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monster malayalam movie review in malayalam

ലൈസൻസ് ടു ത്രിൽ; മോൺസ്റ്റർ റിവ്യു

Published: October 21 , 2022 02:24 PM IST

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അനിലും ഭാമിനിയും മകൾ കുഞ്ഞാറ്റയും അടങ്ങുന്ന ‘സന്തുഷ്ടമായ’ വീട്ടിലേക്ക് ഒരുദിവസം സാഹചര്യവശാൽ ഒരു സിങ് അതിഥിയായി (വലിഞ്ഞുകയറി) വരുന്നു. ആദ്യം ഇഷ്ടക്കേടുണ്ടായെങ്കിലും പിന്നീട് അയാളുടെ സാന്നിധ്യം അവർ ഇഷ്ടപ്പെട്ടുതുടങ്ങുന്ന നിമിഷം, കഥയുടെ ട്രാക്ക് മാറുന്നു. കാണുന്നതെല്ലാം സത്യമാകണമെന്നില്ല എന്ന് പ്രേക്ഷകൻ തിരിച്ചറിയുന്നു. സത്യത്തിൽ ആരാണ് ലക്കി സിങ്? അയാൾക്ക് മറ്റെന്തെങ്കിലും ഗൂഢോദ്ദേശ്യമുണ്ടോ?...

ഫീൽ ഗുഡ് തീമിൽ പോകുന്ന ആദ്യപകുതി, ത്രില്ലർ ട്രാക്കിലേക്ക് ഗിയർ മാറ്റുന്ന ഇടവേള, ഇനിയെന്ത് എന്ന ചങ്കിടിപ്പ് കൂട്ടുന്ന പ്രവചനാതീതമായ രണ്ടാംപകുതി, അമ്പരപ്പിക്കുന്ന ട്വിസ്റ്റുകളുമായി ക്ലൈമാക്സ്!... ഇതാണ് മോൺസ്റ്റർ എന്ന സിനിമ.

ബ്ലോക്ബസ്റ്റർ പുലിമുരുകനു ശേഷം ഹിറ്റ് മേക്കർ വൈശാഖും ഉദയകൃഷ്ണയും മോഹൻലാലും ഒരുമിക്കുമ്പോൾ വീണ്ടും പ്രേക്ഷകരുടെ പൾസറിഞ്ഞ ഒരു മാസ് ലാൽ സിനിമയാണ് യാഥാർഥ്യമായിരിക്കുന്നത്. ഇൻവെസ്റ്റിഗേറ്റീവ് ക്രൈം ത്രില്ലറായ ചിത്രത്തിന്റെ ഏറ്റവും വലിയ ഹൈലൈറ്റ് മറ്റൊന്നാണ്. അതാദ്യമേ പറയാം. കമേഴ്‌സ്യൽ മലയാളസിനിമാസംവിധായകർ തൊടാൻ മടിച്ച ഒരു വിഷയത്തെ അതിന്റെ തീവ്രതയിൽ ആവിഷ്കരിച്ചിരിക്കുകയാണ് രണ്ടാംപകുതിയിൽ. ഒരുപക്ഷേ അടുത്തിടെയൊന്നും മലയാളസിനിമയിൽ ഇത്ര ചടുലമായി, ഇത്രയും ദൈർഘ്യത്തിൽ ഒരു സസ്പെൻസ് റിവീലിങ് സീൻ വന്നിട്ടുണ്ടാവില്ല. എണ്ണം പറഞ്ഞ ചില മുഹൂർത്തങ്ങൾ, അതിന് ഹരം പകരുന്ന ദീപക് ദേവിന്റെ ചടുലമായ സംഗീതം. സ്പോയിലർ ആകുമെന്നതിനാൽ അതിലേക്ക് കടക്കുന്നില്ല. ഒരുപക്ഷേ ചിത്രത്തിന് അധികം പ്രൊമോഷനുകളോ ഇന്റർവ്യൂകളോ നൽകാതിരുന്നതും പ്രേക്ഷകന് തിയറ്ററിൽ ലഭിക്കുന്ന ഈ സസ്പെൻസ് കിക്ക് നിലനിർത്താനായിരിക്കും.

വൈശാഖിന്‍റെ സംവിധായക മികവിനോടൊപ്പം ഉദയകൃഷ്ണയുടെ ബ്രില്യന്‍റ് സ്ക്രിപ്റ്റും സിനിമയുടെ പ്ലസാണ്. ഒരു കമേഴ്‌സ്യൽ മാസ് സിനിമയ്ക്ക് വേണ്ട ചേരുവകളെല്ലാം സിനിമയിലുണ്ട്. എന്നാൽ ഇതുവരെ മലയാളത്തിൽ അധികം ചര്‍ച്ച ചെയ്യാത്ത ചിന്തയാണ് മോൺസ്റ്ററിനെ വേറിട്ടു നിർത്തുന്നത്.. മോഹൻലാലിനോടൊപ്പം ഹണി റോസും പ്രധാനവേഷം കൈകാര്യം ചെയ്തിരിക്കുന്നു. ലക്ഷ്മി മഞ്ജു, സിദ്ദീഖ്, ഗണേഷ് കുമാര്‍, സുദേവ് നായ‍ർ, ലെന, ജോണി ആന്റണി, കോട്ടയം രമേശ്, കൈലാഷ്, ഇടവേള ബാബു, സാധിക വേണുഗോപാൽ തുടങ്ങിയവരാണ് മറ്റ് പ്രധാന അഭിനേതാക്കൾ.

ദുരൂഹമായ അടരുകളുള്ള സര്‍ദാര്‍ വേഷം മോഹൻലാൽ അവിസ്മരണീയമാക്കുന്നു. തലയിൽ ടർബനണിഞ്ഞുള്ള വേറിട്ട വേഷപ്പകർച്ചയിലൂടെയും കണ്ണിൽ മിന്നിമായുന്ന കുസൃതികളിലൂടെയും മോഹൻലാൽ ആദ്യപകുതിയിൽ പ്രേക്ഷകരെ കയ്യിലെടുക്കുന്നു.

monster-trailer

ചിത്രത്തിലെ വില്ലൻ വേഷങ്ങൾ കൈകാര്യം ചെയ്തവരെ കുറിച്ചും പറയാതിരിക്കാനാകില്ല. ഇത്തരമൊരു കഥാപാത്രത്തെ അവതരിപ്പിക്കാൻ ആ അഭിനേതാക്കൾ കാണിച്ച ധൈര്യത്തെ അഭിനന്ദിക്കാതിരിക്കാനാകില്ല. നാല് പതിറ്റാണ്ടിലേറെ നീണ്ട അഭിനയ ജീവിതത്തിൽ ആദ്യമായാകും മോഹൻലാൽ എന്ന താരം ഇങ്ങനെയൊരു എതിരാളിയെ സിനിമയിൽ നേരിട്ടിട്ടുണ്ടാവുക. ഹണി റോസിന്‍റെ ഭാമിനി എന്ന കഥാപാത്രവും ശക്തമാണ്. നടി ലക്ഷ്മി മഞ്ജു മലയാളത്തിലെ അരങ്ങേറ്റം മോശമാക്കിയില്ല. മികച്ച സിനിമകൾ ലഭിച്ചാൽ കത്തിക്കയറാനുള്ള കനൽ ഉണ്ടെന്ന് ഹണിയെപ്പോലെ ലക്ഷ്മിയും തെളിയിച്ചിട്ടുണ്ട്. മറ്റ് അഭിനേതാക്കൾ എല്ലാം തങ്ങളുടെ വേഷങ്ങൾ മനോഹരമാക്കിയിട്ടുണ്ട്.

ചിത്രത്തിന്റെ സാങ്കേതിക മേഖലകൾ മികവ് പുലർത്തുന്നു. സംവിധായകന്റെ ചില ബ്രില്യൻസുകളും ചിത്രത്തിൽ കാണാം. പ്രേക്ഷകർ ലാഘവത്തോടെ വിടുന്ന ഓപ്പണിങ് ക്രെഡിറ്റ് സീനുകളിൽപ്പോലും സിനിമയുടെ സസ്പെൻസിലേക്ക് വഴിതെളിക്കുന്ന സൂചകങ്ങൾ നൽകിയിട്ടുണ്ട്. അതിനാൽ ആദ്യം മുതൽ ശ്രദ്ധിച്ച് സിനിമകാണുക.

