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webExclusive Report --> ത്രില്ലടിപ്പിക്കുന്ന വിഷ്വൽ ട്രീറ്റ്; മേജർ റിവ്യു

Published: June 04 , 2022 09:06 AM IST

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മേജര്‍ സന്ദീപ് ഉണ്ണികൃഷ്ണന്റെ ജീവിതം അതിന്റെ ഭാവതീവ്രതയിൽ ആവിഷ്കരിച്ചിരിക്കുകയാണ് മേജർ എന്ന ചിത്രം. മുംബൈ താജ് ഹോട്ടലിൽ 2008 നവംബര്‍ 26ന് നടന്ന ഭീകരാക്രമണത്തെ ചെറുക്കുന്നതിനിടയിലാണ് മേജര്‍ സന്ദീപ് ഉണ്ണികൃഷ്ണന്‍ വീരമൃത്യു വരിച്ചത്. എന്‍എസ്ജി കമാന്‍ഡോ ആയിരുന്ന അദ്ദേഹത്തിത്തോടുള്ള ആദരവെന്ന നിലയില്‍ മരണശേഷം 2009 ല്‍ ഭാരത സര്‍ക്കാര്‍ പരമോന്നത സൈനിക ബഹുമതിയായ അശോക ചക്ര സമ്മാനിച്ചിരുന്നു.

വീരമൃത്യു വരിച്ച ഒരു പട്ടാളക്കാരൻ എന്നതിലുപരി സന്ദീപ് ഉണ്ണികൃഷ്ണൻ എന്ന വ്യക്തിയുടെ, കേട്ടതിലും അറിഞ്ഞതിലുമുപരിയായുള്ള ജീവിതം പറയുകയാണ് മേജർ. മികച്ച ഒരു വിഷ്വൽ ട്രീറ്റാണ് ചിത്രം. നോൺ-ലീനിയർ ശൈലിയിലുള്ള നരേഷനും ഒപ്പത്തിനൊപ്പം നിൽക്കുന്ന ചടുലമായ പശ്ചാത്തലസംഗീതവും ചിത്രത്തിന്റെ ആസ്വാദനനിലവാരം ഉയർത്തുന്നു. കെജിഎഫിന്റെ വിജയശേഷം നോൺ-ലീനിയർ അവതരണശൈലി ദക്ഷിണേന്ത്യൻ സിനിമയിൽ പ്രധാന ഘടകമാവുകയാണ് എന്ന് മേജർ കാണുമ്പോൾ നിരീക്ഷിക്കാൻ സാധിക്കും.

തെലുങ്ക് നടനും സംവിധായകനും തിരക്കഥാകൃത്തുമായ അദിവി ശേഷ് ആണ് മേജര്‍ സന്ദീപ് ഉണ്ണികൃഷ്ണന്റെ റോളിലെത്തുന്നത്. അദിവി ശേഷിന്റെ ചിത്രങ്ങൾ ശ്രദ്ധിച്ചാലറിയാം മിനിമം ഗ്യാരന്റിയുള്ള സിനിമകളാണ് എല്ലാം. എവരു, ഗൂഢചാരി തുടങ്ങിയ ത്രില്ലർ സിനിമകൾക്ക് നിരവധി മലയാളി ആരാധകരുണ്ട്. ഇതിൽ ഗൂഢചാരി സംവിധാനം ചെയ്ത സാഷി കിരൺ ടിക്കയാണ് മേജറിന്റെയും സംവിധായകൻ. അദിവി ശേഷ് തന്നെയാണ് തിരക്കഥയൊരുക്കിയത്. സെയ് മഞ്ജരേക്കറാണ് ചിത്രത്തിൽ നായിക. 'കുറുപ്പ്' സിനിമയിലൂടെ മലയാളികൾക്ക് പരിചിതയായ ശോഭിത ധൂലിപാല അതിഥിവേഷത്തിൽ എത്തുന്നു. പ്രകാശ് രാജ്, രേവതി എന്നിവര്‍ മറ്റ് പ്രധാന കഥാപാത്രങ്ങളെ അവതരിപ്പിക്കുന്നു. സൂപ്പർസ്റ്റാർ മഹേഷ് ബാബുവിന്റെ ഉടമസ്ഥതയിലുള്ള ജി.മഹേഷ് ബാബു എന്റര്‍ടെയ്ന്‍മെന്റുമായി ചേര്‍ന്ന് സോണി പിക്‌ചേഴ്‌സ് ഇന്റര്‍നാഷനല്‍ പ്രൊഡക്‌ഷന്‍സ് ചിത്രം നിർമിച്ചിരിക്കുന്നു.

