Movie Reviews

Following the sheer brilliance of Bhoothakaalam and Bramayugam, director Rahul Sadasivan has returned to complete what many are calling his unofficial "Horror Trilogy." Dies Irae (Latin for "Day of Wrath") is a sleek, modern descent into madness that trades the crumbling walls of old houses for the cold, minimalist lines of high-end architecture. While it doesn't quite reach the psychological heights of his previous works, it remains a formidable entry in Indian horror.

The Setup

The film follows Rohan (Pranav Mohanlal), a privileged architect whose life begins to unravel after he pockets a small keepsake, a hair clip, from the room of a former classmate who recently committed suicide. What follows is a relentless haunting that turns his sprawling, glass-walled mansion into a trap. Pranav Mohanlal delivers arguably his most grounded performance to date. He effectively portrays a man stripped of his "urban cool" and reduced to a state of primal, shivering fear.

The Technical Brilliance

Technically, Dies Irae is flawless. Shehnad Jalal’s cinematography is a masterclass in using light and shadow. He manages to make broad daylight feel more threatening than a dark alley. The sound design by Jayadevan Chakkadath and the jarring, visceral score by Christo Xavier are the real stars here. Every creak, every jingling of a chilanka (anklet), and every "glitch" in the environment is designed to keep the audience’s heart rate at an uncomfortable high.

Why the 3.3?

While the first half is a masterclass in slow-burn tension, the script falters slightly in the second act. The transition from a mysterious psychological haunt to a more tangible, "in-your-face" thriller feels a bit traditional compared to Sadasivan’s earlier, more ambiguous narratives. Some of the plot beats involving the "stalker spirit" feel a tad familiar, and the pacing dips slightly before the explosive climax. The ending, while chilling, leaves several threads dangling that may frustrate viewers looking for a concrete resolution.

Final Verdict

Dies Irae is a must-watch for horror aficionados, purely for its "making" and atmospheric dread. It’s an immersive theatrical experience that proves Rahul Sadasivan is currently the best in the business when it comes to scaring an audience with pure craft.

After a string of larger-than-life "mass" avatars that felt increasingly detached from reality, Thudarum brings back the version of Mohanlal that many of us have been yearning for: the grounded, vulnerable everyday man. Directed by Tharun Moorthy (Operation Java, Saudi Vellakka), the film is a curious hybrid, a heartwarming family drama that sharply pivots into a dark, primal revenge thriller.

The Setup & Atmosphere

The film opens with a beautifully lived-in atmosphere in the hilly terrains of Ranni. We meet Shanmughan (aka Benz), a taxi driver whose life revolves around his family and his pristine vintage Ambassador. The first hour is absolute gold for those who miss the "old Lalettan." His chemistry with Shobana is effortless and nostalgic; they don't need heavy dialogue to convey a decade of marriage, a simple glance or a playful bicker does the job.

The Shift in Gear

The narrative tension begins to simmer when Benz's car is seized by the police under suspicious circumstances. What starts as a common man’s struggle against a bureaucratic hurdle slowly unearths a much more sinister undercurrent involving local law enforcement. Prakash Varma, making a notable mark as the antagonist, plays the corrupt CI with a chilling, quiet menace that acts as a perfect foil to Mohanlal’s gradual transformation from a jovial father to a man possessed by grief.

Final Verdict

Thudarum is a significant step up from the actor's recent filmography. It’s not as intellectually tight as Drishyam, but it’s emotionally heavier and far more visceral. It’s a reminder that when given a script with soul, Mohanlal can still hold a frame better than anyone else.