ചിത്രത്തിൽ ഗാനങ്ങൾക്ക് വളരെ പ്രാധാന്യമുണ്ട്. കഥയുടെ സാരം ചുരുളഴിയുന്നതുപോലും ഒരു ഗാനത്തിന്റെ അകമ്പടിയോടെയാണ്. ദീപക് ദേവ് ഈണമേകിയ ഗാനങ്ങളും പശ്ചാത്തല സംഗീതവും സതീഷ് കുറുപ്പിന്‍റെ ഛായാഗ്രഹണവും ഷമീര്‍ മുഹമ്മദിന്‍റെ എഡിറ്റിങ്ങും സ്റ്റണ്ട് സിൽവയുടെ സംഘട്ടനവും ചിത്രത്തെ കൂടുതൽ ആസ്വാദ്യകരമാക്കി.

ചുരുക്കത്തിൽ, കൊച്ചിയിൽ ഫ്ലാറ്റ് വിൽക്കാനെത്തിയ ലക്കി സിങ് മടങ്ങുന്നത് പ്രേക്ഷകരുടെ നെഞ്ചിടിപ്പിന്റെ താളം ഉയർത്തിക്കൊണ്ടാണ്. തീര്‍ത്തും തിയറ്റർ മസ്റ്റ് വാച്ചാണ് ചിത്രം.

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monster malayalam movie review in malayalam

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Mohanlal in Monster (2022)

On their first wedding anniversary, Lucky Singh, an entrepreneur from Punjab walks into the lives of Anil Chandra and Bhamini. Little do they know that this man will change their future On their first wedding anniversary, Lucky Singh, an entrepreneur from Punjab walks into the lives of Anil Chandra and Bhamini. Little do they know that this man will change their future On their first wedding anniversary, Lucky Singh, an entrepreneur from Punjab walks into the lives of Anil Chandra and Bhamini. Little do they know that this man will change their future

  • Udaykrishnan
  • 18 User reviews
  • 2 Critic reviews

Official Trailer

Top cast 23

Mohanlal

  • Lucky Singh …

Honey Rose

  • Bhamini Chandra …

Sudev Nair

  • Anil Chandra

Lakshmi Manchu

  • [ADGP] Chandrasekhar

Ganesh Kumar

  • [SP] Joseph Cheriyan

Lenaa

  • [CI] Mariam George
  • Kunjatta Chandra

Johny Antony

  • Adv. Vasavan

Biju Pappan

  • [CI] K. Vijayakumar
  • [SI] Soumya Dinesh

Swasika Vijay

  • [Bhamini's Colleague] Diana

Manju Satheesh

  • [Susan] Apartment Caretaker

Jagapathi Babu

  • [Real] Lucky Singh

Idavela Babu

  • [Real] Adv. Vasavan

Anjali Nair

  • [SI] Gayathri

Nandu Poduval

  • Juice Vendor

Kailash

  • All cast & crew
  • Production, box office & more at IMDbPro

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Padavettu

Did you know

  • Alternate versions The UK release was cut, the distributor chose to make cuts to scenes of strong violence in order to obtain a 12A classification. An uncut 15 classification was available.

User reviews 18

  • JasonBrodyJr
  • Dec 3, 2022
  • How long is Monster? Powered by Alexa
  • October 21, 2022 (India)
  • Kochi, Kerala, India
  • Aashirvad Cinemas
  • See more company credits at IMDbPro

Technical specs

  • Runtime 2 hours 15 minutes

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monster malayalam movie review in malayalam

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ലക്കി സിംഗായി മോഹന്‍ലാലിന്റെ പകര്‍ന്നാട്ടം| Monster Review

മഹേഷ് കുമാര്‍, 21 october 2022, 01:25 pm ist.

monster malayalam movie review in malayalam

മോൺസ്റ്ററിൽ മോഹൻലാൽ

ഇതൊരു പരീക്ഷണമാണ്. മലയാളത്തില്‍ ആരും പറയാന്‍ മടിക്കുന്നൊരു പ്രമേയം. തീര്‍ത്തും വ്യത്യസ്തവും പുതുമ നിറഞ്ഞതുമായ ആ പ്രമേയത്തിന്റെ ധൈര്യപൂര്‍വ്വമുള്ള ചലച്ചിത്രാവിഷ്‌കാരമാണ് മോണ്‍സ്റ്റര്‍. താരതമ്യം ചെയ്യാനോ, ഒത്തുനോക്കാനോ പോലും ഇതുപോലൊരു സിനിമ മലയാളത്തില്‍ മുമ്പുണ്ടായിട്ടില്ലെന്നുറപ്പിച്ച് പറയാം. കൊവിഡ് മാറിയെങ്കിലും കുറച്ചുനാളുകളായി തീയേറ്ററിലേക്ക് വരാന്‍ മടിച്ചു നില്‍ക്കുന്ന മാസ് പ്രേക്ഷകരെ തീയേറ്ററിലേക്ക് എത്തിക്കാന്‍ മോണ്‍സ്റ്ററിന് സാധിക്കുമെന്നാണ് പ്രതീക്ഷിക്കപ്പെടുന്നത്. മാറിയ മനുഷ്യരെ അവരുടെ ന്യൂനോര്‍മല്‍ ജീവിത പരിസരങ്ങളെയൊക്കെ മോണ്‍സ്റ്ററില്‍ കാണാന്‍ കഴിയും.

ട്രെയിലറും ടീസറും പ്രൊമോഷനുമെല്ലാം സൂചിപ്പിച്ചത് പോലൊരു ഇന്‍വെസ്റ്റിഗേറ്റീവ് ത്രില്ലറാണ് ചിത്രം. ലക്കി സിംഗാണ് ചിത്രത്തിലെ പ്രധാന കഥാപാത്രം. കൊച്ചിയില്‍ താന്‍ വാങ്ങിയ ഫ്‌ലാറ്റ് വില്‍ക്കാനായി ഡല്‍ഹിയില്‍ നിന്നും ലക്കി വരികയാണ്. ലക്കിയായി മോഹന്‍ലാലിന്റെ പകര്‍ന്നാട്ടം അസാധ്യ പ്രകടനമാണ്.

കയ്യടി അര്‍ഹിക്കുന്ന മറ്റൊരു പ്രകടനം നടി ഹണി റോസിന്റേതാണ്. ഒരു കഥാപാത്രത്തില്‍ നിന്നും മറ്റൊരു കഥാപാത്രത്തിലേക്ക് കടക്കുമ്പോള്‍ സ്വയം പുതുക്കി മറ്റൊരു വ്യക്തി തന്നെയായി മാറാന്‍ കഴിയുന്ന താരമാണ് ഹണി. ട്രിവാന്‍ഡ്രം ലോഡ്ജിലെ ധ്വനിയെ നമ്മള്‍ കണ്ടതാണ്. അതിലും മികച്ചൊരു വേഷമാണ് ഇതില്‍ ഹണിയുടെ ഭാമിനി. ഇനിയും ഒരുപാട് എക്സ്പ്ലോര്‍ ചെയ്യാനുള്ള നടി തന്നെയാണ് ഹണി.

മുഖത്ത് പ്രകടമാകുന്ന മൈന്യൂട്ടായ ചില ഭാവങ്ങളിലൂടേയും ശരീരഭാഷയിലൂടേയുമൊക്കെ അധികം സംസാരിക്കാതെ തന്നെ തന്റെ കഥാപാത്രത്തെ മനോഹരമാക്കാന്‍ ചിത്രത്തില്‍ ലക്ഷ്മി മാഞ്ചുവിന് കഴിഞ്ഞിട്ടുണ്ട്. തുടക്കം മുതല്‍ ഒടുക്കം വരെ ഒരു നിഗൂഢതയുടെ അന്തരീക്ഷം സൃഷ്ടിക്കാന്‍ കഴിഞ്ഞ സംവിധായകന്റെ ക്രാഫ്റ്റ് പറയാതിരിക്കാനാവില്ല.