ഒരു യഥാർഥ സംഭവത്തെ വെള്ളിത്തിരയിൽ ആവിഷ്കരിക്കുമ്പോൾ പലപ്പോഴും പ്രേക്ഷകരെ രസിപ്പിക്കുംവിധം മേമ്പൊടി ചേർക്കാൻ പരിമിതികൾ ഉണ്ടാകാറുണ്ട്. എന്നാൽ മേജറിൽ കഥാന്ത്യം പ്രേക്ഷകന് ഊഹിക്കാവുന്നതാണെങ്കിലും അതിലേക്കുള്ള യാത്രയിൽ കഥാഗതി ഒരിക്കൽപോലും ബോറടിപ്പിക്കുന്നില്ല. മാത്രമല്ല, അടുത്തനിമിഷം എന്തു സംഭവിക്കും എന്ന ആകാംക്ഷ പ്രേക്ഷകനിൽ സൃഷ്ടിക്കാനും അവതരണത്തിന് സാധിക്കുന്നുണ്ട്. വമ്പിച്ച മീഡിയ കവറേജിലൂടെ ലോകം മുഴുവൻ ലൈവായി കണ്ട ആ ഭീകരാക്രമണം, പട്ടാളക്കാരുടെ നീക്കങ്ങൾക്ക് എങ്ങനെ വെല്ലുവിളി സൃഷ്ടിച്ചു എന്നതും ചിത്രം കാണിക്കുന്നുണ്ട്.

അദിവി ശേഷിന്റെ മികച്ച പ്രകടനം തന്നെയാണ് ചിത്രത്തിന്റെ ഹൈലൈറ്റ്. സന്ദീപിന്റെ ബാല്യം, കൗമാരം, പ്രണയം, ജീവിതം എല്ലാം ഭാവതീക്ഷ്ണതയോടെ അഭ്രപാളിയിൽ ആവിഷ്കരിച്ചിരിക്കുന്നു. ഈയൊരു കഥാപാത്രത്തിലേക്ക് ഇഴുകിച്ചേരുന്നതിനായി കായികപരമായി കഠിനാധ്വാനം ചെയ്തിട്ടുണ്ട് താരം. സന്ദീപിന്റെ കൗമാരകാലത്തിലേക്കും താരം ഭംഗിയായി ഫിറ്റാകുന്നു. മറ്റൊന്ന് രേവതി - പ്രകാശ് രാജ് കോംബോയുടെ തീവ്രമായ അഭിനയമാണ്. മകനെ നഷ്ടപ്പെട്ട വേദനയിലും അഭിമാനത്തോടെ തലയുയർത്തി നിൽക്കുന്ന അച്ഛൻ കഥാപാത്രം കണ്ണുകൾ ഈറനണിയിക്കും.

ടെക്നിക്കൽ ടീമിന്റെ മികവാണ് ചിത്രത്തിന്റെ കാഴ്ചാക്ഷമത വർധിപ്പിക്കുന്നത്. മികച്ച ഛായാഗ്രഹണം, ചടുലമായ പശ്ചാത്തലസംഗീതം, ഗംഭീരമായ എഡിറ്റിങ് എന്നിവയുടെ കോർത്തിണക്കമാണ് ചിത്രത്തിൽ കാണാനാവുക. ചിത്രത്തിലെ ഗാനങ്ങളും മികച്ചു നിൽക്കുന്നു.

ചുരുക്കത്തിൽ ത്രില്ലടിപ്പിക്കുന്ന ഒരു വിഷ്വൽ ട്രീറ്റ് തന്നെയാണ് മേജർ. രാജ്യത്തെ സ്നേഹിക്കുന്ന ഓരോ പൗരനും കാണേണ്ട സിനിമ കൂടിയാവുകയാണ് മേജർ.

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Based on the life of Major Sandeep Unnikrishnan, who was martyred in action during the November 2008 Mumbai attacks. Based on the life of Major Sandeep Unnikrishnan, who was martyred in action during the November 2008 Mumbai attacks. Based on the life of Major Sandeep Unnikrishnan, who was martyred in action during the November 2008 Mumbai attacks.

• Sashi Kiran Tikka
• Abburi Ravi
• Akshat Ajay Sharma
• Prakash Raj
• 707 User reviews
• 17 Critic reviews
• 3 wins & 7 nominations

• Sandeep Unnikrishnan

• K. Unnikrishnan

• Dhanalakshmi Unnikrishnan

• Colonel Shera

• Hotel Manager Rodriguez
• Ali (Terrorist)
• News Anchor
• (as Andre' Mathews)
• Harsh - NDA Batchmate
• Major Khanna
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• Production, box office & more at IMDbPro

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• Trivia Many producers were coming to Major Sandeep's parents to make his biopic. But his parents did not agree as they wanted to cast an actor who looked like their son. Later they were satisfied with the look of Adivi Shesh and gave permission to make a biopic on Major Sandeep Unnikrishnan.
• Connections Referenced in Sarkaar: Sarkaar 2 Episode 5 (2022)
• Soundtracks Saathiya (Hindi) Music by Sricharan Pakala Lyrics by Ritesh Rajwada Performed by Javed Ali

User reviews 707

• akmking-13059
• Jun 3, 2022
• How long is Major? Powered by Alexa
• June 3, 2022 (India)
• Mumbai, Maharashtra, India
• A plus S Movies
• Adivi Entertainment
• G. Mahesh Babu Entertainment
• See more company credits at IMDbPro

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• Runtime 2 hours 30 minutes
• Dolby Digital

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Major movie review: Homage to 26/11 hero goes beyond the noise of a gun's barrel

Adivi sesh's major, a homage to 26/11 hero major sandeep unnikrishnan brings to life the sacrifices of the army families, bravery of nsg soldiers. but it needs more..

