Top 10 Malayalam Movies in 2023.
2018 Everyone is a Hero
It was anticipated that “2018: Everyone is a Hero” would be an inspiring tale of survival and victory against insurmountable challenges. All of it and more was there. It will end up being more than just a movie for everyone who experienced the 2018 Kerala floods or for others who witnessed the events from the sidelines. In terms of technical quality, pacing, and smart composition, 2018, is a film that Keralites thoroughly like. It is, after all, their narrative.
The narrative opens in the village of Aruvikkulam, where we get to know many characters and their little arguments. Tovino portrays a young man who was one of them and who departed the Army with a forged medical certificate. Their everyday lives are shown to us, and then, in a stark contrast, we witness how the flood turns them over. Jude Anthany Joseph does a good job of portraying the utter fear and helplessness that one feels when water reaches their home’s roof, and he is able to fairly represent the agony, despair, and anguish that millions of people experience.
The second half was the quiet before the storm, whereas the first half was quite calm. Almost everything we recall from those days has a place, and these moments were expertly done. Examples include the fisherman and their rescue efforts, the locals and their assistance, and the helicopter rescue.
All of the actors who have played their parts well include Tovino, Asif Ali, Lal, Indrans, Sudheesh, Narein, Kunchacko Boban, Kalaiyarasan, Gauthami, and Tanvi Ram. In addition, a variety of performers who played supporting parts as parents, victims, officials, and mothers gave outstanding performances; nothing about them felt over the top.
The background music and songs were appropriate and didn’t jump out too much. Though there were some areas that needed more attention, doing justice to a tragedy that this generation has experienced is a significant task for which you must perform to the highest standard.
The writing is of high caliber, and Jude and Akhil P. Dharmajan have done a fantastic job. Cinematogtaphy by Akhil George demands special note. With excellent visual effects and editing by Chaman Chacko, the film is worth seeing.
RDX: Robert dony xavier
The frenetic action movie is characterized by exciting battle scenes, risk-taking stunts, tense moments, nostalgia, and catchy soundtracks. Three ‘angry young men’ in Kochi are portrayed in RDX: siblings Robert and Dony and their friend Xavier. Robert is excellent at karate, Dony is good at boxing, and Xavier prefers nunchucks. Their mutual love of martial arts and their upbringing have bonded them.
Their goal in life is to prove their mettle in neighborhood brawls and fall in love, which leaves them charmingly innocent yet aimless in their burning youth right after graduating from college. In the middle of brutal fights, a crucial altercation forces their families to pull apart for a while. Their history follows them even if they have moved on, leaving them with a choice between facing and ignoring the past. The film explores their quest to clear up confusion.
As Robert, Dony, and Xavier, respectively, Shane Nigam, Antony Varghese, and Neeraj Madhav expertly play their parts. Their flying fists, raining kicks, knock-out punches, and roundhouse kicks add adrenaline to the action-packed moments. Robert is portrayed by Shane Nigam in a very endearing way, highlighting his amorous persona, action scenes, dance movements, and lighthearted romance. The spirit of Dony, a family man smoldering with repressed wrath, is embodied by Antony Varghese. As Xavier, the trusty friend who expertly combines stunts and dancing, Neeraj Madhav shines. With his flamboyant look and supple gestures, Vishnu Agastya shows himself to be a budding talent who breathes new life into the character. The film’s enhanced impact is mostly due to the participation of nostalgic 90s action hero Babu Antony, together with Lal, Mala Parvathy, and the opposing squad. Babu Antony’s potential, though, should have been used more effectively.
Action movie enthusiasts may look forward to captivating entertainment from debutante Nahas Hidayat.
Romance, friendship, and familial ties are all skillfully woven into the action and family drama screenplay by screenwriters Adharsh Sukumaran and Shabas Rasheed. The powerful soundtrack by Sam CS heightens feelings and increases the impact of the movie. The movie’s depictions of different fighting methods are expertly complemented by the soundtrack, making for an engrossing encounter. Action director Anbu-Arivu masterfully encapsulates the spirit of the movie, directing a remarkable Malayalam combat picture that exhilarates viewers.
It can be difficult to capture the fire, vigor, and intensity of action scenes on camera. Although Alex J. Pullikal does excellent work, there are times when the spark is lost. Editor Chamman Chacko skillfully combines images, however sometimes the story’s intense narration isn’t matched. There are moments when changes in atmosphere and style make the story’s timeline difficult to follow. Did the sabbatical last for 10 or five years?