പ്രത്യേകം സ്പൂണ്‍ഫീഡ് ചെയ്തുള്ള കഥ പറച്ചില്‍ അല്ലാതെ സിനിമ പ്രേക്ഷകരുടെ ചിന്തിക്കാനുള്ള ശേഷിയെ മാനിച്ചുകൊണ്ട് തന്നെയാണ് സിനിമയുടെ ഒഴുക്ക്. ഉദയകൃഷ്ണയുടെ സ്‌ക്രിപ്റ്റ് ഇവിടെ പ്രത്യേക അഭിനന്ദനമര്‍ഹിക്കുന്നതാണ്. അതോടൊപ്പം ചിത്രത്തെ ഏറ്റവും കൂടുതല്‍ സഹായിച്ചിരിക്കുന്ന ഘടകങ്ങളിലൊന്ന് സിനിമയുടെ സാങ്കേതികവശമാണ്.

അതോടൊപ്പം നടന്മാരായ സിദ്ധീഖും ഗണേഷ് കുമാറുമെല്ലാം തങ്ങളുടെ അനുഭവ സമ്പത്തിന്റെ കരുത്തിനാല്‍ അഭിനയത്തിലെ അനായാസതകൊണ്ടും ഒഴുക്കു കൊണ്ടും കൈയ്യടി നേടുന്നുണ്ട്. എല്ലാ അര്‍ത്ഥത്തിലും പുതുമയുള്ള സിനിമയാണ്. വൈശാഖിന്റെ മുന്‍ മാസ് ആക്ഷന്‍ സിനിമകളില്‍ കണ്ടിട്ടുള്ളതില്‍ നിന്ന് വിഭിന്നമായ ട്രീറ്റ്‌മെന്റാണ് മോണ്‍സ്റ്ററിലേത്.

ലക്ഷ്മി മഞ്ജു, സിദ്ദിഖ്, ഗണേഷ് കുമാര്‍, സുദേവ് നായര്‍, ലെന, ജോണി ആന്റണി, കോട്ടയം രമേശ്, കൈലാഷ്, ഇടവേള ബാബു, സാധിക വേണുഗോപാല്‍, അഞ്ജലി നായര്‍ തുടങ്ങി ചിത്രത്തിലെ എല്ലാ താരങ്ങളും തന്നെ തങ്ങള്‍ക്ക് ലഭിച്ച വേഷങ്ങള്‍ മനോഹരമാക്കിയിട്ടുണ്ട്. അതോടൊപ്പം തന്നെ ചിത്രത്തില്‍ കുഞ്ഞാറ്റ എന്ന കഥാപാത്രമായെത്തിയ ജെസ് സ്വീജന്‍ എന്ന കുട്ടിയുടെ പ്രകടനവും ശ്രദ്ധേയമാണ്.

എന്നും ഹെവി ബജറ്റ് ആഘോഷ ചിത്രങ്ങളുടെ സംവിധായകനായ വൈശാഖ് പക്ഷേ മോണ്‍സ്റ്റര്‍ ഒരു പക്കാ ഇന്‍വെസ്റ്റിഗേഷന്‍ ത്രില്ലറായാണ് ഒരുക്കിയിരിക്കുന്നത്. മികച്ച ഡീറ്റേയിലിംഗും സിനിമയുടെ ആസ്വാദനത്തെ വളരെയധികം സഹായിച്ചിട്ടുണ്ട്. ദീപക് ദേവ് ഈണമേകിയ ഗാനങ്ങളും പശ്ചാത്തല സംഗീതവും സതീഷ് കുറുപ്പിന്റെ ഛായാഗ്രഹണവും ഷമീര്‍ മുഹമ്മദിന്റെ എഡിറ്റിംഗും സ്റ്റണ്ട് സില്‍വയുടെ സംഘട്ടനവും ചിത്രത്തെ കൂടുതല്‍ ആസ്വാദ്യകരമാക്കിയിട്ടുണ്ട്. തീര്‍ച്ചയായും ചിത്രം സംസാരിക്കുന്ന വിഷയത്തിന്റെ പ്രാധാന്യവും ഈ കാലഘട്ടത്തിലെ അനിവാര്യതയും കണക്കിലെടുത്ത് ചിത്രം പ്രേക്ഷകര്‍ക്കിടയില്‍ വലിയ ചര്‍ച്ചാ വിഷയമാകുമെന്നുറപ്പാണ്

Content Highlights: Monster Review, Mohanlal Film, Honey Rose , Lakshmi Manchu, Vysakh, Udayakrishna

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വാര്‍ത്തകളോടു പ്രതികരിക്കുന്നവര്‍ അശ്ലീലവും അസഭ്യവും നിയമവിരുദ്ധവും അപകീര്‍ത്തികരവും സ്പര്‍ധ വളര്‍ത്തുന്നതുമായ പരാമര്‍ശങ്ങള്‍ ഒഴിവാക്കുക. വ്യക്തിപരമായ അധിക്ഷേപങ്ങള്‍ പാടില്ല. ഇത്തരം അഭിപ്രായങ്ങള്‍ സൈബര്‍ നിയമപ്രകാരം ശിക്ഷാര്‍ഹമാണ്. വായനക്കാരുടെ അഭിപ്രായങ്ങള്‍ വായനക്കാരുടേതു മാത്രമാണ്, മാതൃഭൂമിയുടേതല്ല. ദയവായി മലയാളത്തിലോ ഇംഗ്ലീഷിലോ മാത്രം അഭിപ്രായം എഴുതുക. മംഗ്ലീഷ് ഒഴിവാക്കുക..

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Monster Movie Review: Crude, crass, energy-draining beast

Rating: ( 0.5 / 5).

There have been only a few occasions when I felt sorry for myself while sitting inside a movie theatre, and they all happened after I started a career in film journalism. When not writing about films, there is the option of avoiding them -- and safeguarding your mental health in the process; unfortunately, that's become near impossible now.

Director: Vysakh Cast: Mohanlal, Honey Rose, Lakshmi Manchu, Lena

There was a time when the terrible films of Mammootty and Mohanlal tormented me. Lately, though, the former seems to have grown more sensible with regard to his script choices. On the other hand, the latter seems to be going in the opposite direction, and he doesn't seem to care -- except when asking reviewers to learn about filmmaking before talking ill of a film? My question is this: If someone is so passionate about filmmaking or good cinema, why agree to do films like Monster , Aaraattu , Big Brother , and Neerali ?

Just when I thought things couldn't get any worse than Aaraattu , here comes Monster , a creation of the same writer, Udayakrishna. I paused to reflect on which of the two is the worst, and my answer has to be Monster . I would've said Aaraattu considering it's longer than Monster , but the latter managed to inflict as much pain despite its relatively shorter runtime. And since I end up exhausted by the end of one of these films, it's also become quite a challenge to expend whatever energy I have left to write about it. I'll try.

Before the release of Monster , there were speculations about it containing zombies and vampires. There is no such thing. I don't know who started that rumour. Perhaps the makers themselves did it through one of their clandestine promotion teams -- you know, to create hype through negative publicity because that's actually a thing. That said, the film exhibits the traits of a vampire in that it sucks your energy instead of blood. I would've included the actors, too, but then I remembered that actors only do what the writer and director tell them to do.

Let me start with Mohanlal's 'Lucky Singh', yet another over-the-top investigator-in-disguise who feels like an extension of his character in the recent 12th Man . Of course, one can see that it's deliberate, but just because a character has to assume a different identity to mislead others, it doesn't mean we should endure everything thrown at us. In 12th Man , Jeethu Joseph was smart enough not to stretch the 'drunken guy' act beyond what was necessary. In Monster , however, Lucky Singh isn't a drunk, but he puts on the garb of an annoying chatterbox who makes every woman he meets uncomfortable. Let's remember that Mohanlal once did a wonderfully entertaining undercover movie called Olympian Antony Adam , where he got the job done without going overboard. Where did today's makers suddenly get the idea that the lamest of dialogues and jokes can entertain audiences? Don't they see that it's no longer working?