Listen to Story

I was in school when the deadly attacks on Mumbai shocked the nation. For over 72 hours, in the final week of November, India was glued to the television screens while a group of terrorists from across the border wreaked havoc. 175 people were killed in the dastardly attack when the government decided to bring in the elite commando unit.

Once the National Security Guard (NSG), a force made from voluntary deputations from across the spectrum of Indian forces, entered the theatre of war that spread across Mumbai, not a single casualty was reported, except one — Major Sandeep Unnikrishnan.

"Don’t come up, I will handle them," became immortal as the officer on deputation from the Indian Army cleared the Taj Palace hotel - room by room, block by block, floor by floor - saving tourists, staff, and locals.

Major, released this Friday, captures the essence of the man, the force, and the bravery of the unit that successfully executed operation Black Tornado introducing the world to the tip of the spear of the Indian Armed Forces alongside the fearless Marine Commandos (Marcos).

OVER THE TOP PORTRAYAL NEEDS A CHECK

Adivi Shesh, who plays Major Sandeep to the tee, has also written the screenplay of the film inspired by the true stories of the Unnikrishnans. He has been able to live the life of Sandeep before and after he was commissioned into the 7 Bihar regiment after completing three years at the National Defence Academy, and a year at the Indian Military Academy.

The problem is the obsession of Indian film stars with portraying all the roles themselves including the teen years of the subject (But then you need eyeballs too). What also pains is the shabby way in which life at the prestigious National Defence Academy (NDA) has been shown in the name of cinematic liberty.

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TYRE PARTNER

Major Review: Adivi Sesh Brings to Life the Story of the Brave Major Sandeep Unnikrishnan

Curated By : Nishad Thaivalappil

Last Updated: June 03, 2022, 14:41 IST

• 3 June 2022 | Hindi, Telugu, Malayalam
• Drama, Biopic
• Starring: Adivi Sesh, Prakash Raj, Revathi, Saiee Manjrekar
• Director: Sashi Kiran Tikka
• Music: Sricharan Pakala

Based on the life of Major Sandeep Unnikrishnan, who is known for his bravery during the 26/11 Mumbai attacks, the movie is not about his death but about celebrating the life he lived.

Director Sashi Kiran Tikka and producer Mahesh Babu have come up with a film that is surely going to touch millions of hearts across borders. Based on the life of Major Sandeep Unnikrishnan, who is known for his bravery during the 26/11 Mumbai attacks, the movie is not about the death of the heroic soldier but is about celebrating the life he lived. The film is written by Adivi Sesh, who also plays the titular role of the NSG commando, who was a part of the elite 51 Special Action Group (SAG) of the National Security Guards (NSG).

View this post on Instagram A post shared by Showsha (@showsha_)

A Mahesh Babu production, the movie starts with the famous dialogue by Major Sandeep Unnikrishnan, “Don’t come up, I’ll handle them." However, while most of us will expect that the film would be a step-by-step depiction of what would have happened back at the Taj Mahal Palace Hotel that night, to everyone’s surprise, the terror attack only comes towards the climax part. The major chunk of the film is based on the life of the martyred Major. Prakash Raj plays the role of Major Sandeep’s father, K Unnikrishnan, while Revathi played the role of his mother, Dhanalakshmi Unnikrishnan.

Besides showing the struggle and dedication that a young Sandeep Unnikrishnan had to join the armed forces, the film showcases a point of view that probably not many know of so far. The film indulges in a storyline from the point of view of his parents and how initially his father, K Unnikrishnan, was a tad bit reluctant for letting his son join the Indian Army. Prakash Raj has always impressed the audiences and critics alike with his expressions and acting skills, and this time too, he has hit the right chord. Right from his dialogue delivery to his emotions, the actor aces each and every scene where he appears on screen as the father. One truly would feel the pain and sacrifices K Unnikrishnan would have gone through in his life and when he learnt about the death of his brave son.

Similarly, Revathi’s performances would also help you relate to a mother’s love and affection towards her son, in this case, Major Sandeep Unnikrishnan. Revathi, who is seen playing the role of Dhanalakshmi, has done a phenomenal job in bringing to life a mother’s tale that was to date untold. Coming to Saiee Manjrekar, she plays the role of Isha, Major Sandeep’s wife. Though the filmmakers decided to change the character’s name in the movie, Saiee surely has got the job done right. From school-time romance to a soldier’s wife, who realizes that her partner is a soldier first and then a husband, Saiee has managed to showcase what would have been the sacrifices and mental pressure on Major Sandeep Unnikrishnan’s partner.

Overall, the story, direction, music and cinematography are on point. Honestly, it is difficult to remove flaws in a movie that inspires, moves and leaves you in tears. We all know the Ashoka Chakra recipient because of his brave acts, but thanks to Sashi Kiran Tikka’s Major, we know what it meant to his family. All said and done, Major is a celebration of Major Sandeep Unnikrishnan’s extraordinary journey called life.

