Nowrunning says the theme is as old as ever: “It cannot be denied that the basic theme that ‘Bharya Athra Pora’ dwells on is outdated to the core, and that no amount of Facebook masking would make it any less tiring. As someone whispered after the film, “the wife isn’t that good, nor is the film!”

Rediff feels the film is strictly for Jayaram fans: “Families are considered to be Jayaram’s fan base and once in a while he comes up with a story that makes families flock to the theatres. His latest film Bharya Athra Pora is one such effort. To sum up, Bharya Athra Pora is loud and regressive.”

For Sify, its a lowbrow comedy: “Bharya Athra Pora may be fine in parts of those addicts of TV tearjerkers or the cheap comedy skits. For the rest of the viewers, this could be a sheer waste of time. Now decide on which side are you in!”

Nowrunning says that its a brain buster even with the statutory warning to leave your brains back home: “Even with the statutory warning to leave your brains back home, ‘Hotel California’ is a brain masher. The impossible to ingest plot contortions make it a bland mishmash that more than often seems contrived to the core.”

Rediff exhorts you to ignore it: “A question one often asks after watching some films is: “Why was this film made?” It’s a question one definitely asks of Hotel California, directed by Aji John. There is no plot to speak of in this joke of a film. The multiple subplots that remain underdeveloped.”

Sify calls it a damp squib: “Hotel California should prompt serious viewers and filmmakers to think about the line that separates decency and comedy. But then, we will wait for a worthy film to have such a serious discussion, ignoring this nauseating mess as a bad dream.”

Nowrunning is all praise for the bold theme and Prithviraj: “In ‘Mumbai Police’, Roshan Andrews and writers Bobby and Sanjay, lasso in their audience ever so steadily right into the midst of a steaming eddy. The dark lined elegance that the movie sports, makes it a gritty, knotty thriller – a hardboiled treat.”

Rediff feels its impressive: “The success of a suspense thriller depends on whether the viewer can put together the clues scattered in the narrative when the suspense is revealed in the end. Mumbai Police, the new film directed by Rosshan Andrrews, does just that.”

Sify says its one of the best films to have come out in recent times: “Mumbai Police belongs to its director and writers. Take a bow Rosshan, for taking the road less travelled, without too many commercial compromises.”

Nowrunning feels the director has hit an all time low: “Things have got steadily worse as far as Rajasenan films are concerned, and ’72 Model’ adds itself to the ‘never to be seen’ movies by the director. Its numbingly bad, and you wonder if it could have lasted for more than a week in the theatres even if it were released way back in ’72.”

Sify calls it avoidable: “72 Model is meant to be funny but what you feel is anger towards everyone who made this nauseating flick. Why can’t producers think before funding ridiculous projects like this one?”

Nowrunning feels its a satisfying cinematic experience: “Questions on belief and the lack of it are tossed around in ‘Akam’, a highly satisfying cinematic experience that comes up with insights of immense significance. Somber and extremely suspenseful, the illusory texture of its narrative turns out to be of a class of its own.”

Rediff says the film has some exciting moments: “That is a bare narration of the plot but it is played out in pieces and goes back and forth in time and gives the impression of a hallucination. The shots are broken and character details given in fragments as if they were pieces of a jigsaw puzzle that the viewer must put together to get a clear picture. There are some suspenseful and exciting moments here and there, but on the whole the film plays out in the mental spaces of the characters.”

Nowrunning says the film intrigues in parts: “The psychological turf that ‘August Club’ sets its story on is uneven, which is why it intrigues in parts. It could have done much better had it not got its plot threads entwined, but nevertheless remains an interesting cinematic experience.”

Rediff thinks its nothing great: “The film, rich in subtext and distinctive characters, makes for an interesting watch. The technical intricacies of chess are used as a means to bond and literature as a tool for them to break the ice.”

Sify thinks it isn’t a bad option for weekend viewing: “August Club could have been much better but is not such a bad option on a weekend, especially when compared to most of the recent releases. Go with no big expectations and chances are that it could turn out to be an okay one-time watch.”

Nowrunning states that it very rarely rises above the status of a routine murder mystery: “Salaam Baapu’s directorial debut ‘Red Wine’ starts off with one of the best scenes in the film marked by a deft stroke by the director that emphatically proclaims his arrival. Sadly though, it’s a drop down for the film thereafter, as it meanders along conventional plains towards a disappointing denouement.”