For some odd reason, writer Udayakrishna seems to think he is being clever by having Lucky Singh behave like he is participating in a wordplay competition. The effect is more annoying than astonishing. The early developments take a long time to simmer -- imagine an extreme version of that wallpaper scene from TP Balagopalan MA Only here, Lucky Singh isn't selling wallpapers, only his false identity.

I should admit the pre-interval development was a nice touch; it's effective at piquing one's curiosity. But everything starts to go haywire post-interval when more characters enter the picture, most of them faces you'd recognise in an AMMA event photograph. It gets to a point where you start wondering whether things got even more ridiculous when these characters started acting all 'serious' or when they used to be silly. There is a scene where Mohanlal is briefing his khaki-clad colleagues, who sport an expression that seems to say they are already aware of how ludicrous the entire script is but are somehow trying so hard to look serious. Looking at their 'attentive' faces, one would think Lucky Singh is telling them about some Illuminati conspiracy. And what about Lucky Singh showing up in a motorcade of black Mercedez Benzes flanked by sub-ordinates who look like they just got back after filming an Indian remake of Men in Black ?

The atrocity attains its zenith when we learn the identity of the serial killers. One gets the feeling the makers have something against a particular community. In the pursuit of doing something 'different', the makers conjure a background story for the killers that is as unconvincing as it is insensitive.  The writing is crass and devoid of grace that it leaves a sour aftertaste. Why make them look like stock villains? Was there no space for nuance or layers? Why ask them to talk and pose in a stereotypical way? What's with the amateurish music video-style visualisation?

Also, why name the film Monster ? Yes, we get a mention of it through Lucky Singh's closing dialogue, but it is as senseless as everything else in the movie. There was a mention of 'monster' in Aaraattu too, and I don't get the obsession. Is there a UCU (Udayakrishna Cinematic Universe) in the making? I shudder at the thought.

In a pre-release promo video, Mohanlal said the film's screenplay is both hero and villain. Well, having seen the movie, I can say I understood half of it.

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Monster Movie Review (2022)

Vysakh's 'monster', with mohanlal and honey rose, is a pulpy thriller that entertains until it starts to explain itself.

Monster Movie Review in English

Monster Movie Cast & Crew

I'll begin by saying that Vysakh's Monster is not a "tasteful" film. It's a film for those with an appetite for trashy pulp fiction, where you keep turning the pages feverishly in order to find out who the bad guy is. Mohanlal plays a turbaned man named Lucky Singh, a Malayali settled in Punjab, and the minute he says " soni kudi ", you know this is not something you take seriously. Short of shaking his shoulders to shouts of balle balle , Mohanlal plays not a character but a caricature. This, I think, is intentional. The man is a total pile-on, a total pest. We are irritated with his mannerisms. We are unable to bear his larger-than-life way of sucking up all the air in the room. And this mirrors the state of mind Bhamini finds herself in. In short, when Lucky Singh hops into Bhamini's cab and spends the day with her, we find ourselves completely empathising with her annoyance and discomfort.

Honey Rose gives a fantastic performance as Bhamini – and this is something you may realise only after the film. It is her first wedding anniversary and she wants to be home, but Lucky Singh latches on to her like a leech. Watch every single emotion on Honey Rose's face, and then recall them after the climax – you will see how cleverly her character is written and how well the actor performs. Monster opens with Bhamini and her husband (Sudev Nair) who has lost his job. They have a little daughter, and their financial situation is dire. They live on the kindness of others, like the nanny played by Lakshmi Manchu. This nanny continues to work despite not having been paid for months. The only wage-earner in the family is Bhamini, who works for a cab company called She-Taxi. The significance of this name will, again, register later.

The writer, Udaykrishna, keeps building the screenplay with small details. One, Bhamini is an orphan. Two, she is not much of a socialiser – she likes to be with her small family and cherish every small moment. So on and so forth. All of this adds to the character in ways we don't expect – and then, the film begins to pile on the twists. There's a murder. The security guard says he never saw Lucky Singh, so are we in a ghost story? Is all of this happening in Bhamini's head, due to her difficult situation? I laughed at the outrageous plot turns, but I must admit I was also gripped. Monster is utterly unpredictable for the most part. At one point, Mohanlal's body language changes. At another point, Honey Rose's body language changes. We realise a lot of this is being done to fool us, the audience, but I was game for the ride. I love shamelessly pulpy stuff (and this film is exactly that), and I needed to get to the bottom of it all.

But when the explanations begin to arrive, the air leaks out of the narrative. Some of the planning to catch the culprit is really far-fetched – but that part is still okay, it’s still part of how pulp works. It's the big fight at the end and the hurried depiction of a relationship that leaves a really bad taste as you walk out of the theatre. In principle, I am not against people being portrayed in a certain way. We are inside fiction, and we have to understand that the sensitivity we have in real life might be sacrificed for the sake of thrills. But this last section is so sudden and so out of a Chinese martial arts movie that you lose any sympathy the film is trying to create in order to justify the murders. The characters become caricatures, very much like Lucky Singh. If that had been addressed, this enjoyable film might have become a moving film as well.

About Author

Baradwaj Rangan

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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‘Monster’ movie review: An endurance test of a film, with a warped portrayal of LGBTQIA+ issues

It has to be said that the mohanlal starrer’s portrayal of lgbtqia+ characters does not help in normalising them, but rather in further stigmatising them.

October 21, 2022 03:48 pm | Updated October 22, 2022 02:03 pm IST

S R  Praveen

Mohanlal in ‘Monster’

When some mainstream filmmakers and scriptwriters suddenly begin to talk about a “subject that has not been talked about much in our cinema,” which often means a film that touches upon LGBTQIA+ issues, one is now filled with a sense of dread going by their past record of negative portrayal of these communities. Any hopes of them correcting past wrongs are often misplaced, as is yet again proved in Monster.

But a discussion on this has to wait. Only a viewer who can manage to sit through the unendurable first hour of the movie would reach these portions where the scriptwriter tries to become progressive. This first hour is the extended slot set aside for Lucky Singh (Mohanlal) to regale the audience with his Punjabi lines (a mish mash of "Balle balle" and "Soni Kudi") and loads of humour, which is most often an excuse for crass double entendres.

Singh, who runs a chain of restaurants in Punjab, has landed up in Kochi to close a land deal. He ends up becoming a headache for Bhamini (Honey Rose), a cab driver who is assigned to pick him up from the airport, as he insists on her ferrying him around throughout the day. He even barges into her house, where she is set to celebrate the first wedding anniversary with her husband Chandran (Sudev Nair). But, as most people might have already guessed from the patterns seen in quite a few films in recent years, there is more to Lucky Singh than meets the eye.

Filmmaker Vysakh and scriptwriter Udaykrishna, who had previously gifted Mohanlal one of the biggest hits of his career with Pulimurugan (which had its share of issues), team up yet again for Monster , where they try their hand at the thriller genre, with a seemingly-progressive twist. At the risk of revealing plot spoilers, it has to be said that the movie's portrayal of LGBTQIA+ characters does not help in normalising them in mainstream cinema, but rather in further stigmatising them.

As per the scriptwriter’s theory, the society’s attitudes and ill-treatment of homosexuals can turn them into hardened criminals, who would then execute a series of crimes with a vengeance. In one key scene, where the lesbian couple is being confronted by a police officer, they proceed to kiss each other in front of him, in an attempt to overemphasise their sexual identity. Sequences like these give one an idea of the warped understanding that the makers have of these communities. Clearly, not much research has gone into writing these parts, which were probably included just because “progressive subjects” have a market these days.

Laziness is written all over the script, with much of the thriller part involving Lucky Singh narrating the entire sequence of events to a set of police officers, who were clueless about what was going on, because they hadn’t watched previous Udaykrishna offerings like Aarattu . Even the film’s title appears to be a random choice, evident from the last scene where an attempt is made to explain it, as an afterthought. It takes quite some monstrous levels of will power to endure this test of patience.