The main theme of this action movie, which the kids will be watching this holiday season, is “rage.” It is troubling to compare the exaltation of rage with the rise in juvenile criminality brought on by the psycho-social aftereffects of COVID-19. From an artist’s perspective, adding anger becomes essential to making action movies popular. Some moms show contradictory traits, such as crying for their children and being manipulable in the name of love, even in a home where the men are the primary figures and project wrath. The inclusion of a sequence intended to elicit applause seems out of place in the context of changing gender sensibilities.
Police procedural dramas appear to be pretty popular in Mollywood, but although in the past our films showed senior officers looking into crimes, these days we get to witness the foot soldiers in action. Furthermore, it’s fascinating to read about the hardships and contributions made by lower-ranking police officers.
In Kannur Squad, Mammootty’s character ASI George leads a unique four-person police investigation team. Police stations have considerable anger towards the squad’s freedom, even though they go above and above to do their task. And it gets dismantled because of a corruption accusation against one of the team members. However, after a well-publicized murder and robbery at a politician’s home in Kasargod, George is requested to rally the group in order to apprehend the gang.
The investigation takes the team to northern India, where tensions in the political scene in Kerala grow, raising doubts about their image and competence. Despite the many challenges the team faces, George is adamant that he would only come home with the offenders.
The film, which was co-written by actor Rony David Raj and screenwriter Muhammad Shafi, is similar to Rajeev Ravi’s Kuttavum Shikshayum, especially when the team goes into the Tikri village in Uttar Pradesh in search of a lead that will lead them to the murderers. This is also cinematographer Roby Varghese Raj’s directorial debut. The unexpectedly fast-paced second half of this movie is what makes it work. The movie moves quickly even though it might have used a crisper writing throughout, especially before the intermission.
Although Mammootty’s star power is undeniable and he has some excellent “massy” lines, the characters also have some weight due to the backstories of Rony, Azeez Nedumangad, and Shabareesh Varma. As a UP constable, Ankith Madhav performs an excellent job of integrating with the crew and guiding them through the challenging and unknown regions of northern India. It’s encouraging to see young, new talent in our field, like him and Deepak Parambol.
The bad news is that there are a few graphic scenes that were preventable. The stunning cinematography of Muhammad Rahil masterfully captures the majesty of landscapes as well as tragic moments in cramped areas. The movie is well worth seeing in theaters only for this reason.Top 10 malayalam movies in 2023 updated in this article.
A scary film, but a hilarious one? Indeed, the film Romancham is the one that provides us with this amazing recipe. Intriguingly, the film is based on true events and is humorous without resorting to hyperbole or stupid humor. This is when writer-director Jithu Madhavan’s genius shines through. This is an epic interpretation of a tale that easily could have gone horribly wrong.
The entire theater was shouting for the amazing characters and howling with amusement the entire time. The film is further enhanced by Sushin Shyam’s amazing soundtrack, which is used at just the perfect moments. Nobody would expect to want to recite Adaranjali Neratte (Rest in Peace) over and over again, but after Romancham, you’ll catch yourself saying those phrases repeatedly.
The film centers on a group of young people who play Ouija board and reside in Bengaluru. When the spirit they conjure with the Ouija board chooses to remain behind, things go awry for them and become humorous for us. The filmmaker succeeds in creating a frightening scenario, at least for the characters, even in the absence of a ghost or other typical “ghost” aspects.
As Sinu, whose pranks push the group of young people to the brink, Arjun Asokan performed a great job. As Jibi, Soubin Shahir did a good job. He appears to be plotting with Abin Bino’s Shijappan in one particularly well-done scene. The iconic characters Afzal PH as Karikuttan, Sajin Gopu, and Niroop added even more humor to the situation. Good work was done by Siju Sunny, Anantharaman Ajay, Jagadheesh Kumar, and Joemon Jyothir. Chemban Vinod gives us a remarkable sequence in his cameo that makes us giggle uncontrollably.
There is no one who does a polished massy film better than Jeetu Joseph. He does something that makes you feel emotionally committed in addition to giving you a rush of adrenaline. This is maybe much better than the Drishyam series, and it will undoubtedly increase the popularity of Malayalam material throughout India.
