PaulsonPhilip

Hunt tries hard to be a supernatural thriller, but ends up being mostly a test of patience.

As a regular viewer of Shaji Kailas film, I am totally disappointed with this film. I feel it's like a comdey film

Bhavana as Dr. Keerthy looks like she'd rather be anywhere else; her acting is lifeless, her delivery is robotic, and her "comeback" is so dull it makes you wonder why she bothered. Scenes demanding emotion turn into awkward monologues, and her chemistry with anyone else on screen is non-existent.

Aditi Ravi floats through the film as Sarah, barely leaving any impression at all. Most viewers will struggle to remember she was even part of the story, with her acting stuck on "default expression" for two hours. It's a wasted opportunity in every sense.

Renji Panicker's Dr. Padmanabhan Ramaswamy is intended to bring weight, but it backfires. His exaggerated performance is unintentionally funny, featuring too much stuttering and forced seriousness-making you miss older actors who actually knew how to carry authority.

Ajmal Ameer does his best as ASP Sairam IPS but is stuck with weak writing and direction. Instead of being a sharp police officer, his character ends up looking confused and out of place, with nothing memorable to offer.

Chandhunadh as Dr. Shanavas is present, but just like background props. His role, much like his performance, is so small and indistinct it could've easily gone missing-no one would notice.

The real cherry on top is the climax. Instead of any real tension, the "spirit kills the villain while the hero and heroine characters stand aside" turns into pure accidental comedy. Whatever suspense the movie tried to build collapses as everyone basically watches the ghost do a silly wrestling move-leaving the audience either confused or laughing.

All in all, Hunt is a masterclass in how not to make a thriller: disconnected acting, pointless characters, and a climax that's more comic than scary. If you want to enjoy a good movie, this one is best left unwatched.

The Malayalam film "Azadi," directed by Jo George and written by Sagar, attempts to narrate a gripping jailbreak drama but ultimately falls short in multiple areas. The story revolves around a desperate plan to rescue a pregnant woman from jail when she's transferred to a hospital for childbirth. While the premise carries potential for suspense and emotional depth, the film gets bogged down by outdated writing and a lackluster execution that undermines its impact. The screenplay follows a very familiar template for jailbreak films, but the writing feels uninspired and riddled with clichés, which detracts from what could have been a taut thriller.

One of the film's glaring weaknesses is its heavy reliance on melodrama over actual thrill. The narrative often veers into overly dramatic territory, filled with heavy-handed dialogues that come off as forced rather than natural. This detracts from the emotional engagement and weakens the storytelling, making several scenes feel unearned or exaggerated. The pacing suffers due to repetitive moments, especially with the police repeatedly declaring that they have the situation under control, which becomes tiresome and diminishes tension rather than adding to it.

The characters, while played by a capable cast, are let down by poor writing and underdeveloped arcs. Vani Viswanath's character, despite the actress's strong screen presence, is notably weak with little depth or meaningful development. Her overacting is very boring, the dialogue delivery is like robotic. The hero, played by Sreenath Bhasi, appears to lack basic common sense in the plot, with moments that defy logic, such as trying to execute plans under full police protection and in hospital settings without realistic obstacles. Several supporting characters, including Lal and Saiju Kurup, receive subpar treatment in terms of their roles and dialogues, which weakens the overall ensemble performance.

The film's editing and direction show some promise, but a tighter cut could have helped eliminate the drag and maintain a better pace. The musical score by Varun Unni is one of the few positive elements, providing good emotional support to the scenes. However, strong technical elements cannot fully compensate for the narrative shortcomings that drag the film down.

Most disappointing is the climax twist, which comes across as contrived and undermines the emotional buildup established earlier in the movie. Instead of adding a layer of sophistication or surprise, the twist feels forced and detracts from the story's coherence and impact. This misstep ultimately leaves the audience feeling dissatisfied rather than rewarded for having stayed through the drama.

In sum, "Azadi" is a below-average film that squanders its promising setup due to weak writing, a predictable storyline, and uneven characterizations. While it benefits from good performances and some technical merits, these are not enough to rescue a film hampered by clichés, slow pacing, and an underwhelming climax. It might appeal to die-hard fans of the genre, but for most viewers, it is likely to be a tedious and forgettable experience.

"While Malayalam cinema has delivered countless films about the lives of police officers, audiences here tend to appreciate and expect a more naturalistic and realistic approach. Reflecting this trend, the recently released Malayalam film 'Ronth' stands out for its authenticity. The word 'Ronth' refers to the nightly patrols conducted by police - and this film precisely depicts a single night of patrolling involving two rural police officers: an experienced Sub-Inspector and a young CPO driver. Their experiences during the patrol and the incidents they encounter form the heart of the story.

To be clear, 'Ronth' feels like a film that rises above the average. I thoroughly enjoyed it - every scene reminds us that even police officers are human, facing unique personal challenges and vulnerabilities. The emotional depth and inner struggles of the characters are portrayed beautifully. Dileesh Pothan and Roshan Mathew, who play the lead roles, deliver deeply moving performances - with Dileesh embodying a man with 25 years of police service, and Roshan as the driver, barely six months into his job. The film emphasizes that alongside training, handling real-life cases requires keen observation and emotional intelligence.

Dileesh Pothan's character, a seasoned officer, acts both as a mentor and a disciplinarian to the inexperienced driver, often correcting his mistakes with empathy and, when needed, strictness. At the same time, both men carry profound, unhealed traumas from their pasts that affect their daily lives - hinted at in poignant scenes, such as Dileesh visiting the grave of a one-day old baby named Angel, subtly revealing his emotional pain.

The narrative also doesn't shy away from showing the cracks within the system: corrupt officers, politics within the force, and the interference of higher authorities - these elements bring a necessary realism to the story. While the film doesn't focus much on a central female character, its strength lies in a tightly written script and an execution that never compromises originality. The climax is both unexpected and rooted in the story's realism.

The film stands apart for eschewing the overblown melodrama or action tropes of police stories. Instead, it offers an unvarnished look at the mundane and the morally complex, with moments of both vulnerability and understated heroism. Director & Writer of the film Mr. Shahi Kabir, known for his previous work 'Ela Veezha Poonchira'. I think he is very much interested in these kind of films. The cinimatography, editing, and backgroung scores also upto the mark.

In summary, 'Ronth' is a must-watch for those who appreciate Malayalam cinema's realistic turn - it is a police story that values humanity over heroics, and atmosphere over action, making it a standout entry in the genre."