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monster malayalam movie review in malayalam

Monster Movie Review: Stay away from the film unless you are an ardent Mohanlal fan

Monster, mohanlal’s new film, is a middling thriller that fails to do justice to a bold premise. it, however, caters to those who want to watch the veteran trying something new on the big screen..

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Monster released on October 21.

  • Monster features Mohanlal, Lakshmi Manchu, and Honey Rose.
  • The film opened in theatres on October 21.
  • Monster is directed by Vysakh.

Release Date: 21 Oct, 2022

In 2015, Mohanlal headlined Loham, one of the most talked about films of the year. While the Ranjith-directed thriller had an intriguing premise, it ended up being a missed opportunity as the screenplay featured one twist too many. Lalettan’s latest release Monster, which opened in theatres on October 21, brings back memories of that disappointing experience. The Vysakh-directed film, however, fares a bit better than Loham, mainly because of its stylish presentation and slick action scenes.

Monster revolves around Lucky Singh, a ‘Punjabi Malayali’ man, who arrives in Kerala to deal with certain personal and professional commitments. He tries to form a bond with Bhamini (Honey Rose), a She-Taxi driver/operator and invites himself to her wedding anniversary celebrations. It soon becomes clear that Lucky Singh is not who he claims to be. This sets the stage for a few revelations and confrontations.

The basic storyline has tremendous potential. It initially uses the tried-and-tested ‘simple guy with secret’ formula, which has previously been employed quite effectively in films such as Vedalam and Baashha, to take the narrative forward. Monster, however, fails to make the desired impact as the screenplay, written by Udaykrishna, is quite lacklustre.

The film begins with a series of sequences that introduce us to Bhamini and her family. While these scenes don’t offer anything remotely special, they set the stage for Mohanlal’s entry. Lalettan single-handedly carried the first half with his lively performance. The scenes revolving around his attempts at wooing Bhamini are quite enjoyable and work because of the effective comic timing. His scenes with the child artist Jess Sweejan, too have come out quite well. The first half does a good job of building a sense of mystery around Lucky Singh. It also ends on a thrilling note, giving the audience a solid reason to look forward to the second half.

The film sadly falls apart after the interval. The second plays out like an investigative thriller, at least for the most part. The interrogation scenes feel rushed. They lack the type of intensity that was seen in similar sequences in Drishyam. A series of twists in quick succession too don’t really help Monster. The film, however, tries to redeem itself by touching upon a sensitive issue towards the end. That said, it needed to be explored in a more in-depth manner.

The action sequences have been filmed quite stylishly. They should appeal to those who liked the ones featured in Vysakh’s 2019 actioner Madhura Raja. These scenes are, either way, much more convincing than the ones featured in the forgettable Laila O Laila.

Coming to the performances, Mohanlal is the heart and soul of Monster. Lucky Singh could so easily have been reduced to a caricature. This, fortunately, doesn’t happen as Lalettan brings his quirky antics to life on the big screen without being too over-the-top.

Honey Rose is burdened with a one-dimensional character. She deserved better. Lakshmi Manchu makes her presence felt despite the limited screen time. Her intense body language helps her do justice to a key action scene. The likes of Sudev Nair, Siddique and KB. Ganesh Kumar are decent in small supporting roles.

Satheesh Kurup’s cinematography is one of the strong points of Monster. It gives the film a distinctly rich look and feel. The Ghoom Ghoom track, composed by Deepak Dev, isn’t a particularly catchy one. It, however, blends with the narrative.

To conclude, Monster isn’t really Mohanlal's best work by any stretch of the imagination. It, however, may have just about enough to satisfy the veteran star’s ardent fans.

We are going with 2.5 stars out of 5 for Monster. Published By: Anindita Mukhopadhyay Published On: Oct 22, 2022 --- ENDS ---

Lensmen Reviews

Lensmen Reviews

Monster Review | A Monstrous Debacle That Only Udaykrishna Will Find Different

monster malayalam movie review in malayalam

I would say director Vysakh is a clever man in terms of making a film and promoting a film. In the promo material of the movie, he clearly stated that it is a different film for him and his writer Udaykrishna, which means you need to check the standard of their films before judging Monster. And when it comes to the movie, Vysakh clearly understands how bland the second half of the film is, and he makes sure that the audience will hate the first half so that the second half will look better on screen.

Bhamini and Anil Chandra are a married couple who has a girl child. Anil used to be techy before he got fired from the company. Now the family’s financial support is Bhamini, who works as a driver in a she-taxi firm. Things took an interesting turn when Bhamini had to pick up a passenger named Lucky Singh from Airport. How Lucky’s entry changes things for the family is what we see in Monster.

Well, anybody who reads a little bit of news might be aware that the film faced some censoring issues in countries with specific guidelines regarding LGBTQA+ content in cinema. Just like what Vysakh said in the promo, it is a new thing for him and Udaykrishna. But the sad part is that they have decided to try something “fresh” for them at a time when the world has moved forward, and we even have romantic comedies with LGBTQA+ characters. And frankly, this theme getting included in this film almost feels like an adjustment Udaykrishna did to cover up his unimaginative story that struggles to create scenes that will stay with you for any good reason.

As I said, Vysakh wants the movie to be a bit loud in the first half to distract the audience. But the level of loudness he has used in this movie makes me wonder whether he and Udaykrishna thought the IQ of the audience was similar to a toddler. Sitting through the first half of this movie is an extremely challenging task, and there is a great chance that you might feel the second half is excellent simply because of the crappiness of what you saw before the interval. The cinematography follows a single color tone in most places, which isn’t usual in a Vysakh movie. The fight sequences in the climax also looked slick.

#BlackAdam Review https://t.co/F91Szicutm — Lensmen Reviews (@LensmenReviews) October 20, 2022

If the drunkard act of Mohanlal in 12th Man felt cringe for you, then Lucky Singh offers a greater cringe package, and this time, you can’t even pause the film. When the movie goes to an area where everything is about that character’s swagger, Mohanlal sleepwalks through those patches easily. After a long gap, Honey Rose gets to play a lengthy and prominent character in a film. Barring some dialogue delivery issues, which were there for almost every character, she delivered a satisfactory performance. Lakshmi Manchu, who plays a crucial role in the movie, deserves a special mention for the stunts she pulled off. Her effort was much more significant, and it was evident. Sudev Nair, Lena, KB Ganesh Kumar, Johny Antony, etc., are the other prominent names in the long star cast.

After writing all those jacky and Stepney jokes, Udaykrishna had the audacity to preach about the acceptance of the LGBTQA+ community at the climax of this film. Looking at the way Lucky Singh has been depicted in the film, I won’t be surprised if the movie gets banned in Punjab. Monster is a worn-out Udaykrishna script that uses its juvenile newspaper headline knowledge about the queer community to create conflict that will help them in pre-release claims of being “different.”

Monster is a worn-out Udaykrishna script that uses its juvenile newspaper headline knowledge about the queer community to create conflict that will help them in pre-release claims of being "different

Green: Recommended Content

Orange: The In-Between Ones

Red: Not Recommended

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By Aswin Bharadwaj

Founder and editor of Lensmen Reviews.

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monster malayalam movie review in malayalam

  • Home » Movies » Monster Malayalam Movie Review

Monster review: An embarrassingly unimaginative show put up by a hit combo

In this Mohanlal-starrer, director Vysakh and writer Udaykrishna fail to reproduce the magic they did in 'Pulimurugan'.

Bhaskar Basava

Published:Oct 22, 2022

monster malayalam movie review in malayalam

Mohanlal's 'Monster' is embarrassingly unimaginative. (Supplied)

A great misuse of Mohanlal!

Monster (Malayalam)

  • Cast: Mohanlal, Lakshmi Manchu, Honey Rose, Lena, Ganesh Kumar, Siddique, Sudev Nair and Johny Antony
  • Director: Vysakh
  • Producer: Antony Perumbavoor
  • Music: Deepak Dev
  • Runtime: 2 hours 15 minutes
  • Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
  • Director: Maneesh Sharma
  • Producer: Aditya Chopra
  • Music: Pritam Chakraborty
  • Runtime: 2 hours 35 minutes

Lucky Singh (Mohanlal), a Punjabi-Malayali, lands in Kochi to complete a business deal related to his flat. He has a few things to sort out in Kerala.

