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Kate Winslet and son Joe Anders make debuts as director and screenwriter respectively in Goodbye June, a Netflix domestic drama about four siblings who must come to terms with their mother's terminal illness during Christmas. It has all the trappings of a typical dysfunctional family melodrama, with each sibling having their personal quirks and struggles. If I were to sum up the viewing experience, Goodbye June flies by in its first act (when it sets up the premise), paddles along in its second (where grief and reconciliation are explored), and slow-walks to its finish line during the third (where the obvious happens).

Since Netflix is involved, we get a solid ensemble playing these characters (with names like Toni Collette, Helen Mirren, Andrea Riseborough, Timothy Spall, and Johnny Flynn) with most of the proceedings happening at a hospital that mysteriously looks empty. There are good performances across the board, with Flynn particularly getting some solid (dramatic) moments to shine. The "grandkids" in the film are occasionally fun when they show up, showcasing warmth and innocence. The script, even with its good intentions, turns out to be tiresome. We barely get to know dying mother beyond a few of her choices and preferences, and the self-absorbed husband only gets an odd redeeming arc towards the end.

Then, there's stuff like the caring nurse (named Angel), a blossoming gay romance, a pregnancy revelation, a major sibling feud getting resolved through Snickers, and more along these lines that are strictly hit or miss. So, the first act gave me promise of a deeper, more intricate drama, but it settled for the most basic version of a finale. Also, the attempts at humour with Toni Collette, feel a bit forced. I still won't deem it a bad film, but it's not all that memorable.

Watching Sarvam Maya made me realise how much Malayalam cinema missed the presence of Nivin Pauly, especially when he's working in the "feel-good" genre. To see him and Aju Varghese together at their relaxed best feels like a personal win, and I think most Malayalees would wholeheartedly agree. The plot is an extension of several "friendly ghost" stories we've already seen, carefully placed within the Anthikadan universe of goodness. Akhil Sathyan once again plays to his strengths, giving us a bunch of sweet, empathetic characters who audiences wouldn't get bored with. I enjoyed the other members of Nivin's Namboothiri fam, played by Janardhanan, Madhu Warrier, and Reghunath Paleri. Their easy and uneasy dynamics added to the film's storytelling depth in the second half, when ideas begin to run dry.

Yet, what holds the film together is Riya Shibu's Delulu. Hers could've easily been a character with annoying and cringy traits if the treatment had been any different. In Sarvam Maya, she's the right mix of cute, charming, and adorable. Pairing her with Nivin also feels fresh, even when that isn't largely implied. The humour is subtle and situational, and while it's wise not to expect too many LOL moments, most of us will be smiling throughout. Preity Mukundhan's character doesn't have much space, but is still a lovely presence in the few scenes she gets. And then, there are a bunch of cameos that mostly hit the mark.

I guess the big win for Akhil Sathyan here is in balancing all the cinematic elements and emotions. There are organic laughs and fun moments, and there are scenes that'd touch an emotional nerve, albeit slightly. Maybe we all NEEDED such a film right now.. with Nivin in the lead. Justin Prabhakaran continues his good streak, delivering a few nice songs and an effective score. The simplicity of the central plot (and its conclusion) can be underwhelming for some, but I was okay with that. This is an ideal holiday season watch in my books, even if it's formulaic in parts.

P. S. Loved that scene with Nivin and his dad towards the end.

A high-concept love triangle featuring a solid cast, Eternity worked for me despite some (predictable) storytelling swings it kept taking. Sure, it's packaged in a very sweet, sugary way, but like most such modern (yet trying to be vintage) candies, the taste doesn't last too long after they've melted in your mouth. The one-liner plot and the cast would definitely make you want to watch this without doubt, and the cherry on top of the cake includes the aesthetic set designs (of the afterlife) blended with real locations.

Also, the real star of the film (for me, at least) is Da'Vine Joy Randolph with her spontaneous responses and expressions. Teller and Olsen display great chemistry, but I can't say the same for Callum Turner and Olsen. It could also be that the film keeps shoehorning Turner's character into the textbook definition of a "hot guy" without much personality. Teller's, on the other hand, comes across as a relatable fit, with a boy-next-door persona that's a lot easier for anyone to connect with. So, even when the characters start making key decisions, it was easy to see where things were headed. Plus, we don't really feel the passage of time.

Olsen's character conflict is the driving force, but Joan (her character) feels like an extension of herself. Olsen did mention in an interview that she feels distant from modern pop culture, which made playing a 90-year-old soul in a younger body particularly relatable for her. So, her final decision did not feel very DECISIVE. However, director David Freyne retains the colourful framing all the way, making Eternity extremely pleasing to sit through. On the whole, this qualifies as GOOD but not EXCEPTIONAL.

P. S. I actually wanted this to be more of a screwball comedy than a romantic comedy.