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Anchakkallakokkan Movie Review: A visually appealing film with a major attention-deficit problem

• 16 Mar 2024
• Release Date: 15 Mar 2024
• 126 Minutes Hrs
• Author: Sajin Shrijith

Let's get the mystery about the confusing title out of the way first. Anjakkallakokkan means the Boogeyman, that oft-perpetuated imaginary monster used to scare little children to keep them in line. Now, here's the interesting thing the film does with this idea. Within the context of its story and its principal characters, it gives this idea a more practical definition: the Boogeyman residing within all of us. The film could've taken this idea and done many more interesting things, but the writing leaves a lot to be desired.

The setting is a fictional mountain village on the Kerala-Karnataka border in the late 80s, teeming with all kinds of dubious characters comprising politicians, landlords, thugs and policemen, except for maybe a few kind-hearted souls. But in a story like this, first impressions don't hold weight.

There was great potential here to focus on -- and flesh out -- one character, Vasudevan (played by Lukman), a police constable grappling with severe anxiety and confusion. He reminded me of Jayaram's character from Nanma Niranjavan Srinivasan, who shudders at the sight of blood or the thought of guarding a corpse. But just how nanma niranjavan Vasudevan is, is a mystery for the film to solve.

This is a film that, we later learn, suffers from a major attention deficit disorder. In trying to please attention-deficit viewers, it ends up doing just the opposite. Different sets of supporting characters show up, but the film isn't interested in exploring them enough. It feels like reading a random chapter from the middle of a book. Most of the film has this scattered quality in terms of the way it treats its characters and plot developments. People show up, do something, and say something, but none leave any impact.

It seems more interested in Chemban Vinod Jose's senior constable, a man who looks like an amiable monk dispensing sage advice, but he may have another side to him that others don't know about. We also meet a set of eccentric twins looking to avenge the death of their father. One of them is mute, while the other's speech is incomprehensible. It's these qualities, and the tendency of the former to do a Dancing Rose act while fighting, that makes them amusing and offers the occasional comical relief. The film holds our interest only when these two characters or Chemban Vinod Jose appear. The rest of the time, its pacing gets affected severely.

There's no denying the film's impressive scope and visual quality (shot by Armo). It maintains a predominant sepia tone and a colour grading pattern similar to the two-strip technicolour format -- something we also saw in Thiagarajan Kumararaja's Super Deluxe. Unfortunately, it gets too caught up in camera and editing gimmicks that seem to go on forever, especially in the fight sequences, that I began to lose interest in after a point.

There was a great opportunity here to do something like the popular Brazilian film City of God or a great Western like High Noon or 3:10 to Yuma. Instead, we get yet another film that squanders that potential by attempting to emulate the filmmaking school of Lijo Jose Pellissery. A classic case of style overtaking substance.

Verdict: okay

Galatta Rating: ( 2.75 /5.0 )

B 32 muthal 44 vare movie review, thankamani movie review.

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'Maharani' review: Compelling performances lift this Roshan Mathew-Shine Tom movie despite lacking brilliance

G Marthandan's 'Maharani', featuring Roshan Mathew and Shine Tom Chacko, has hit the theatres, and in succinct terms, it gives the impression of being a missed opportunity. In the initial half-hour of the film, unravelling the plot proves to be a puzzling task. The story introduces Aji (Shine Tom Chacko) and Viji (Roshan Mathew), portraying them as aloof individuals with no distinct life ambitions.

However, their bond is unmistakable as they are always there for each other. Aji aspires to elope with his girlfriend, while Viji, more of a playboy, seeks a partner who can enhance his financial standing. The movie gains momentum when one of Aji's romantic interests, Rani, disappears. Blamed by Rani's brothers, Viji and friends face threats from them. Fuelled by anxiety and unaware of Rani's fate, Aji and Viji make desperate efforts to ensure their safety and find Rani.

The initial half of the film proves to be generally engaging, despite the plot feeling somewhat familiar or reminiscent of a tale heard before. While the movie succeeds in eliciting laughter, credit is primarily due to the actors' performances. If one sets aside this aspect, the film, although attempting a satire and addressing relevant issues, struggles to effectively convey its intended messages.

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Roshan Mathew, Shine Tom Chacko-starrer Maharani's trailer out

Shine, in particular, shines in the comedic spotlight, effortlessly delivering humour while attempting to assist his brother. He skillfully maintains the comedic element throughout the film. The second half, unfortunately, veers away from the enjoyable tone set by the first half. It appears unnecessarily prolonged, featuring instances where the movie seems to lack focus. Roshan takes centre stage in the latter part, driven by a frantic desire to discover Rani's fate while still retaining his playboy demeanour.

The movie benefits significantly from compelling performances by several actors. Johny Antony, portraying Aji and Viji's father, delivers a remarkably grounded performance, as does Nisha Sarang in the role of their mother. Harisree Ashokan essays the character of Rani's father and executes it neatly. Balu Varghese, portraying Rani's brother, performs brilliantly in the limited screen space provided for him.