He takes Bhamini’s (Honey Rose) taxi from the airport. He asks her to accompany him, and she reluctantly agrees.

Soon, she finds herself in a mess. The story then slowly veers into thriller zone.

Mohanlal’s latest release Monster is from the team that delivered the blockbuster hit Pulimurugan (2016), directed by Vysakh and written by Udaykrishna.

The writer also worked for Aarattu (2022), Madhura Raja (2019), Aanakkallan (2018), and Masterpiece (2017) after Pulimurugan . So, that should set your expectations high.

And the shows begin! #Monster in theatres near you from today! pic.twitter.com/UajIuHGDlz — Mohanlal (@Mohanlal) October 21, 2022

Poor script, obsolete twists

Monster has a nice-enough thought line, but Udaykrishna’s script is really poor, especially the fillers. The twists are 55 years old, to say the least. In fact, Prem Nazir’s Cochin Express (1967) had better twists!

The dialogue was grating and in no way exciting. Some of the scenes were unintentionally funny.

In a nutshell, everything — right from the beginning — goes through the motions of making yet another mediocre thriller film.

Vysakh makes it effective with a few “Mohanlal” touches. He made certain things work, like the ending action scene, and the interval portion.

A hodgepodge of nonsense

Monster Mohanlal

Mohanlal’s ‘Monster’ has worn-out scenes that are jumbled together. (Mohanlal/Twitter)

Monster talks about a topic that needs to be talked about in today’s society, but it doesn’t work as intended.

Society’s view on homosexuals, the reason for the protagonists becoming criminals, the result, etc., do not fall in the right places.

Indeed, nowhere does the script try to be clever or socially correct on the topic; even the minute points they thought of including are diminished by implausible, clichéd, and ridiculous scenes.

Comedy scenes were a hodgepodge of nonsense, just like the writer’s and director’s previous movies — vulgar, wildly unreasonable, and even cartoonish.

They are lame and unfunny dross. They don’t respect a grown-up mind. Acting, too, was not good in the scenes.

After all those intolerable “comedy” scenes and an interesting interval twist, just when the characters try to get serious and give the story some meaning and depth, the movie ends up becoming so lame.

An average show

Monster Mohanlal R

Mohanlal in ‘Monster’. (Supplied)

The performances were above average, but not particularly great.

There are a few moments for Mohanlal, but sadly, even he fails to do anything with his character’s surface-level depth, and the farcical scenes in the first half. In fact, his show starts at the interval bang.

Honey Rose is decent, but not great. She sometimes looks stoned.

Ganesh Kumar is good and Lakshmi Manju is ok. The other actors appear like mannequins in a closed store.

The background music of Deepak Dev is quite good. The final action sequence is the best part of the whole movie. Stunt Silva choreographed the action scenes.

As you watch Monster , you get the impression that you’ve seen all of it a hundred times before.

Apart from a couple of effective big-screen moments, the movie comprises worn-out scenes that are jumbled together.

It isn’t horrible; it’s simply embarrassingly unimaginative. To say the least, it is a great misuse of Mohanlal!

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monster malayalam movie review in malayalam

Monster movie review: Mohanlal’s cringey acting as a Sikh rivals the script’s creepy homophobia

Mohanlal hams to embarrassing levels as the team of Monster tries to camouflage their closeted conservatism by pretending to care about LGBT-plus rights

Monster movie review: Mohanlal’s cringey acting as a Sikh rivals the script’s creepy homophobia

Language: Malayalam with some Hindi and Punjabi  

Cast: Mohanlal, Honey Rose, Sudev Nair, Lakshmi Manchu, Leena, K.B. Ganeshkumar, Siddique, Johny Antony       

Director: Vysakh

Star rating: 0.25/5

Sikhs, Punjabis and homosexuals are not viewed as people by the team of Monster . Instead, they’re seen as gimmicks, tools to build suspense and write grand reveals in a crime drama.

Full marks to director Vysakh and writer Uday Krishna for being consistent in this new Malayalam film – consistently cringeworthy.

Monster begins with a women-drivers-only taxi service sending Bhamini (Honey Rose) to ferry a client named Lucky Singh ( Mohanlal ) around Kochi. When they meet, she is put off by his over-familiarity. Almost as off-putting as Lucky’s flirtatious, creepy conduct with a woman young enough to be his child and a stranger mistaking her for his wife, is the veteran actor hamming his way through the role of a Sikh and pretending to be a natural Punjabi speaker though his awkwardness with the language is glaring. Lalettan in Monster sprinkling Punjabi and Hindi in his conversations with Malayalis in Kerala who do not know either is as ridiculous as Suresh Gopi ’s character in the recent Mei Hoom Moosa peppering his sentences with Hindi in a village in the state. It is contrived, unrealistic and truly silly.

Next in Monster , an alleged crime occurs, a probe follows and fugitives are apprehended.

After a terrible first half, there is for a short while in the second half some excitement generated about the possible identity of the various parties involved and the motivations of the criminals, but no aspect of Monster is so effective as to overshadow its unfailingly superficial script, generic treatment, crudeness, clumsy dialogues and Mohanlal’s self-conscious acting.

At one point, Monster decides to bat for LGBT-plus rights. It should have spared the world the effort because, as we learn from watching this film, a closet homophobe faking progressiveness can be worse than open homophobia.

The characterisation of the homosexual individuals in Monster and the awful acting are both geared to fit prevailing prejudices. The writer is confused, misinformed and ignorant about laws regarding marriage and same-gender relationships in India. He compounds this grievous laxness towards his theme with an apparent cluelessness about the difference between legal sanction and social acceptance. Certain characters spout lines that are purportedly considerate towards homosexuality, yet their vocabulary is never free of an us-vs-them mentality.

Certain aspects of Monster reminded me of a horrendous Hindi film called Girlfriend released in 2004 in which the lead was a murderous, kickboxing, mobike-riding lesbian who – to top off the stereotypes – chopped her long hair part way through the narrative, and in the end was revealed to be (wait for it!) Christian. The saving grace in that episode was that Girlfriend ’s writer-director Karan Razdan was a marginal player who never made it big in films, just like its stars Isha Koppikkar, Amrita Arora and Aashish Chaudhary. It is a matter of shame that Vysakh, in contrast, is the hugely successful maker of the blockbusters Pokkiri Raja and Pulimurugan , Uday Krishna is his equally successful, long-time collaborator, and Mohanlal, as one of the foremost names in Malayalam cinema history, is clearly not struggling to get offers. What then is this trio’s excuse for creating a film as horrifically regressive as Monster ?

One of the heartening facets of contemporary Malayalam cinema has been the normalisation of Kerala’s religious minorities. This month though has been a sad reminder that Malayalam filmmakers are not free of bigotry and play-it-safe trickery. Exhibit A: the Islamophobia in Mei Hoom Moosa . Exhibit B: a homophobic filmmaker pointedly identifying the homosexuals in Monster as Christian, thus protecting himself from the anger of majoritarian elements in the audience in a largely anti-LGBT society. In doing this, Vysakh follows in the footsteps of not just the obscure Girlfriend , but also Pan Nalin’s much-acclaimed Hindi-English film Angry Indian Goddesses (2015).

The stereotyping of LGBT-plus persons in Monster is unrelenting. A lesbian couple are filmed through an unapologetically lascivious lens – bosoms heaving as they hungrily tear into each other with their eyes before their bodies collide with an animal fervour, unmindful of the company in the room – in a scene evidently designed to cater to a common cis-heterosexual male fantasy of watching women make love to each other. In a country where conservatives often describe homosexuality as a “Western concept”, Monster even has an English song playing in the background while summarising a same-gender romance in the storyline.

