of women and the debate on women’s empowerment. Fictional land Ponnapuram would be a dream village for any woman who wishes to see a place run by women. They control every sector in the village and their power haunts the men here. The village seems to have a men versus woman mentality, under the leadership of Purushothaman, played by Ramesh Pisharody, and women grouped under his wife Pournami, played by Anusree. The height of Purushothaman’s anti-women sentiment is revealed when he cries out ‘ente acha’ instead of ‘ammae’ when a coconut falls on his head. Purushothaman, with his friends, played by actors Binu Adimali, Jaffer Idukki, Muhammed Perambra and Sinoj Varghese, are on a mission to end the women’s rule of Poonnapuram. The twist comes when Pournami hires Chandru (Gokul Suresh) as a martial arts teacher for the women in the village after Pournami and her sister Parvathy (Prayaga Martin) are also attacked one night. However, things don’t rest easy with that move. Will the women’s security be under threat? Gokul Suresh and Prayaga Martin bring the romantic element to the film.

The lovey-dovey couple upsets life in Ponnapuram village. The opening song, Keralamanante Naadu, sung by Vaikom Vijayalakshmi, establishes how self-sufficient the women are. The film continues to show how they can overpower men. However, the second half becomes predictable with the entry of new characters, including Kalabhavan Shahjon, and Siddique who plays a policeman. Though the first half emphasises women’s empowerment, the second half talks about how women should not become egoistic against men, and how the genders should work together, which seems sane advice from director Suresh Poduval. The film is action packed, with moments of humour by Jaffer Idukki, Thesni Khan, Surabhi Lekshmi and Sethulekshmi.

Ulta Movie Cast

Ulta Movie Cast

The director who portrayed Chandru as a martial arts trainer for the women in the village seems to have forgotten about this later. The idea that a woman should fight for another woman also fizzles out. The makers could have also given some action sequences to Anusree or Prayaga, to convey the message that woman power cannot be suppressed. But the fun-filled entertainment, with good songs by Gopi Sundar, does not bore you till the end.

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Thakkol Box Office Collection Report and Review

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Thakkol Box Office Collection Report
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Thakkol is a Malayalam movie directed by Kiran Prabhakaran and featured Indrajith Sukumaran, Murali Gopy, Nedumudi Venu and Renji Panicker as lead characters. Other popular actors who were roped in for Thakkol are Iniya, Lakshmi Gopalaswamy, and Sudheer Karamana.Thakkol-Movie-Review

Thakkol Box Office Collection Report

Thakkol Cast and Crew Details

Thakkol Review

Thakkol, as the name suggests, is to travel behind the Thakkol without saying a word behind the Thakkol. Writer and director Kiran Prabhakaran, who is leaving the theater, understands that the key is not just opening the box, but also understanding some people. The film stars Indrajith and Murali Gopi as the central characters and exposes the mystery of the human mind through Christian priests. Those who seem to be cruel in the first place may never be so. This is underscored by the closing words of the film, “Cruel deeds that do good.”

The film is about Monsignor Mankunnath Pailey and Ambrose Vaz, the boy he brings with him as an altar boy. Ambrose, as an altar boy, was still with Monsignor Mankunnath Pailey. Monsignor, who kept Ambrose under his wing, never wanted to set Ambrose free. However, at the recommendation of Clement, who plays Ranji Panicker, the bishop appoints Ambrose as vicar of the parish church where he was born. His father’s decision to deliver to Ambrose was to escape Monsignor’s hand. However, Clement says he has a false eye for bringing Ambrose to the church and will reveal it upon his arrival. But when it came to the new church, things were not as Ambrose intended. There, waiting for Ambrose Sachsen was a key that was not down. The film is a journey behind it.

Monsignor Mankunnath Pailei plays Murali Gopi and Ambrose plays Indrajith. Both of these characters with a lot of inner sincerity are literally awesome. Each of the actors who entered the film was small but made their characters better. Renji Panicker’s Clement is a different character in his career. Ranji Panicker has been able to improve the character by giving a variety of voices as well as just the sidewalk. Nedumudi Venu, Inia, Roni, and Sudev Nair are the other characters in the film.Thakkol-Movie-Review

Thakkol Movie ReviewThere is some great songs in the movie. The music is composed by M Jayachandran. Jayachandran’s background music is what sustains the film’s mood. The main camera of Goa and Kottayam, the film was handled by Albie. The camera reaches out to the characters’ moods rather than visual beauty.

The two-and-a-half-hour-long film takes on a rhythmic rhythm rather than the intensity of the story. So length is often a villain. If the audience is confused about which direction the film is heading until the end of the first half, there is no mistaking it. Shaji Kailas, the director, and producer who brought the film to the forefront of this complex issue, deserves its share of the film as an entertainer. Shaji Kailas Jonar’s name in the role of the producer may be the Thakkol disappointment to the audience who come to the theater expecting a Shaji Kailas Joner film.

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Chola Box Office Collection Report and Review

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Chola Box Office Collection
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Chola is an Indian Malayalam drama film directed by Sanal Kumar Sasidharan and produced by Joju George, and cop-produced by Shaji Mathew and Aruna Mathew. The film stars Joju George, Nimisha Sajayan and Akhil Viswanath.

Chola-movie-review

Chola-movie-review

Chola Box Office Collection Report

Chola Cast and Crew Details

Chola Movie Review

Be prepared for an immersive, literally head-spinning and almost interactive bit of film viewing. For this, the credit goes not just to director Sanal Kumar Sasidharan and the amazing cast, but in equal, if not more, measure to cinematographer Ajith Aacharya and composer Sergey Cheremisinov. Their combined efforts will fill you with anger, fear, hate and sometimes leave you almost feeling sick.

The story is like an on-the-ground portrayal of an abuse case, regularly reported in Kerala. The names of the characters are almost not important, though Nimisha Sajayan, a truant schoolgirl, is called Janu by her boyfriend. The youngsters decide to get out of their village in the high ranges for a day of fun in the city. Their ‘chaperone’ is Joju George, who is the boy’s ‘ashaan’. Janu is uncomfortable from the start to see him and things don’t take long to get out of hand.Chola-movie-review

And there is none of the ‘prettiness’ of commercial cinema here. There are moments when you are left flinching. There may be bits in the denouement that we don’t understand, but even that can be appreciated as the complications of emotions rising from life-changing situations. Nimisha is perfect as the raw, provincial schoolgirl. Her fear and helpless submission will get under your skin. Joju fills the screen with a menacing presence. Akhil Viswanath is excellent as the spineless boyfriend. These are characters we will love to hate for a long time. And we have to add once again about the jolts the cinematographer gives, while almost spinning us around to convey a horrible moment or putting us under the power of a waterfall. Sergey’s music is chillingly fitting for the scenes.

The criticism Sanal Kumar Sasidharan usually faces is that the pace of his films is slow. Here too, it is a small story that moves at a mellow pace – there are lingering glances, moody landscapes, few dialogues and symbolic imagery – but never once do you feel a lag; so immersed are you in the storytelling. It is a must-see for the lover of cinema, but be warned, it is not for the faint of heart.

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