Neru jumps immediately into the story in the opening scene, yet because there isn’t any prior development, none of the characterisations appear trite. The fact that Sara (Anaswara Rajan), a young girl, is blind, makes gathering evidence of her rape challenging. But because she’s a skilled sculptor, she makes a clay replica of his likeness, which leads the police to detain a young man who was visiting a friend in the neighborhood. The remainder of the movie is a court procedural drama in which the accused’s riches and power are contrasted with a blind girl’s testimony.
Siddique and Priyamani portray a father-daughter legal team from Delhi that is in charge of defending the accused, Sankar Induchoodan, a powerful and well-to-do family member. Additionally, the victim and her parents are advised by the investigating officer (Ganesh Kumar) to retain the services of a hesitant Vijayamohan (Mohanlal) after the accused is granted bail due to the stupidity of a fumbling prosecutor.
It appears like a bit of a David-versus-Goliath fight between Vijayamohan and Siddique’s character Radhakrishnan because of their past interactions and the fact that the former is back in court after a five-year hiatus. For the whole 152-minute film, this is what keeps audiences emotionally invested and on the edge of their seats. You won’t even look away from the screen to dab at a tear.
Viewers are shown how documents and evidence can be falsified, as well as the heartbreaking battle a victim must endure—especially in court—to obtain justice. Congratulations to Jeethu Joseph for writing a relevant story and to Santhi Mayadevi for playing the endearing part of Friday, Mohanlal’s friend. Although it might not be a perfect picture of our legal system, it is one that we aim for and it also raises significant topics on which people should think.
Mohanlal gives the proper amount of drama to relay Vijayamohan’s message to Radhakrishnan that “today’s women won’t suffer injustice quietly” and that he should try to change without making it seem cheesy while still drawing cheers from the crowd. Some of these key exchanges include Sara’s vehement remarks regarding consent or her father’s (Jagadish) comment, “What a terrible system that we might lose, despite presenting so much evidence.”
The character interactions are particularly noteworthy as well. Sara and her parents enjoy a loving and respectful relationship, and the family even manages to weave in a humorous moment amidst their tragedy. Even the camaraderie between Vijayamohan’s character and Santhi’s, as well as the subtle awkwardness between them due to an earlier relationship, are well done.
It is Mohanlal’s excellently restrained performance that lends the movie its wholesome tone. Despite the impression that Mohanlal steals the show, a fantastic ensemble cast—including Mathew Varghese, who portrays the judge—comes together to create a truly remarkable film. Of course, Anaswara steals the show with her flawless transitions between roughness and sensitivity. Both actors give outstanding performances in the film’s concluding scene starring Sara and Vijayamohan, which will leave you with a lump in your throat.
The soundtrack by Vishnu Shyam appropriately matches the movie’s pacing, especially when it comes to enhancing some dramatic scenes. Cinematographer Satheesh Kurup’s shots not only help the movie move along more quickly but also, and perhaps more crucially, let us get to know the people. This is especially true when several of the scenes open with exterior shots of the house.
King of kotha
Childhood friends Raju (Dulquer Salmaan) and Kannan have the ability to kill for one another. They are the undeniable leaders of the Kotha of the 1980s, youthful and heedless. These youngsters and their group won’t deal in drugs, nevertheless, in contrast to other gangsters. However, as all wonderful things eventually come to an end, one of them suddenly betrays the other, shattering their brotherly bond. It also has a small connection to Raju’s lady love Tara’s (Aishwarya Lekshmi) arrival. As the two buddies turn against one another and Kotha changes, things get rather violent and bloody.
The storyline of this classic gangster story is ruled by carnage, terrible action, and tons of swag. Abhilash Joshiy, the director, and Abhilash N. Chandran make sure their story is full of turns, twists, and unrelenting combat. The action is set in the fictitious village of Kotha, which has been given a very retro feel by art director Manoj Arakkal. Nimish Ravi’s breathtaking cinematography brings the setting to life. Furthermore, Jakes Bejoy’s thunderous background score is like the cherry on top. It’s obvious that the immersive experience and optics matter more than anything else.
Although there are some predictable elements to the plot, betrayal, love, and friendship are all intricately woven together. The film’s slow pacing is its main weakness. Before Dulquer Salmaan makes a big entrance, the song starts slowly and takes some time to get into rhythm. It would have been far more enjoyable to see this intricate mobster drama with a tighter edit.
