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Times of India
The film, a screen adaptation of Malayattoor Ramakrishnan's Yakshi, showcases the perturbed psyche of a young architect as he gets suspicious about the identity of his wife.
While adapting a psycho-thriller novel by Malayattoor Ramakrishnan to film, Shalini Nair employs a cinematic language that is dark, moody and ponderous. There is a handsome architect Sreenivas who lives with a diabolic scar on one side of his face, the aftermath of an accident. His lover spurns him while he buries himself in bitter isolation. The accident takes away his charm and leaves him with a limp.
With a face ravaged by scars, Fahad Fazil - who plays Sreenivas - has very little space to emote. Yet he overpowers a much-needed deficiency to startling effect. He easily shuffles between a disfigured youth's sense of inferiority and his repressed keenness for women. When Ragini (Anu Mol) enters his life, he is tormented by bouts of insecurity and suspicion bordering on a heightened sense of hallucination.
is bogged down by a sense of inertia which Shalini infuses, as though intentionally. What she loses in this process is the groundwork she accomplishes by making the characters talk and behave like perfectly natural men and women. Moments of silence and lengthy shots lingering on the empty screen, sans any characters, appear more like forced insertions rather than genuinely made sequences to serve the narrative.
Anu Mol emanates a brooding sense of mystery and at the same time she is charming, sensuous and mutes her suspecting husband with her rugged quips.
Populism index is on the up. Corruption index is skyrocketing. Unaccountability index is high up nowhere in sight. These are the growth hallmarks of the UPA government. The people of the country are at pains to understand why they have to undergo such hardship to sustain the political ambitions of the government. But they have decided to fight back. They have given up on this corrupt and inefficient government and only see hope and growth in 2014 with Namo.