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Colorful, silly, and utterly benign, Home is a passable diversion, but there's no shortage of superior animated alternatives.

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Director Rojin Thomas’s Malayalam film ‘Home’ presents veteran actor Indrans in a role that many parents can relate with. This Malayalam family drama meticulously defines modern-age relationships between parents and their children.

Indrans plays the role of Oliver Twist, a former video cassette shop owner. As his elder son Antony (played by Sreenath Bhasi), comes back home to Thiruvananthapuram to find creative inspiration for his next film, Oliver finds himself facing a ‘generation gap’ between them.

What follows is a bittersweet story of a father learning the ropes of social media and doing other things to find validation and attention of his two sons. The role of younger son Charles is played by Naslen.

Interestingly, the story also brushes over the topic of seeking help for mental health. Something, which otherwise is still not part of family dramas.

Rojin has brought back the charm of his direction with ‘Home’, something that we missed after his directorial debut ‘Philips and the Monkey Pen’. He has translated emotions into every scene beautifully.

However, the story could have been told in a shorter time span too.

Actor Indrans is the star of the movie. He smoothly slides into his character, which makes you forget about the actor and connect strongly with father and his emotions on the screen. His acting leaves you with a mix of emotions and a smile on your face. His simplistic nature and confusion feels so real. Indrans delivers yet another impactful performance that leaves you with an after-effect.

Shreenath Bhasi brings out the emotions of a young, ambitious but lost man very well. Certain scenes make you want to empathise with dilemmas of his character Antony, while others make you angry at him for not understanding his father’s efforts and his journey.

Actress Manju Pillai, who plays Oliver’s wife Kuttiyamma plays her part well of an understanding wife and loving mother. Naslen portrays the younger son’s character convincingly.

Watch ‘Home’ if you like relationship dramas and don’t mind stories that can leave you with a strong emotional aftertaste. After a long wait, Malayalam cinema has brought a sorted, beautiful story back home.

–By Yashika Mathur

Other Tags: Home Audience Review, Home Critic Review, Home Film Release Date, Home Film Review, Home Film Reviews, Home Malayalam Movie Review, Home Malayalam Movie Reviews, Home Movie Release Date, Home Movie Review, Home Movie Reviews, Home Public Review, Home Rating, Home Review, Home Review Ratings, Home Reviews

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#Home (2021) Movie Review: Dazzling Digital World and the Disconnected E-Hemispheres of Modern Man 

Rojin Thomas’ “#Home,” released in 2021, is a relatable and light-hearted story that showcases how the technologically illiterate father, Oliver Twist (Indrans), struggles hard to bridge the gap between his sons, who are immersed in the world of social media and smartphones. The importance of family ties, humane assets, the journey of self-discovery, an empathetic attitude, and mastering the mysteries of smartphones are narrated in an endearing and humorous manner. This is not just the reel life of Oliver Twist and his family but the real-life story of many residing within the same home, yet disconnected from each other and drifting apart to their own e-hemispheres of life.

The middle-aged father, Oliver Twist, struggles to make sense of the fast-changing world. He notices that his eldest son, Anthony (Sreenath Bhasi), is very fond of interacting with people on the phone instead of talking to someone beside him. Anthony faces writer’s block and digital addiction that impedes his ability to complete the script of his upcoming film, or perhaps it’s utter laziness.  Oliver’s nomophobic son exhibits a strong sense of revulsion when he’s pushed to speak directly with another human being next to him. Anthony represents the young generation who values digital relations more than anything else. They are unable to value the worth of a person close to them. They place online relationships on a pedestal.

Oliver is the digitally unsavvy father of two indifferent sons:  Antony Oliver Twist, a film director with one super hit, currently struggling with his second script; Charles (Naslen K Gafoor), the younger son who is a social media geek creating YouTube vlogs for anything and everything around him. Oliver has retired from his obsolete video cassette business and shifted his passion to his organic terrace garden.  Oliver also cares for his ailing father and does the household chores willingly.  Oliver’s wife, Kuttiyamma (Manju), is a typical sharp-tongued housewife whose nursing proficiency helps give great care to all in the family, especially Oliver’s father.

Oliver spends a lot of time with his childhood and dearest friend, Suryan, who stands with him in all the crests and troughs of life. Oliver feels free to confide his emotional agonies and the indifferent-cum-insulting behavior of Anthony to Suryan. “# Home” brings forth the challenging actuality of the present day, where everyone remains connected but living in their digital cocoon, clinging to their personal gadgets. This is a heart-warming family drama where social media turns out to be the villain, affecting the relationship between a father and his son.

Anthony, who had success with his debut film, is leading a disorderly existence as he is striving hard to finish the climax of his second film. Baby, the film producer, grows impatient as Anthony is unable to finish the script. The producer asks him to write the last act from the same place where he wrote his successful debut, i.e., home. Antony has a deadline of seven days. Antony’s relationship with his girlfriend, Priya (Deepa Thomas), also does not run smoothly, as he is least bothered by her emotional requirements. They express their hidden and unheard feelings to each other in the form of ‘emotional athyachar’ through Instagram stories.