The film seems decent but lacks brilliance. Although there are scenes that provoke laughter and curiosity – such as Aji and his gang embarking on a bike journey in search of Rani – the overall impact is moderate. In a nutshell, the movie qualifies for a one-time watch.

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O Sajna By Badshah, DIVINE And Nikhita Gandhi

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17 Nov 2023 | 2 hrs 7 mins

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15 Sep 2023 | 2 hrs 0 mins

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15 Sep 2023 | 2 hrs 2 mins

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18 Aug 2023 | 2 hrs 1 mins

Rahman , Bharath , Sanjana Dipu , Rahul Madhav , Mir Sarwar , Dinesh Lamba

11 Aug 2023 | 1 hr 58 mins

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Dileep , Veena Nandakumar , Joju George , Jagapathi Babu , Ramesh Pisharody , Anupam Kher , Johny Antony

28 Jul 2023 | 2 hrs 17 mins

Vineeth Sreenivasan , Shine Tom Chacko , Malavika Menon , Sohan Seenulal , Sreenivasan , Ansiba Hassan

27 Jul 2023 | 2 hrs 5 mins

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Kalesh Kalakkodu , Sanju Sanichen

05 May 2023 | 2 hrs 4 mins

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23 Jun 2023 | 2 hrs 23 mins

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19 May 2023 | 2 hrs 5 mins

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2018 Movie Review: Stunningly staged, powerfully evocative ode to the resilient spirit

Rating: ( 4 / 5).

Recently, during a casual conversation with an actor, we reflected on how some folks in Kerala, no matter what they have against each other, will come together when the state experiences a grave crisis. And when I mentioned that they might return to their old ways once all the chaos dies down, he reminded me that even if that happens, we can always rely on the hope that they'll reunite if disaster strikes again.

Director: Jude Anthany Joseph

Cast: Tovino Thomas, Asif Ali, Kunchacko Boban, Tanvi Ram, Lal, Narein, Indrans Jude Anthany Joseph's 2018 -- based on the devastating Kerala floods that occurred in the same year -- celebrates this hope. It's a film rich with layers and information. Take the plot thread involving a Tamilian truck driver, Sethupathi (Kalaiyarasan), harbouring a prejudice against Malayalis, set against the backdrop of the Mullaperiyar dam issue and water scarcity. He is not the only one. The most compelling threads, for me, are the ones involving Tovino Thomas (as an ex-army man) and Tanvi Ram (as a teacher and his bride-to-be), Asif Ali (as a struggling model) and Lal (his father), and Vineeth Sreenivasan (an expatriate going through a divorce). Given the presence of the massive cast, much care has gone into moulding the screenplay in a way that respects all its characters. Its ability to make a particular character endearing within a short time is commendable. All these characters are connected in some way. If they aren't, the connection will eventually happen. And nowhere do you feel one character is more important than the other. Even if someone has a short screen time, it doesn't undermine their utility. Though largely linear, the screenplay occasionally goes back and forth, but the coherent construction ensures zero confusion. And having big names occupy some of these 'heroic' characters doesn't necessarily mean all of their arcs culminate in a happy ending. In that regard, 2018 doesn't tread the predictable route. "Everyone is a hero," says the film's tagline. Indeed, but the film doesn't treat anyone as a superhero. But Jude doesn't forget to give us uplifting moments too. There is a neat balance between the upbeat and downbeat moments. The theatre erupted in applause when the fishermen, the real heroes of this story, gathered all their boats to gear up for rescue operations. One can say the same for a scene of two brothers-in-arms acknowledging each other with a salute. Sometimes relief comes from the most unexpected corners. Sometimes it's the most unlikely individual who, at one point, was deemed worthless that astonishes you. 2018 is not only the finest multi-starrer but also the finest disaster thriller to come out of Kerala since Virus (2019) and the most engaging hyperlink film from the state since 2011's Traffic . There is a great sense of urgency, most essential for a disaster-centric movie, especially one based on true events. I came to Kochi in 2018 , and I vividly remember the anxiety in the air -- my contribution included -- when the floods reared their ugly heads in the middle of that year. We heard scary stories that we badly hoped didn't happen to us. There was the constant fear of waking up the next day and finding out that your house was half submerged underwater. And if you were living in a rented house, there was the irrational fear of your house owner leaving town to prioritise their own safety without informing their tenants. So when you see a film that throws at you images of helpless parents with a disabled child struggling to survive or a blind man left abandoned, all in the thick of the night while water levels around them are rapidly increasing, how can you not feel a shiver run up your spine? At a time when even the most privileged were pondering their fates, can you imagine yourself in the shoes of the underprivileged? 2018 explores this class divide at a crucial point when a patriarch, played by Joy Mathew, who earlier dismissed a family of fishermen, is eventually forced to shift to the very place he looked down on because he has no other option. "So what if you have to stay at a camp? There's unity and laughter to be found there," says Nileen Sandra's character in one scene. It goes without saying the film benefits from having a stellar cast that includes the who's who from contemporary Malayalam cinema, such as Tovino Thomas, Kunchacko Boban, Asif Ali, and Vineeth Sreenivasan, in addition to notable appearances from Narein, Tanvi Ram, Lal, Kalaiyarasan, and Indrans. The performances veer slightly towards the cinematic, with some situations resorting to amped-up melodrama to convey tremendous peril, like the one involving Sudheesh and Gilu Joseph. Personally, I would've preferred a more subtle, tone-down approach, but this has always been a characteristic of Jude's films, which always targeted a wider audience. Had he opted for the Virus (the Aashiq Abu film) treatment, I suspect it might alienate a section of audiences for whom the evening teleserial is an unavoidable pastime -- the ones who like a bit of loudness in their movies. Actually, I wouldn't frame this quality as a complaint because how can we say with complete certainty that someone would react in such situations in a certain way? 2018 shows us at least two circumstances characterised by heightened melodrama. Maybe we would've reacted the same way if we had experienced the same. How sure are we of not going beyond our breaking point? It could happen. Cinematographer Akhil George, whose work in Kala impressed me greatly, demonstrates, once again, his supreme photographic skills. With dolly zooms, god's eye views, and the occasional handheld approach, he makes us feel the immense scale and doom-laden atmosphere, all enhanced by convincing practical and digital effects. (Kudos to the technicians behind these stunning results.) We also get some striking juxtaposition of images, like cutting to an ad shoot with artificial rain immediately after showing a Tamil Nadu village dealing with an acute water crisis. In another example, the image of a little girl watching a cartoon house getting flooded with water is matched with the visual of real people gathering elsewhere to see the opening of a dam. Both sides hope to see a spectacle, but the context is different. The film also reminds us not to ignore our four-legged friends. Even a brief flash of a pet dog's face is enough to show that these poor creatures, too, are hoping to be rescued. While on rescue, genuine feelings of peril accompany these sequences, injected with the necessary suspense and dread. One nail-biting night rescue involves a pregnant woman (Vinitha Koshy) and her daughter. This week, there are two major Malayalam releases; strangely enough, it's the one that doesn't deserve any attention that arrived with much fanfare for all the wrong reasons. But when you have another film that propagates unity and compassion and salutes the unforeseen resilience of individuals when planted in the most trying of circumstances, why would one think of watching something that peddles hate and propaganda? Pick wisely.

