sudheeshthulaseedharan

Although 'Rifle Club' lacks a deeply engaging narrative, Aashiq Abu delivers a cinematic firework that keeps the audience entertained for two hours without a dull moment.

This film cannot claim to have a great script, despite being penned by Shyam Pushkaran, Dileesh Karunakaran, and Suhas. Instead, it presents a fierce backdrop perfect for gunfights, enriched with all the essential elements for an action-packed drama.

Even in the photographs adorning the walls, Sunny and Aziz establish their distinct character presence, adding depth to the narrative.

It is also refreshing to witness the powerful screen presence of Vani Viswanath after a long hiatus. Just two or three impactful scenes highlight how much Malayalam cinema has missed her charisma.

However, Vani Viswanath's dominance in the scenes tends to overshadow Surabhi, Unni Maya, and Darshan, despite their efforts and training with firearms.

For Vijayaraghavan, portraying Kuzhuveli Lonappan posed no significant challenge, and he executed the role of a wheelchair-bound character with finesse.

Among the supporting cast, Vineeth Kumar as romantic star Shahjahan, Kiran Peethambaran as production manager Rappadi, Suresh Krishna as doctor Lazar, and Prashanth Murali as gun-wielding Pallilachan stand out as the most engaging performances.

Dileesh Pothen and Vishnu Agasthya's gun-toting appearances evoke memories of scenes from their own 'O. Baby,' including the presence of a white dog, which also finds its way into 'Rifle Club.'

Hanuman Kind Suraj's performance adds significant mileage to the film, particularly in the thrilling scene where Bheera enters the Rifle Club.

The real fireworks ignite with the entry of Anurag Kashyap, intensifying the action. On one side, Anurag Kashyap and his team unleash bullets from modern firearms, while on the other, Dileesh Pothan's secretary Avaran and his team counter with antique guns. 'Rifle Club' masterfully blends both styles, creating an explosive cinematic experience.

While Dileesh Pothan impresses as Avaran in Kaduvachal, some viewers may feel that Anurag Kashyap wasn't given enough freedom to fully explore his role as Dayanand Bare.

The song 'Gandharva Gaan..' bears resemblance to 'Ratipushpat' from Bhishma Parvat, although its melody and rhythm seem slightly disconnected. Setting this aside, Rex Vijayan's background score is commendable.

Visually, the cinematography outshines even Aashiq Abu's direction, pushing the film's aesthetics several notches higher.

Despite an impressive cast, the abundance of characters in the action sequences sometimes feels overwhelming, making it challenging to focus on individual performances.

If you enjoy gunfights and thrilling sequences akin to Amal Neerad's films, Aashiq Abu's 'Rifle Club' will not disappoint. This is a movie best experienced on the big screen.

The film sets the tone right from the beginning, with Mohanlal's introduction and Mala Parvathi's engaging narration of the grandmother's story.

Once immersed in this atmosphere, the fictional village of Chiyothika and its surroundings feel like our own.

Jithin Lal and Sujith Nambiar astonish us with their writing and direction, displaying a finesse that belies their newcomer status.

The humor woven into this fantasy-myth narrative owes much to Deepu Pradeep's contributions to the screenplay.

This team has seamlessly brought together the various elements of such a film to create an impressive whole.

The artistic direction stands out, vividly portraying the fictional village of Chiyothika, its temple, and its people across three distinct time periods.

While unfolding the story with the lightheartedness of a grandmother's fable, the film also explores the caste system persisting through both monarchic and democratic eras.

Beyond the narrative, Tovino Thomas captivates with his electrifying performances and commanding screen presence.

Portraying three distinct characters-Kunjikelu the warrior, Maniyan the thief, and Ajay the electrician-Tovino embodies each role with unique looks, expressions, and body language.

His dedication and preparation for these roles are evident in his flawless performance, with Maniyan's character deserving special mention.

Maniyan's appearance, expressions, body language, and dialogue delivery surpass even the other two characters, making him unforgettable.

Aishwarya Rajesh and Kriti Shetty, though in lead roles, leave a limited impression beyond their fleeting appearances.

On the other hand, Surabhi Lakshmi excels in her role, especially as Maniyan's wife, delivering a performance that elevates her character beyond mere support to Maniyan.

The chemistry in the Maniyan-Nanu combo scenes is so vibrant that Tovino-Jagadish's duo takes a backseat.

Jomon's cinematography, Shameer Mohammed's editing, Dibu Nainan's music, and other technical aspects significantly enhance the film's theatrical experience.

Ultimately, ARM triumphs by narrating a grandmother's tale/fable from start to finish with technical brilliance, adhering to its core essence throughout.

In a society where a significant section applauds mob trials and police encounter killings in the name of justice, such themes find double acceptance in cinema.

When I saw the trailer for Vettayan, I wondered why a director like T. J. Gnanavel would create a film glorifying encounters.

However, after watching the film, I realized my prejudice needed correction.

Vettayan is not a film that celebrates the hunter.

While the film touches on a subject explored in Dejo Jose Antony's Jana Gana Mana, it avoids being repetitive or imitative.

That said, Vettayan might not appeal to those expecting a mass entertainer like Nelson's Jailer.

Although certain costumes and close-ups of Rajinikanth may evoke memories of Jailer, the director refrains from overusing the superstar's larger-than-life persona. Instead, the focus shifts to Rajinikanth, the actor.

Manju Warrier has limited scope in the film, aside from the dance in the "Manassilayo" song sequence. On the other hand, Dushara Vijayan and Abhirami are given more substantial roles.

Ritika Singh excels as ASP Rupa Kiran, delivering a commanding performance. Rohini, though in a brief role, leaves an impact.

Rana Daggubati plays his villainous role effectively, albeit without much novelty, while Sabu Mon impresses as well in a similar capacity.

Amitabh Bachchan surprises with a larger role than expected, portraying it with elegance. His dialogue delivery, particularly in lines like "Justice delayed is justice denied.

Justice hurried is justice buried," is remarkable.

Though this film marks the return of Amitabh Bachchan and Rajinikanth together on screen after three decades, their shared scenes are few.

In contrast, Rajinikanth's sequences with Fahadh Faasil stand out as deeply memorable, perfectly capturing the emotional bond between their characters.

Fahadh's portrayal of Cyber Patrick is exceptional, breaking the entertainer streak associated with Rajinikanth and delivering a performance that is hard to parallel.

It's commendable that T. J. Gnanavel redefined Rajinikanth's protagonist in a way that avoided the usual mass masala tropes, focusing instead on nuanced storytelling.

The film's message-that the police should act as protectors of the people, not predators-remains timeless and profoundly relevant.