Oliver, a beginner in the social media world, learns new things from many, including his younger son. Oliver tells Kuttiyamma that the problem between Anthony and Priya is some ‘emotional achar’ that both of them are unaware of. While interacting with a mobile phone shopkeeper, Oliver mispronounces Instagram as ‘installment.’ He frankly admits his ignorance and has a willing and affirmative mindset to learn the nuances of the online world from others. When Oliver asks Charles to teach him how to use WhatsApp and Facebook and how to pay bills, Charles impatiently tells him: Papa, you have come with one year’s syllabus to be taught. Oliver resembles many fathers of the present day who approach their children with a notebook to clarify their doubts and jot down the tips to be remembered for future use.

“#Home” beautifully captures the ironies of the highly connected world and the dying culture of person-to-person interaction. The film, which is written and directed by Rojin Thomas, speaks the truth of the present times. It puts in perspective how technology has brought the world closer and, at the same time, driven us away from the people who matter to us the most. The characters and their interpersonal dynamics possess a lived-in feel, especially Indrans, who has an extraordinary sense of presence.

The film talks in detail about the new-age parenting challenges. It also reflects on how technology is reshaping lives in every conceivable way, especially the way people interact with their surroundings. “#Home” will make one analyze the importance and consideration the present generation bestows upon relationships. Despite all the humiliations showered on him by his sons, Oliver is ready to do anything for them. He willingly consults a psychologist to bring changes in his life. He does not feel anything wrong in taking the advice of an expert to better his life. It does bring changes in his entire personality. The film acknowledges the importance of mental health in day-to-day life and why our mental peace should not be overlooked.

Anthony undergoes a sea change into ‘something rich and strange’ towards the close of the film. His rebellious nature gets a reformation, and he willingly accepts his flaws, thereby posting a note on social media in his handwriting with mistakes and overwriting. Anthony was so worried about his personality being evaluated by others. Hence, he wished to project a perfect version of himself far apart from his true self. He accepts all his frailties and pronounces, ‘I am always imperfect at my Home.’ Anthony views life afresh with all his imperfections. He ascertains that home is the only place where people are loved and cared for selflessly, irrespective of the dramas they do daily to fit into society.

Rojin Thomas has succeeded in deciphering the diverse shades of human relations. The movie shares a boundless message with an outstanding climax. “#Home” is fundamentally a tale of acceptance. One must accept one’s family with its simplicity. The family members need not be extraordinary people or superhumans to feel proud of them. A person has to be accepted and acknowledged by the way they are. Home is the right place for that, and the renowned poet, Robert Frost’s quote remains true in this context: “Home is the place where, when you have to go there, they have to take you in” (Frost,1).

#Home (2021) is a must-watch for those who feel and sense the imperfectly perfect versions of their own selves at home.

Read More: 25 Greatest Malayalam Movies of All Time

#home (2021) movie links: imdb , wikipedia , letterboxd #home (2021) movie cast: indrans, sreenath bhasi, naslen k. gafoor, deepa thomas, johny antony, manju pillai, kainakary thankaraj #home (2021) movie genre: drama, family | runtime: 2h 38m, where to watch home, trending right now.

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When 93-year-old Thelma Post gets duped by a phone scammer pretending to be her grandson, she sets out on a treacherous quest across the city to reclaim what was taken from her. When 93-year-old Thelma Post gets duped by a phone scammer pretending to be her grandson, she sets out on a treacherous quest across the city to reclaim what was taken from her. When 93-year-old Thelma Post gets duped by a phone scammer pretending to be her grandson, she sets out on a treacherous quest across the city to reclaim what was taken from her.

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IF review: Sentimental drama more concerned with making parents cry than entertaining kids

A quiet place director john krasinski returns to his comedy roots for this family-friendly romp about imaginary friends without a home., if official movie trailer featuring ryan reynolds.

IF promises to be the most saccharine movie of the year that may catch some parents unawares but otherwise fails to capture the imagination.

When The Office star John Krasinski made his first foray into blockbuster filmmaking, it was a pleasant surprise to see him abandon what could have been safe comedy fare for a fresh, if a little meat-headed, sci-fi thriller, A Quiet Place.

With IF, the actor-turned-filmmaker, still best known for bemused looks to the camera as Jim Halpert, delivers another surprise; a twee and syrupy adventure about imaginary friends with very little creativity.

Predictably set in New York City , it follows 12-year-old Bea (played by Cailey Fleming), who develops the ability to see the titular made-up pals after going through a tragic family loss.

Meanwhile, her dad (Krasinski) is awaiting a difficult operation in the hospital, leaving Bea to live with her grandmother (Fiona Shaw).

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She soon meets up with her mysterious neighbor Cal ( Ryan Renolds ), who reluctantly teams up with her to help a retirement home for imaginary friends find new children to keep company before they disappear.

It’s undeniable that Fleming gives a strong central performance, having already impressed amongst the main cast of recent seasons of The Walking Dead. She’s an incredibly promising young performer and rises to the challenge of IF’s onslaught of poignant and treacly emotional moments, which come fast and furious.