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Malayalam cinema thrived in Q1 2024, grossing over Rs 670 crore globally

Three films released in the first quarter of 2024 — manjummel boys, aadujeevitham and premalu — made it to the list of highest-grossing malayalam films of all time, ranking 1st, 4th and 5th, respectively..

In 2023, Malayalam cinema faced profound disappointment. Frankly speaking, to say it was merely disappointing would be an understatement. By the year’s end, the industry found itself rapidly descending into a downward trend, with the possibility of hitting rock bottom looming closer and no sign of improvement in sight.

Despite the success of films like 2018 and RDX , the industry struggled to counteract the overall decline. Shockingly, only a handful of films managed to even protect producers from facing significant losses. Thus, the producers’ association said that the industry incurred a collective loss of about Rs 300 crore, Times of India  reported, leaving a bleak and concerning outlook. Even in terms of content quality, the situation appeared grim as exceptional films were rare occurrences, with the majority leaving audiences thoroughly disappointed.

However, unlike in 2023, Malayalam cinema made a grand entrance into 2024 as the first film to be released, Aattam (The Play) , garnered widespread acclaim and sparked discussions. While Aattam didn’t achieve significant box office success initially, it became a focal point of conversation. Its digital premiere further enhanced the movie’s acclaim, multiplying its glory manifold. To be honest, it’s doubtful if any film from the previous year could match the overall excellence of Malayalam cinema’s first film of 2024.

In contrast to 2023, when the industry had to wait until the third week of January for an outstanding movie — Lijo Jose Pellissery’s Mammootty -starrer Nanpakal Nerathu Mayakkam — Aattam gave Malayalam cinema a strong start. Similarly, there was no need to wait until February, as was the case last year with Jithu Madhavan’s horror comedy Romancham , for Malayalam cinema to witness its first major hit. Just six days after Aattam, Midhun Manuel Thomas’ crime thriller Abraham Ozler arrived, providing a strong shot in the arm to the industry. Despite being an average film, Ozler attracted audiences to cinemas, grossing approximately Rs 40.7 crore worldwide, thanks to the presence of a slightly revamped Jayaram and a surprise cameo appearance by Mammootty . With Ozler revitalising the market and box office, anticipation grew for the release of one of the year’s most eagerly awaited Indian films — Lijo Jose Pellissery’s Mohanlal -starrer Malaikottai Vaaliban . Thence, the backlash Kamal’s Shine Tom Chacko film Vivekanandan Viralanu received quickly faded away.

