Basil Joseph in a still from ‘Pravinkoodu Shappu’

One well-crafted sequence can sometimes make a film worthwhile, even when the film in its totality hits a notch below where it could have. These sequences tell us of the possibilities that a filmmaker holds, and serve as a showreel of someone whose work is worth looking forward to. Such sequences are galore in debutant Sreeraj Sreenivasan’s Pravinkoodu Shappu, partly thanks to cinematographer Shyju Khalid, who has shot some of the major Malayalam films of the past decade.

To list out a few, there is a school bus chase sequence that sends chills down your spine due to its clever staging; there are thoughtfully lit night scenes inside a toddy shop, and one by a pond where a murder is taking place under the dim, reddish tail lamps of a vehicle; or like that of a masked man attacking a house at night, seen from the point of view of the woman facing it; or even the opening sequence which juxtaposes a classic nostalgic song with a shocking visual.

However, the deftness in the handling of these scenes is not visible uniformly in the film, which brings together the potent mix of an investigative thriller and a black comedy. At the core of it is a typical Agatha Christie-esque situation, with a death at a particular location and a handful of suspects. But instead of elite mansions or luxury trains, here the location happens to be a toddy shop, frequented by the regulars from the village, with quite a few among them having a shady record in the past. When the toddy shop owner is found dead, fingers point to all of them.

Police officer Santosh (Basil Joseph) derives much pride from solving crimes using intelligence than violence. It is Santosh who brings the humour in this film, and with his easy shifts from goofiness to sharpness, Basil’s performance is one of the elements that hold the film together. The past lives of the dead man and the suspects unravel as the investigation progresses. But, some of the characterisation and situations are intentionally sketchy, probably to retain the mystery till the end.

A certain ingenuity marks the way the murder is executed, you do feel mildly satisfied with the roundabout manner of arriving at that point. It just does its job, without knocking you off your seats, which the truly exceptional ones achieve. With a lot of back and forth shifts in the non-linear narrative, the editing is on point for most parts, but some scenes feel too long-winded and even superfluous, considering the information we already know. At the same time, there are instances of insufficient or unconvincing information too, as regards the motive.

Despite its intriguing setting and liberal doses of black humour, Pravinkoodu Shappu ends up underutilising its potential.

Pravinkoodu Shappu is currently running in theatres

The premise

Make no mistake. Unstoppable is very likeable and ultimately packs an emotional wallop. It has all the ingredients to make an amazing genre entry, but it stays so expectedly overwrought in its own formula that the story rarely takes shape. Marking the directorial debut of Oscar-winning Argo editor William Goldenberg, and produced by Ben Affleck, Unstoppable features a fierce central performance from Jharrel Jerome as Anthony, and an equally impressive supporting turn from Jennifer Lopez as his mother Judy. However, the film feels too caught up trying to impress, too one-note to add any texture to these characters to make them feel more than what they are offered on screen.

Unstoppable starts off with Anthony’s final years in high school, where he impresses with his agile moves in the match. His mother roots for him to excel, and his coach (Michael Peña) supports his dreams. But back home, he has to deal with his abusive stepfather (Bobby Cannavale), which amounts to his anxieties about his next steps. Should he take the offer of a full college scholarship at Drexel or pursue at Iowa, where he believes the best wrestlers go? During his search, his way will lead to coach Shawn Charles (Don Cheadle), whose push will keep Anthony striving for more.

What works

The tone and texture of Unstoppable are unabashedly formulaic and one-note, which feels like the film is deliberately trying to tell such an uplifting story in a Wikipedia-ish fashion. Scenes set in Anthony’s home are tough, so we get a montage scene next, and then we return to the house for more revelations through a short flashback. This tried-and-tested trick fails to add any support to the material.

Still, the film moves ahead and works in several parts thanks to the committed performances of its cast. Jharrel’s central turn is intense and physical, but his bond with his mother forms the core of this film. Lopez tries hard to salvage her scenes with roughly overdone dialogues and succeeds largely. If 2019’s Hustlers was not enough proof, Unstoppable is yet another reminder that Lopez can very well bring in the acting chops when required: she just needs to experiment with better scripts.

Final thoughts

Even though the end is predictable, Unstoppable does manage to get there with some saving grace and emotion. The wrestling scenes are well choreographed and shot, even as the overtly melodramatic score comes in the way at several points. Unstoppable is loud and unsubtle, often undone in its all-knowing attitude. Because the subject itself is so revelatory and poignant, the film ultimately wins you over with its truth. It manages to be quite effective and moving. What it required was a little more consideration, a slight pause to stand beside this human being and watch him tackle so many obstacles. Just watching is, in many ways, akin to empathy.

Unstoppable is now available to stream on Prime Video.

Movie Review

It’ll be good for us.

So Blake Lovell tells his go-getter wife, Charlotte, when he suggests they leave the city and spend a summer in Oregon.

They’ve had a rough time of it lately. Blake, a writer, is between jobs right now—and that means he’s been a full-time dad to their daughter, Ginger. That’s been great; the two of them have never been closer.

But that also makes Charlotte, an ambitious journalist with an eye on deadlines and a hunger for the front page, a familial third wheel.

While Blake makes dinner, Charlotte’s arguing with her editor. While Blake takes Ginger out for ice cream, Charlotte runs after the latest scandal. And while that’s great for Charlotte’s career and all, Charlotte feels less like Ginger’s mom and more like a houseguest—and not an always welcome one at that. She and Blake are arguing more than ever. And if the couple keeps following this trajectory, they won’t be a couple much longer.

A trip to Oregon might be just the ticket, Blake feels, to heal these long-festering issues.

After all, he’ll need to go to Oregon anyway. His long-missing father has finally been officially declared dead by the state. Blake needs to pack up the old family house and tie up loose ends.

So he thinks, why don’t they all go? Spend some time together? After all, Charlotte can work from anywhere. Or, hey, she could even take a vacation for once. No harm getting reacquainted with your husband and daughter, right? Plus, it’s beautiful there. The views never get old.

Sure, Blake might’ve downplayed just how remote this corner of Oregon was. Internet? You’ll be lucky to have power. And he never even thinks to dredge up some less-idyllic childhood memories; ones that left his granite-tough father trembling. Ones about a monster in the woods.

Blake had long waved away such legends. Monster? Pish.

But then, as he drives a moving van carrying his small family, someone—something—appears in the headlights. The van careens off the road and tumbles through trees, precariously coming to a stop in the branches of one of them. Charlotte and Ginger scamper to relative safety. But the thing swipes at Blake before he can do the same. The attack takes less time than an eye blink—so fast that when Blake sees the blood on his arm, he assumes he must’ve suffered a cut from the glass.

Charlotte looks at the jagged wound, and she knows it’s not a simple cut. Nope, that thing took a chunk out of Blake’s arm. And who knows what sort of bacteria that creature was carrying. Rabies? Tetanus? Best get Blake to a doctor, pronto.

She’s right to be worried. Blake is infected—but not by something a doctor can treat with a shot or antibiotics.

The trip to Oregon? It’ll be good for us, Blake promised.

But that might not be a promise that Blake can keep.