In its choice of title, Monster mirrors the likes of the Tamil thriller Ratsasan (Demon / 2018), which villainised a man who, in fact, deserved audience empathy for the oppression he had faced all his life. “It takes a monster to destroy a monster,” says the trailer of Vysakh’s film, while aiming its fire at people whose unlawful activities were born of the extreme persecution they had suffered. In case you don’t get the point, in the end the supposed good guy in Monster makes a statement to this effect: “It is not the circumstances of the criminal but justice for the victim that is the responsibility of law enforcers.” I guess we can safely conclude what his stand would have been if he was a character in Victor Hugo’s French classic Les Miserables and witnessed a poor man stealing bread for a starving family. The lack of nuance, sensitivity and basic humanity in Monster is staggering.

Rating: 0.25 (out of 5 stars)  

This review was first published in October 2022 when Monster was released in theatres. The film is now streaming on Disney+Hotstar.

Anna M.M. Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial

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Monster - October 21, 2022 [Official Discussion and Poll]

  • ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Monster Malayalam Movie

Everything in director Vysakh's Monster is cringeworthy. One would cringe while watching Mohanlal perform the role of Lucky Singh, a Keralite who lived for a long time in Punjab and owns a chain of restaurants there. For an experienced Punjabi, Lucky Singh speaks Punjabi clumsily and makes crass one-liners and double-meaning jokes about women and marriage. He keeps telling random girls that he is a bachelor, which seems to be a trend that continues from Aaraattu. So what if he is a bachelor? Is he the only bachelor in the world? The only few Punjabi words he knows include "Mere Naal" and "Soni Kudi."

The way he treats his cab driver, Bhamini (Honey Rose), would be enough to make any cabbie despise him. Still, Honey Rose's character has to bring Lucky home to her husband and child for a special occasion due to her business relationship with him. What happens to the family after Lucky's visit to their home forms the crux of the plot.

Monster has a wide range of plot twists. Nothing in it seems to be the same as it appears. It seems like there is a twist or two in every plot element. However, writer Udayakrishna fails to mine his twists into a series of logical and plausible plot elements. It is hard to discuss this film without giving away the plot, because Vysakh's storytelling style is plot-intensive. Therefore, I am not delving into any of those tiny details here.

Making a thriller with a mediocre script is bad enough. It is worse to make an irresponsible film with the same bad script. The idea that the film advocates at the end for the LGBTQ+ community is an all-time low for Malayalam cinema. Not every film can become inclusive, but at least you can write your plot in a way that does not do a disservice to lesbians, gays, bisexuals, transgenders, queers, and others.

It is odd, because there is an attempt from the makers to normalize the LGBTQ+ community, but it ends up having a counterproductive effect. In other words, it will only stigmatize the community.

What else can I tell you about a movie that fails on so many levels that it is unbelievable? Let us talk about the fight choreography for a change. When Mohanlal easily jumps his way up through the railings and other elements of a staircase, you cannot help but cringe at it. Mohanlal is a veteran and cannot be all that acrobatic, which is understandable. He is also flexible enough for his age, but it seems like this movie is his dress rehearsal for a new Desi Superhero parody role. It is hardly the actor's fault that he mainly gets to do these roles of late. He brings an unbridled sense of energy to the Sikh character, but it is misguided. As an ardent fan of his old movies, I felt bad for him.

While Honey Rose overacts in a lot of scenes, she at least plays her part with sincerity. Lena is no stranger to the role of a no-nonsense cop, but she does her part with the utmost conviction too. On the other hand, Lakshmi Manchu and Sudev Nair walk away with respectable performances in half-decent roles.

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'Kanakarajyam' movie review | Murali Gopy, Indrans star in a relatable film

Princy Alexander

'Kanakarajyam' starring Murali Gopy and Indrans is a film that explores the lives of two men who come from similar economical backgrounds, but with their own baggage. Initially, one may not be able to comprehend the film's connection with the title, but its significance will not be lost on the audience as the movie progresses. 'Kanakarajyam', directed by Sagar Hari, is all about the fragility, yet richness of the human heart. Indrans plays Ramanandhan, a jewellery shop security guard, who is all set to be feted by his recruitment agency for being a dedicated worker. He holds great pride in protecting the shop. “It's like protecting my country. I have always wanted to serve my nation and I did that by being a military cook for 20 years,” he says.

Murali Gopy who plays Venu, meanwhile, is neck-deep in debt. His problems are aggravated when he is forced to finance his sister-in-law's engagement. How the lives of Ramanandhan and Venu are intertwined form the crux of the film. Towards the interval, one is vaguely reminded of Dileep's situation in 'Meesha Madhavan', but in treatment, the film could not be any more different. Unlike Sagar's previous works 'Veekam' and 'Sathyam Mathram Bhodippikku', 'Kanakarajyam' has a better developed script. In fact, Sagar's story is timely and explores the struggles of a man who is at the verge of bankruptcy with no one to assist him. It also unravels the complexities of family life and gently prods the viewer about the need for open communication between spouses.

monster malayalam movie review in malayalam

'Kanakarajyam' is easily Indrans' best work after 'Home'. The actor is living his character, almost akin to how he played Oliver Twist in the critically acclaimed 'Home'. The depth and finesse with which he carries each character is what makes Indrans stand out. Murali Gopy also does a good job, though it's his performance in the climax which is worth mentioning. Leona Lishoy, Sreejith Ravi among others have performed well. The background score and songs by Arun Muraleedharan elevate the movie. However, this does not mean the film is without faults. Remya Suresh as Venu's mother-in-law is a miscast since there is no visible age-difference between the two. The trend of Malayalam cinema casting younger women to play mother to older heroes or protagonists need to change, given that we have a tremendous talent pool of older women to play the same roles. Also, while the execution of the film is praise-worthy, Sagar's writing sometimes slows it down. Despite these flaws, the movie, is definitely a good watch.  

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‘MaXXXine’ Review: Fame Monster

Mia Goth returns to Ti West’s horrorverse as an actress fleeing a mysterious stalker and a traumatic past.

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A blond woman in a blue denim top and jeans walks in a parking lot away from a casting call sign.

By Jeannette Catsoulis

A psychosexual thriller imagined in blood red and cocaine white, “MaXXXine,” the third installment in Ti West’s nostalgia-soaked slasher saga, is part grungy homage to 1980s Hollywood and part sleazy feminist manifesto. Darker, moodier and altogether nastier than its predecessors — “X” (2022) and, later that same year, “Pearl” — this hyperconfident feature is also funny, occasionally wistful and deeply empathetic toward its damaged, driven heroine.

That would be Maxine Minx (Mia Goth), the sole survivor of the dirty-movie cast massacred in “X.” Now a successful porn star, Maxine, eager to break into mainstream movies, has relocated to a Hollywood of spectacular seediness. It is 1985 and, as in real life, a killer known as the Night Stalker is terrorizing the city, the so-called Moral Majority is hyperventilating on the sidelines and rock musicians are fighting accusations of satanic intent. In one pungent shot of Maxine’s boot grinding her cigarette stub into the silent film sex symbol Theda Bara’s star on the Walk of Fame, West underscores the transience of the celebrity status that Maxine so desperately seeks.

“I will not accept a life I do not deserve,” she declares, repeating the mantra taught by her father, a preacher seen in speckled, black-and-white flashback. Securing a role on a low-grade horror sequel brings her under the wing of its industry-toughened director (a perfect Elizabeth Debicki). Yet Maxine is constantly distracted: Her friends are dying, and two homicide detectives (Bobby Cannavale and Michelle Monaghan) want to question her; a Louisiana gumshoe (Kevin Bacon, a skeevy vision in crumpled suits and gold-capped incisors) keeps randomly accosting her; and a mysterious, black-gloved stalker haunts the film’s shadows. No wonder Maxine is plagued by panicked recollections of her traumatic past.

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COMMENTS

  1. ലൈസൻസ് ടു ത്രിൽ; മോൺസ്റ്റർ റിവ്യു

    ആദ്യം.Malayalam New Movie Review , Monster Malayalam Movie Budget , Monster Malayalam Movie Release Date , Monster Malayalam Movie Review , Monster Malayalam Movie Story , Monster Mohanlal Movie Budget , Monster Mohanlal Movie Cast , Monster Mohanlal Movie Review , Monster Mohanlal Movie , Monster Movie Review Rating, മോ ...