However, the industry’s hopes for setting a new record by producing an all-time highest-grossing movie were dashed when Malaikottai Vaaliban failed to impress audiences and garnered polarised reviews. The most appalling point here was that not only did the film fail to meet expectations but also the increasingly negative word-of-mouth greatly impacted its earnings, resulting in Vaaliban becoming a box office bomb . This disappointment, particularly given the film’s high-profile cast and director, left moviegoers disheartened, leading many to anticipate another year plagued by box office letdowns, especially since a total of 17 movies hit the screens in January, as against 15 in the same month last year, and other small projects did not turn any heads.

The first week of February saw the release of seven more movies, and needless to say, not a single one made any waves. While all eyes were set on Bhoothakalam director Rahul Sadasivan’s much-hyped period horror film Bramayugam , starring Mammootty and scheduled for release on February 15, two major movies hit the screens in the second week of the month — Darwin Kuriakose and Tovino Thomas’ Anweshippin Kandethum and Girish AD’s Naslen and Mamitha Baiju-starrer Premalu . With Ozler fading and Vaaliban failing to attract audiences, both new releases received a strong opening, particularly Anweshippin Kandethum, benefiting from Tovino’s popularity. Theatre owners, eager to replace Vaaliban, jumped over these two films, especially the Tovino-starrer, recognising their buzz. However, the outcome surprised many, as Premalu received more acclaim for its simple yet impactful storytelling, humour and performances, while Anweshippin failed to leave a lasting impression. Nonetheless, Tovino’s film emerged as a super hit, grossing Rs 40 crore globally against its reported budget of Rs 8 crore. Meanwhile, Premalu made waves nationwide, capturing the hearts of audiences in every region, besides garnering attention from ace filmmaker SS Rajamouli and Telugu superstar Mahesh Babu . Rajamouli’s son Karthikeya acquired the Telugu distribution rights for Premalu, which recently concluded its theatrical run after amassing over Rs 130 crore worldwide, thus becoming the first blockbuster of the year.

While in 2023, Malayalam cinema experienced a wait of nearly three months after Romancham for another hit, or essentially five months for its first blockbuster, in 2024, the Malayalam industry saw another significant success in February itself, the fourth one in two months, with Mammootty’s Bramayugam. For the actor, who had been making jaws drop with his remarkable film choices and performances, including last year’s Nanpakal Nerathu Mayakkam, Kannur Squad and Kaathal – The Core , Bramayugam added to his list of achievements. The black-and-white period folk horror became a national talking point , with audiences and critics alike discussing its merits, leading to substantial success with a global gross of about Rs 85 crore. With Premalu, Anweshippin and Bramayugam enjoying a tremendous run and sharing screens amongst themselves, albeit with some difficulty due to a limited number of theatres, duds like Thundu went unnoticed.

However, the industry’s lack of strategic planning regarding release dates, combined with the influx of films, complicated matters as a week following Bramayugam’s release, two more films — Don Palathara’s Family and Chidambaram’s Manjummel Boys — hit theatres. While Family aimed to carve out a niche audience, Manjummel Boys capitalised on composer Sushin Shyam’s prediction of the movie becoming a trendsetter and garnered attention and immediate commercial success due to positive reviews from all quarters.

At the same time, the lack of planning worked surprisingly in favour of the Malayalam industry afterwards, as Premalu, Bramayugam and Manjummel Boys took over screens, overshadowing Anweshippin Kandethum and prompting its early debut on OTT platforms. The trio, together, attracted a significant number of audiences into cinema halls nationwide. The challenging times faced by most industries, with few non-Malayalam films making a significant impact, presented our industry with an unprecedented opportunity. The quality of these movies and the fact that they all belonged to different genres, sharing absolutely no similarities, unlike the films produced by Malayalam’s counterparts, helped them maintain their momentum. Following the success of Premalu, Manjummel Boys also made a mark in the Tamil and Telugu markets, impressing local audiences too, particularly due to the emotional depth of Malayalam films in general.

In March, as school exams season began, there were no major releases. While several smaller films tried to gain traction, the Premalu-Bramayugam-Manjummel Boys trio continued its successful run, attracting viewers, mostly repeat watchers, even after the initial buzz faded. At the same time, assuming that there’s no ‘competition’ in sight, Dileep attempted to swoop in with his crime thriller Thankamani . However, due to its abysmal quality and the actor’s subpar performance, the film became a box office bomb, giving the former trio better prospects. Meanwhile, Anchakkallakokkan and Oru Sarkar Ulpannam received some praise but failed to perform well at the box office.

After the massive failure of Thankamani, attention turned to the release of Blessy’s long-awaited film Aadujeevitham (The Goat Life), starring Prithviraj Sukumaran . With extensive promotional efforts and high anticipation as it was based on a beloved best-selling novel , the film opened to a domestic nett collection of Rs 7.6 crore, surpassing recent blockbusters. With just two weeks before Eid-Vishu releases, Aadujeevitham, released on March 28, dominated cinemas and recorded a Week 1 nett collection of Rs 47 crore.