In a totally different avatar from his earlier appearances, Dulquer Salmaan delivers a powerful blow. The young performer gives his role, who is essentially a force of nature, the necessary depth and passion. As a fierce antagonist, Shabeer Kallarakkal is as impressive. The story is propelled by the two performers’ chemistry together. Supporting roles include those of Aishwarya Lekshmi, Gokul Suresh as the trustworthy Tony, Prasanna as the cunning IPS officer Shahul Hassan, and Nyla Usha as the ferocious Manju.
The general issue with “King of Kotha” is that it doesn’t know how much is too much. Although it falls short of becoming a classic gangster film, it does have broad appeal and the capacity to captivate viewers for an extended period of time. It simply isn’t aware of when to give up.
For Malayali audiences that head to the theater with little hope these days, Arun Varma’s Garudan is the ideal dose of everything. Drama, broad appeal, retaliation, and the punch that fans have been waiting for in a Suresh Gopi film for a while are all present in this film. In the film, he portrays Harish, a police officer who retires halfway through. Professor Nishanth is expertly portrayed by Biju Menon. Without giving too much away about the part, he is a fantastic fit and has performed incredibly well.
It is about Harish and Nishanth in the film. At the start of the movie, Harish looks into a rape case and finds Nishanth to be the offender. He gets out of jail a few years later. The pursuit that follows gives the film a unique quality that sets it apart from other recent hunts in Malayalam thrillers. Everything else seems rather irrelevant at this point since Arun manages to deliver a film that will capture the interest of the viewer. ‘Garudan’, the film’s cinematographer, effectively conveys the hunter-prey motif that Arun wanted, as it reverses throughout the film through his frames. A few frames in the court stood out at the end of the dramatic showdown when the truth is revealed.
One of the few significant issues is the lag. The middle of the movie drags on a bit too long. A few characters were on screen, but they didn’t contribute much to the main plot or didn’t have the necessary intensity when Harish’s family doubted that he had identified the true offender at a pivotal point in the narrative or when he was urged to put his own life ahead of the rape case later on. Eventually, even Harish’s hysteria became monotonous, especially considering how frequently Siddique’s character Iype appeared in these sequences.Although updating the audience on the progress was essential, maybe something a little less clear might have also been effective.
Even though fans were yelling at the screen for the narrative twist, there is a point near the conclusion that can be predicted precisely before it happens, but it doesn’t detract from the overall fun of the film. It’s a gratifying viewing, and the punch does land. Although there were some scripting errors by Midhun Manuel Thomas, the movie is nevertheless entertaining and gets better near the finish. Although it has some predictable components, Jinesh’s story is nevertheless engaging. Despite being a thriller about a rapist, viewers are not horrified by it. The way it’s presented is subtle enough to appeal to viewers who don’t like to watch blood on film.
Voice of sathyanthan
You should only watch Raffi’s Voice of Sathyanathan once. Although it had its moments, it collapsed in the last stages. It narrates the tale of Sathyanathan, an average man portrayed by Dileep, and how he ultimately comes to the rescue of Joju George’s character, a prisoner. The acting performances hold up well despite the terrible writing. Despite having a cast full of excellent actors, the film is a patchwork production that causes all of them to stumble.
The movie is what you get when you mix earlier Dileep productions like Nadodimannan, Karyasthan, Sringaravelan, etc. with a few extras like a complex character with a lot of promise like Sathyanathan. He doesn’t change from the beginning to the end. The one intriguing aspect of the part concerned his response to the final scene. While Veena Nandhakumar plays the wife who holds fort for a while, leaves when things get tough, and returns after the climax—a type of character that has become standard in Malayalam films—Siddique played the conventional “comedy relief” neighbor.
Anupam Kher made a brief appearance, although it is hardly noteworthy. There are moments when the theme’s ambiguity is a little confusing. Sathyanathan, who is intoxicated, stomps on a fence and makes threats against the Panchayat President. He is taken into custody by the Indian President’s security detail, who was present when he was soon visiting the village, on the grounds that he was posing a threat to the “President,” and they subsequently place him in preventive custody as a result. He encounters Joju in the jail. Honestly, we can’t even begin to tally how many times he enters and exits jails.
One scene that particularly caught my attention was the one in which a young boy gives a doll to Joju’s (played by Anusree) daughter. It’s rosy. The child is coaxed by the mother, who tells him it’s a doll for girls, and she even gives him the classic “ayyee” embarrassment. These days, one cannot view it as an error in the filmmakers’ thought process.