  2. Monster Movie Review: A homophobic failure

    Monster Movie Review: Critics Rating: 2.0 stars, click to give your rating/review,Director Vyshak 's latest crime thriller, written by Udaykrishna is filled with cliches, stereotypes

  3. Monster (2022)

    Monster: Directed by Vysakh. With Mohanlal, Honey Rose, Sudev Nair, Lakshmi Manchu. On their first wedding anniversary, Lucky Singh, an entrepreneur from Punjab walks into the lives of Anil Chandra and Bhamini. Little do they know that this man will change their future

  4. Mohanlal-Vysakh duo's 'Monster': A thriller that rains twists

    The charming visuals and faces which fill the frames and an impactful BGM by Deepak Dev will keep you glued to the screen..mohanlal in monster. Monster movie review. Monster. Vysakh. Udhakrishna. antony perumbavoor. lena. siddique. Monster Review . Monster Malayalam Movie . Monster Malayalam Movie Review . Mohanlal . Vysakh . Udaykrishna .

  5. ലക്കി സിംഗായി മോഹന്‍ലാലിന്റെ പകര്‍ന്നാട്ടം| Monster Review, Monster

    ഇതൊരു പരീക്ഷണമാണ്. മലയാളത്തിൽ ആരും പറയാൻ മടിക്കുന്നൊരു ...

  6. Monster (2022 film)

    Monster is a 2022 Indian Malayalam-language action thriller film directed by Vysakh, written by Udaykrishna and produced by Antony Perumbavoor.The film stars Mohanlal with Lakshmi Manchu, Honey Rose, Sudev Nair, Siddique, K. B. Ganesh Kumar, Lena, Johny Antony and Jagapathi Babu in a cameo appearance.. Principal photography for the film began in November 2021 and ended in January 2022, which ...

  7. Monster Movie Review: Crude, crass, energy-draining beast

    Monster Movie Review: Crude, crass, energy-draining beast. In a pre-release promo video, Mohanlal said the screenplay of Monster is both hero and villain. Well, having seen the movie, I can say I understood half of it. There have been only a few occasions when I felt sorry for myself while sitting inside a movie theatre, and they all happened ...

  8. Monster Malayalam Movie Review By Sudhish Payyanur

    Monster Full Movie Review: Watch the video review of the Malayalam film Monster directed by Vysakh starring Mohanlal, Honey Rose, Sudev Nair, Siddique & Lena...

  9. Monster Malayalam Movie Review, Rating and Verdict

    Monster Movie Cast & Crew. Cast : Mohanlal , Lakshmi Manchu , Lena , Production : Aashirvad Cinemas. Director : Vysakh. Music Director : Deepak Dev. I laughed at the outrageous plot turns, but I ...

  10. Monster Movie: Showtimes, Review, Songs, Trailer, Posters, News

    Monster Movie Review & Showtimes: Find details of Monster along with its showtimes, movie review, trailer, teaser, full video songs, showtimes and cast. Mohanlal,Siddique,Honey Rose,Ganesh Kumar ...

  11. 'Monster' movie review: An endurance test of a film, with a warped

    'Monster' movie review: An endurance test of a film, with a warped portrayal of LGBTQIA+ issues It has to be said that the Mohanlal starrer's portrayal of LGBTQIA+ characters does not help ...

  12. Monster review. Monster Malayalam movie review, story, rating

    'Monster', dubbed from a Malayalam movie of the same name, is currently streaming on Disney Plus Hotstar. In this section, we are going to review the crime thriller.

  13. Monster Movie Review: Stay away from the film unless you are an ardent

    The film opened in theatres on October 21. Monster is directed by Vysakh. Rating: Release Date: 21 Oct, 2022. In 2015, Mohanlal headlined Loham, one of the most talked about films of the year. While the Ranjith-directed thriller had an intriguing premise, it ended up being a missed opportunity as the screenplay featured one twist too many.

  14. Monster Review

    Monster Review | A Monstrous Debacle That Only Udaykrishna Will Find Different I would say director Vysakh is a clever man in terms of making a film and promoting a film. In the promo material of the movie, he clearly stated that it ... DNA, Malayalam Movie Review (Full Review Link in B. Grrr Movie Review (Full Review Link in Bio) #Grrr.

  15. Monster

    Here is the review of Monster - Malayalam Malayalam Movie Review - Monster - Malayalam Malayalam Movie Review Rating, can see the Runtime, Genre - cast and crew with Certificate

  16. Monster Malayalam movie review

    The final action sequence is the best part of the whole movie. Stunt Silva choreographed the action scenes. Verdict. As you watch Monster, you get the impression that you've seen all of it a hundred times before. Apart from a couple of effective big-screen moments, the movie comprises worn-out scenes that are jumbled together.

  17. 'Monster' Twitter review: Netizens declare the Mohanlal starrer a

    Mohanlal starrer 'Monster' helmed by Vysakh has hit the big screens today (Oct 21).Superstar Mohanlal essays the role of Lucky Singh in the film, and the film opened to packed theatres as the ...

  18. Monster movie review: Mohanlal's cringey acting as a Sikh rivals the

    Full marks to director Vysakh and writer Uday Krishna for being consistent in this new Malayalam film - consistently cringeworthy. Monster begins with a women-drivers-only taxi service sending Bhamini (Honey Rose) to ferry a client named Lucky Singh ( Mohanlal) around Kochi.When they meet, she is put off by his over-familiarity.

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    Late-Humor. •• Edited. I would say director Vysakh is a clever man in terms of making a film and promoting a film. In the promo material of the movie, he clearly stated that it is a different film for him and his writer Udaykrishna, which means you need to check the standard of their films before judging Monster.

  20. Monster Review: 'Monster' is a terribly misguided thriller

    Thalavan Review. While Honey Rose overacts in a lot of scenes, she at least plays her part with sincerity. Lena is no stranger to the role of a no-nonsense cop, but she does her part with the utmost conviction too. On the other hand, Lakshmi Manchu and Sudev Nair walk away with respectable performances in half-decent roles.

  21. Monster review. Monster Malayalam movie review, story, rating

    Monster Review. Review by IndiaGlitz [ Friday, May 17, 2019 • Malayalam ] Preview; ... Malayalam Movie Reviews Drishyam 2 Ayyappanum Koshiyum Hey Jude Aadhi Vimaanam Aadu 2. Our Brands. Bollywood;

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    Monster Malayalam Movie: Check out Mohanlal's Monster movie release date, review, cast & crew, trailer, songs, teaser, story, budget, first day collection, box office collection, ott release date ...

  23. Monster Review: Mohanlal's Malayalam Thriller Receives Mixed ...

    🎥 Monster Review: Mohanlal's Malayalam Thriller Receives Mixed Reactions from Netizens (View Tweets). Directed by Vysakh, Monster is a thriller which stars Mohanlal as Lucky Singh, a cop on a mission. Apart from him, the other star cast includes Lakshmi Manchu, Sudev Nair, Honey Rose, Jess Sweejan among others. ... — Malayalam Movie ...

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    One of the highest-grossing movies of the year, Manjummel Boys, showcases the bond between a group of friends from Manjummel, a small locality in Ernakulam, Kerala.The film, featuring an ensemble ...

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    For 'Kanakarajyam', directed by Saagar Hari, is all about the fragility, yet richness of the human heart..kanakarajyam movie review. kanakarajyam films. murali gopi in kanakarajyam. indrans movie review kanakarajyam. malayalam cinema

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  28. 'MaXXXine' Review: Fame Monster

    Mia Goth returns to Ti West's horrorverse as an actress fleeing a mysterious stalker and a traumatic past. By Jeannette Catsoulis When you purchase a ticket for an independently reviewed film ...

  29. Godzilla x Kong Netflix Release Date: Highly Successful Monster

    Godzilla x Kong: The New Empire OTT Release On Netflix: Godzilla x Kong: The New Empire is the latest monster film directed by Adam Wingard. The movie which is the fifth installment in the ...

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    A viewer posted in Malayalam, "സംഭവം കൊള്ളാം പക്ഷെ എവിടെയോ ഒരു കുറവ് ഇണ്ട് പക്ഷെ ഈ പറയുന്ന ...