Though February and March this year saw the release of 19 and 25 films, respectively, similar to last year’s numbers of 22 and 26 during the same months, three films released in the first quarter of this year — Manjummel Boys, Aadujeevitham and Premalu — made it to the list of highest-grossing Malayalam films of all time, ranking first, fourth and fifth, respectively. According to reports, the cumulative worldwide gross of six Malayalam movies (Abraham Ozler – Rs 40.7 cr, Anweshippin Kandethum – Rs 40 cr, Premalu – Rs 131.3 cr, Bramayugam – Rs 85 cr, Manjummel Boys – Rs 234.55 cr, and Aadujeevitham – Rs 142.65 cr) released in the first quarter of this year is Rs 674.2 crore, as of April 17, marking a successful start for the Malayalam industry.

With the Eid-Vishu releases — Aavesham and Varshangalkku Shesham — also performing well, it’s anticipated that the first half of this year will be highly successful for the industry. Now, let’s hope that amidst this newfound massive success, the Malayalam industry won’t lose its footing or become overwhelmed.

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The MPBSE Board will declare the Class 10 and 12 results on April 24, 2024. Students can check their results on the official websites or through the MPBSE mobile app. The exams were held in pen-paper mode in 7,500 centers across the state. In 2023, the toppers were awarded e-Scooty and laptops. Last year, the overall pass percentage was 55.28%.

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By Matt Burgess

The Biggest Deepfake Porn Website Is Now Blocked in the UK

Two of the biggest deepfake pornography websites have now started blocking people trying to access them from the United Kingdom. The move comes days after the UK government announced plans for a new law that will make creating nonconsensual deepfakes a criminal offense.

Nonconsensual deepfake pornography websites and apps that “strip” clothes off of photos have been growing at an alarming rate —causing untold harm to the thousands of women they are used to target.

Clare McGlynn, a professor of law at Durham University, says the move is a “hugely significant moment” in the fight against deepfake abuse. “This ends the easy access and the normalization of deepfake sexual abuse material,” McGlynn tells WIRED.

Since deepfake technology first emerged in December 2017, it has consistently been used to create nonconsensual sexual images of women—swapping their faces into pornographic videos or allowing new “nude” images to be generated. As the technology has improved and become easier to access, hundreds of websites and apps have been created. Most recently, schoolchildren have been caught creating nudes of classmates .

The blocks on the deepfake websites in the UK were first spotted today, with two of the most prominent services displaying notices on their landing pages that they are no longer accessible to people visiting from the country. WIRED is not naming the two websites due to their enabling of abuse.

One of the websites with the restriction in place is the biggest deepfake pornography website existing today. Its homepage, when visiting from the UK, displays a message saying access is denied. “Due to laws or (upcoming) legislation in your country or state, we are unfortunately obligated to deny you access to this website,” the message says. It also shows the visitor’s IP address and country.

The other website, which also has an app, displays a similar message. “Access to the service in your country is blocked,” it says, before hinting there may be ways to get around the geographic restriction. The websites do not appear to have any restrictions in place when visiting from the United States, although may also be restricted in other countries.

It is not immediately clear why the sites have introduced the location blocks or whether they have done so in response to any legal orders or notices. Nor is it clear whether the blocks are temporary. Messages sent to the websites through email addresses and contact forms went unanswered. The creators of the websites have not posted any public messages on the websites or their social media channels about the blocks.

Ofcom, the UK’s communications regulator, has the power to persue action against harmful websites under the UK’s controversial sweeping online safety laws that came into force last year. However, these powers are not yet fully operational, and Ofcom is still consulting on them.

It’s likely the restrictions may significantly limit the amount of people in the UK seeking out or trying to create deepfake sexual abuse content. Data from Similarweb, a digital intelligence company, shows the biggest of the two websites had 12 million global visitors last month, while the other website had 4 million visitors. In the UK, they had around 500,000 and 50,000 visitors, respectively.

Mark Andrews

Andy Greenberg

Morgan Meaker

Matt Burgess

This week, politicians in the UK announced plans for a law that criminalizes the creation of nonconsensual deepfakes. Under the law, which is yet to be passed, people could face an unlimited fine if they create deepfakes to “cause alarm, humiliation, or distress to the victim.” This builds on previous provisions that make it illegal for people in the UK to share sexualized deepfakes .

“While it’s unclear if these platforms have been ordered to block UK access or have done so proactively due to the recent criminalization, it shows legislation can make a meaningful difference in removing the legal ambiguity that many deepfake pornography platforms use as cover for the clear ethical harms they cause,” Henry Ajder, an AI and deepfake expert, tells WIRED. Ajder adds that search engines and hosting providers around the world should be doing more to limit the spread and creation of harmful deepfakes.

While the two websites can still be accessed in the UK using a VPN, the restrictions are a sign that constant pressure—from lawmakers, tech companies, and campaigners—can make deepfake porn harder to access and create. “Of course, people will be able to use VPN to access these websites and apps, but that introduces friction,” Durham University’s McGlynn says. “It introduces a message that there’s something wrong and harmful about this material such that you have to use a VPN to access it.”

“Hopefully,” McGlynn adds, “this can show other governments around the world that if we take steps, we could actually reduce the prevalence [of] and easy access to deepfake sexual abuse material.”

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