Actor Jagapathy Babu has demonstrated his abilities in numerous films. It was awful enough to see him reduced to a standard character—the uncomplicated, icy cop. Subsequently, the character delivers the sole English dialogue with an awful accent. It stops one cold for a second because, no, even though he is a top security officer, it doesn’t qualify as an Indian accent. That one superfluous English dialogue was probably overlooked by the dubbing crew until the very end. He was quite proficient in Hindi.
At times, the discussions themselves were a little startling. Although viewers have already witnessed Dileep handle these situations quite well, this is a step back after the highly intriguing Keshu Ee Veedinte Nathan. The stories that were once told in novel ways are no longer relevant in Malayalam cinema. Filmmakers need to stop underestimating their viewers.
The apple and the tree are not too far apart. Pachuvum Albhuthavilakkum by Akhil Sathyan is distinctly from the Sathyan Anthikad school of cinema. This upbeat performer makes others grin, feel sorry for them, and show empathy. Having said that, the nearly three-hour film feels like it might have been a little bit better if it hadn’t dragged on for so long and had adhered to the core plot instead of adding a love element.
Fahadh Faasil portrays Prakashan, often known as Pachu to his family, a charmer who owns and operates an ayurvedic pharmacy in Mumbai. He travels to Kerala for a few days in order to renew his business franchisee license and obtain some supplies. While there, he is also taken to see a female in the hopes of possibly saving his marriage. After a little household mishap, he is delayed in his travels. Vineeth’s character, Riyas, the wealthy and influential landlord in Mumbai, asks whether Prakashan can go with his mother, who is adamant about boarding the train to Mumbai.
The feisty senior gets off the train in the middle of the night at Goa, and Prakashan follows him to discover that she is at a house. After telling Riyas, he realizes what his mother is planning and quickly travels to Goa to bring her back home. As the entire group gets ready to return to Mumbai, Prakashan’s mother explains to him why she came to Goa and promises to give him the shop space if he helps her achieve her goals. Prakashan accepts the tempting lure of financial gain and embarks on a quest to discover compassion and love.
In addition to writing the tale, Akhil demonstrates his ability to craft compelling supporting characters. However, his legacy has occasionally worked against him by trying to create scenarios that look too wonderful to be true. It is typical for the hero and others to have gray areas. Vineeth does a great job portraying Riyas, who has a rough, hard side and a gentle, tender one.
Furthermore, Prakashan’s failure to be honest with Dhwani, played by Anjana Jayaprakash, who supports him in difficult times, does not reflect well on his character, who is primarily portrayed as an upright man who strives to grow from his mistakes. One of the most novel aspects of the film is the presence of an elderly woman in a prominent part, expertly portrayed by Viji Venkatesh. Both Anjana and Fahadh perform admirably in their roles.
Basil Joseph’s leading man Falimy was a welcome surprise, capturing the essence of middle-class existence with a dash of wit and aptness. After much effort and a strong cast that uplifted the story and screenplay, director Nithish Sahadev’s debut film finally opened in theaters. It is quite entertaining due to the way it is presented, and the first half had the audience in stitches.
A middle class family, represented by Jagadeesh, Manju Pillai, Basil Joseph, Sandeep Pradeep, Meenaraj Raghavan, and their two boys, as well as the grandfather, are the main characters in the novel. As the stereotypical middle-aged head of the household who is unwaveringly correct and won’t give in, even on minor issues, Jagadeesh is outstanding. Basil portrays the son, a struggle between egos exacerbated by the fact that he and his mother are the primary breadwinners, with his father.
Sandeep does an excellent job portraying the naive brother and makes good use of his screen time. Manju has done a fantastic job portraying the mother who must frequently mediate conflicts between the egos in her family. It’s more engaging to watch because of the well-written, sardonic exchanges between the family members. Many people may be able to relate to the father’s glum demeanor and disconnected attitude because they are frequently burdened by their habits and slaves to their past.
Even if the drive to Varanasi drags toward the end, especially after they get stuck, it’s still kind of fun. The film is notable for its relevant exploration of various themes, including the hardships of going on a family vacation, emotional problems, and the impact of age on individuals. But as the movie gets closer to the finish, the pacing starts to falter.
Vishnu Vijay’s soundtrack keeps the pace high and enhances the film’s attractiveness. With his typical demeanor, Basil is being himself, which is exactly what was required.