Rediff thinks the film is worth a watch: “Red Wine, directed by Salam Bappu (who has been assisting Lal Jose for the last decade or so) is one such experiment, with a subject that looks like a pure whodunnit on the surface. But if you dig a little, you understand that this is the story of two characters who are exactly the opposite, with the third character trying to solve the puzzle of their lives.”

Sify feels its neither good nor bad: “Red Wine is not bad, but it is not great either. If you are not looking forward to some modern pattern or a different narrative style, the film may be a fine option as well. The choice is all yours.”

Nowrunning calls it a disappointment: “’3 Dots’ is a royal disappointment on account of reasons more than one, the lack of a plausible and inventive story being the most noteworthy of them. It’s a comedy that is not especially funny and the drama that follows is not especially dramatic either.”

Rediff terms it an ordinary film: “Kunchacko Boban is in his groove with his sheepish comedy and being a foil for Biju Menon. Only Prathap Pothan gets to do something substantial here; maybe because he is new in the team and the think tank behind this film has put some thought into creating his character. 3 Dots held a lot of promise coming from the winning team of Ordinary, but this film turns out to be less than ordinary.”

Sify calls it a lowbrow comedy: “3 Dots may not be appealing for the discerning viewer but it could be fine in parts if you are not there to delve deep into its merits, or for the hardcore fans of the lead stars. The choice is yours!”

Nowrunning seems to have been bowled over: “The flavor, spirit and fun of ‘Amen’ make it buoyantly unpretentious, and the sheer exuberance that it lets out renders it a movie of the magical kind. A feel-good, jovial and unfussy musical experience, it’s a sunny gem of a film that drops down from the heavens above, as the Lord parts the clouds to take a look at the world down below. “

Rediff is all impressed as well: “Amen is a humorous film staying true to its tag line ‘a divine comedy’. The film can be seen from many angles: as a love story in the classical mould, or as a ‘coming of age’ of a dim-witted youngster, and then there is the premise that God is always with the righteous underdog.”

Sify calls it a must-watch: “When most films move out of your mind minutes after you leave the theatres, Amen just grabs you in a fantastic way. It is has its flaws for sure, but just don’t miss this gem. Two big thumbs up and a must watch recommendation for Amen!”

Nowrunning states it marks the brilliant debut of a director, but adds that the end product should have been much better: “‘Lucky Star’ starts off on the right note, but ends up real messed up after the initial hour wears off. Yet, Deepu Anthikkad does announce his arrival with elan, and provided with a better script that gets its acts together, could spring another surprise on us, without doubt.”

Rediff thinks it could have been better: “Jayaram gives a good performance as the excited and involved Ranjith. Rachna as Janaki displays a verve that we rarely see in leading ladies today. Mukesh is made to do a standard comedian’s role. One leaves the theatre feeling that Lucky Star could have been a much better film if a little more thought had been given to how the film should progress in the second half.”

Sify sounds least impressed and  a bit confused: “Lucky Star could have been easily rated as a fine entertainer, if it had come some two decades back. Now times have changed and the viewers are constantly watching fantastically narrated movies. On second thoughts, this film is not entirely bad and has its moments as well, but it could have been much better.”

Nowrunning feels exhausted: ” It’s a very pale imitation of some of those imposing sports dramas that we have seen before and remains brashly formulaic throughout. It loses steam and halts half way on its running track exhausted, thereafter exhausting us to the hilt.”

Rediff calls it plain disappointing: “This is the second time Ann is getting a title role after her début in Elsamma Enna Aankutty, but she does not impress here as an athlete. She gives a scratchy performance to say the least. Final words, Rebecca Uthup Kizhakkemala disappoints as a sports film; it’s like watching a TV serial on the big screen.”

Sify sees no passion in the making of the film: “Rebecca Uthuppu Kizhakkemala is the kind of movie that will prompt the viewers to stay away from the theatres. Why waste time on this film, which has been made without any honesty or passion?”

Nowrunning laments the shoddy pacing of the film: “The shoddy pacing makes ‘Rose Guitarinaal’ a tedious watch, and we can only thank our lucky stars that it didn’t release on Valentine’s Day. The last time you relied on Ranjan Pramod was for ‘Photographer’, and with ‘Rose Guitarinaal’, he lets you down once again.”

Sify leaves it to you entirely: “There are times when the talent of the writer-director is in display, in Rose Guitaarinal. But it will require real patience to spot them, amidst a mostly boring narration. Now, the choice is yours!”

Rediff calls it slow and unremarkable: “…the film moves at a snail’s pace and the actors’ robotic movements and passive expressions add to the overall clumsiness of the film. Overall, Rose Guitarinaal is devoid of charm and offers nothing to entice the viewer.”