There’s an unbearable weight of importance around the vast majority of IF’s human-focused sequences. Almost every character has a sequence so painstakingly crafted to make the audience weep that they’re in danger of canceling each other out and descending into parody.

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Far from Pixar’s gut punches in the opening or last acts, IF wants you to know how terribly sad and touching the whole thing is every second some creepy cartoon critter voiced by a celebrity isn’t on screen performing the same running gag over and over. Perhaps Krasinski thought of this as a “sneak attack” weepy, but all its emotional rug pulls are ham-fistedly telegraphed from the start.

Steve Carrell recycles several of his already tiresome animated characters as Blue, a giant purple furball guaranteed to shift millions of plush toys this year that will be promptly forgotten by the next.

Fleabag breakout Phoebe Waller-Bridge is marginally less irritating as butterfly ballerina Blossom, who also has the most charming design, taking cues from Fleisher’s rubber hose style animations. Moments exploring her backstory are the most effective, but in a film already sickly sweet enough to trigger heart attacks they arrive as a glazed cherry on top of an overwhelming sundae.

It could have possibly served the film better if more focus was granted to just a handful of IFs, as a tedious all-singing, all-dancing segment with cameos galore (Awkwafina, George Clooney, Matt Damon, Maya Rudolph and Amy Schumer, just to name a few, all play various cartoon monstrosities) bludgeons what might have otherwise been a sweet tale of family struggle.

Reynolds, meanwhile, seems completely disinterested in the whole affair having seemingly dropped the majority of his irritating Deadpool charisma he’s carried through most of his roles ever since. Plus, an obvious twist involving his character ensures most moviegoers over the age of 12 will leave the cinema rolling their eyes.

There are certainly kernels of strong ideas here, and it’s a refreshing idea to see imaginary friends come to life. Unfortunately, the more creative visual ideas are used for split-second gags while tedious and overcooked emotional drama takes center stage.

Younger kids may find some joy in the colorful characters but most of the runtime will simply make them restless, one of the worst crimes a film for hyperactive children can commit.

IF is in cinemas from Friday, May 17.

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"Home Alone" is a splendid movie title because it evokes all sorts of scary nostalgia. Being left home alone, when you were a kid, meant hearing strange noises and being afraid to look in the basement - but it also meant doing all the things that grownups would tell you to stop doing, if they were there. Things like staying up to watch Johnny Carson, eating all the ice cream, and sleeping in your parents' bed.

"Home Alone" is about an 8-year-old hero who does all of those things, but unfortunately he also single-handedly stymies two house burglars by booby-trapping the house. And they're the kinds of traps that any 8-year-old could devise, if he had a budget of tens of thousands of dollars and the assistance of a crew of movie special effects people.

The movie's screenplay is by John Hughes , who sometimes shows a genius for remembering what it was like to be young. His best movies, such as " Sixteen Candles ," " The Breakfast Club ," " Ferris Bueller's Day Off " and " Planes, Trains and Automobiles ," find a way to be funny while still staying somewhere within the boundaries of remote plausibility. This time, he strays so far from his premise that the movie suffers.

If "Home Alone" had limited itself to the things that might possibly happen to a forgotten 8-year-old, I think I would have liked it more. What I didn't enjoy was the subplot involving the burglars ( Joe Pesci and Daniel Stern ), who are immediately spotted by little Kevin (Macaulay Culkin), and made the targets of his cleverness.

The movie opens in the Chicago suburbs with a houseful of people on the eve of a big family Christmas vacation in Paris. There are relatives and kids everywhere, and when the family oversleeps and has to race to the airport, Kevin is somehow overlooked in the shuffle. When he wakes up later that morning, the house is empty. So he makes the best of it.

A real kid would probably be more frightened than this movie character, and would probably cry. He might also try calling someone, or asking a neighbor for help. But in the contrived world of this movie, the only neighbor is an old coot who is rumored to be the Snow Shovel Murderer, and the phone doesn't work. When Kevin's parents discover they've forgotten him, they find it impossible to get anyone to follow through on their panicked calls - if anyone did so, the movie would be over.

The plot is so implausible that it makes it hard for us to really care about the plight of the kid. What works in the other direction, however, and almost carries the day, is the gifted performance by young Macaulay Culkin, as Kevin. Culkin is the little boy who co-starred with John Candy in " Uncle Buck ," and here he has to carry almost the whole movie. He has lots of challenging acting scenes, and he's up to them. I'm sure he got lots of help from director Chris Columbus , but he's got the stuff to begin with. He's such a confident and gifted little actor that I'd like to see him in a story I could care more about.

"Home Alone" isn't that story. When the burglars invade Kevin's home, they find themselves running a gamut of booby traps so elaborate they could have been concocted by Rube Goldberg - or by the berserk father in " Last House on the Left ." Because all plausibility is gone, we sit back, detached, to watch stunt men and special effects guys take over a movie that promised to be the kind of story audiences could identify with.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Home Alone (1990)

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