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There’s an added poignancy to the year-plus delay of Marvel’s “Black Widow,” finally ending July 9th when the film will be in theaters and available for a premium charge on Disney+. And there’s a palpable sense that this story would have felt a little delayed even in May 2020. After all, why did Thor, Captain America, and Iron Man get three standalone films before Natasha Romanoff got one? Fans complained long before the pandemic that it felt like Black Widow was getting pushed aside, only given her own adventure after the end of her story in “ Avengers: Endgame .” Director  Cate Shortland ’s movie confirms that Black Widow could have carried her own flick ages ago. There’s enough character, back story, and intrigue in her world for a whole series. A lot of movies in 2021 have felt a bit different because of their existence in a post-COVID world, but for all of these reasons, “Black Widow” feels distinctly like a pre-COVID product, a dip into the history of one of Marvel’s most popular characters that’s truly better so very late than never.

The best aspects of “Black Widow” echo the ‘70s spy movie tone of one of the best films in the MCU, “ Captain America: The Winter Soldier .” Director Shortland and writer Eric Pearson (an MCU vet behind both “ Avengers: Infinity War ” and “ Endgame ,” along with Thor, Spider-Man, Ant-Man films and the ABC TV shows) unabashedly pull from beloved action and espionage classics with elements that echo the Bourne films, “ Mission: Impossible ,” “The Manchurian Candidate,” and, most of all, James Bond (a clip from 007 even plays on a television in the film). And yet “Black Widow” incorporates all of these spy-action greats into something that feels alive and original on its own terms, thanks largely to tight action choreography by Shortland and a great cast that centers four very engaging performances from Scarlett Johansson , David Harbour , Rachel Weisz , and, most of all, Florence Pugh .

“ F9 ” may have a lock on the word “family” this season but it’s also the main theme of “Black Widow.” Natasha Romanoff is on the run from one makeshift family when she’s thrust back into the arms of another. The film opens with a scene right out of “The Americans” as it’s revealed that a young Natasha and her sister Yelena (played as an adult by Pugh) had a brief life in Ohio under parental figures Alexei (Harbour) and Melina (Weisz). They seemed like a normal family, but ‘mom’ and ‘dad’ were really Russian spies, and the girls were only being prepped for their coming induction in a super soldier program back in the homeland. After an explosive opening, the credits for “Black Widow” reveal that Natasha and Yelena were turned from average girls to killing machines, separated when Romanoff murdered the head of the program, Dreykov ( Ray Winstone ), and destroyed his Red Room. Or did she?

Jump ahead to just after “ Captain America: Civil War ,” when Natasha is on the run from her own government, underground after violating the Sokovia Accords. While she’s off the grid, she receives a package from Yelena, who is suffering through her own forced exile after discovering a substance that releases the Widows from their chemical subjugation. It’s very intentionally a reversal of the super-soldier serum concept that drove the action of projects like “The Falcon vs. the Winter Soldier.” Wherein Bucky Barnes stories often centered on vials that could make ordinary men into killing machines, “Black Widow” centers on vials that can turn killing machines back into ordinary women. Yelena sends a case of the vials to her sister, knowing it will bring her to a safe house in Budapest. From there, they are forced to break Alexei, aka The Red Guardian, out of prison and eventually reunite with the Black Widow who really made them, Melina.

Like a lot of the MCU, “Black Widow” is a bit thin in the villain department—new ads have highlighted the inclusion of the Taskmaster, a killing machine who can mimic its enemy’s fighting skills, and those scenes do stand out in terms of action, but parts of the film lack the urgency that would have been provided by a stronger enemy. Having said that, Shortland knows how to keep “Black Widow” more sleek than a lot of other MCU directors. It’s a more driven film than we often get from the MCU, deftly moving from one action set piece to another, only losing its momentum in a couple scenes—an extended family reunion and one of the talkiest showdown scenes in history in the third act (although one almost wonders if Shortland and Pearson aren’t parodying the Bond films again here with their legacy of monologuing bad guys). It’s not often the case in the MCU, but the pace is an asset here as “Black Widow” tells a relatively simple story with significantly less fat than a lot of other superhero flicks. It makes sense that a no-nonsense killing machine like Black Widow should have a no-nonsense installment, but it’s nice to see it actually happened.

That’s not to say there aren’t a few diversions for character and some interesting playing around with themes. There's a fun duality to "Black Widow" that should make returns to other projects in this universe more engaging. It purposefully echoes themes of covert government programs from projects like "Winter Soldier," revealing that the Americans don't have the market cornered, and it also deepens Natasha's life-long battle between being a lone wolf and needing a pack with which to run. Much was written about how "WandaVision" made previous MCU projects richer and there are elements of "Black Widow" that should do the same not only for Johannson's previous projects but for Pugh's going forward. It's a standalone film that doesn't just exist in a vacuum but enhances the films in which Black Widow stood with others. 

On that note, hardcore fans of Romanoff may be unhappy how much spotlight she cedes here to the other members of her family, particularly Red Guardian and Yelena, but both actors are good enough that complaints shouldn't land. Harbour’s take on Russia’s version of Captain America is a clever one, finding just the right balance of humor and bravado—countering his performance here to his one in this week’s “No Sudden Move” reveals a significant range for an actor who feels like he’s on the verge of a remarkable decade of work. However, the film really belongs to Pugh, who nails every single line reading in a project that’s clearly designed to hand the baton off from Johannson to Pugh, who will appear in Disney+’s “Hawkeye,” in much the same way that Captain America’s shield went from Steve Rogers to Sam Wilson. Pugh proves more than up for the challenge, finding just the right shades of strength and vulnerability. It’s a top tier MCU performance and the film’s MVP. 

As with a lot of the MCU, the third act here gets a little cluttered and repetitive but then the film recovers with a remarkable final action sequence that sends characters and debris hurtling through the sky (an MCU staple but Shortland’s choreography makes it feel urgent again). It’s ultimately a film that works on its own terms, a long-delayed enriching of the story of a beloved character that will make her ultimate sacrifice in “Avengers: Endgame” feel even more powerful in hindsight. Every blockbuster this Summer is being touted as the sign that the world is back to normal—“Black Widow” is more a reminder of what fans loved before it shifted off its axis.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

Black Widow (2021)

Rated PG-13 for intense sequences of violence/action, some language and thematic material.

133 minutes

Scarlett Johansson as Natasha Romanoff / Black Widow

Florence Pugh as Yelena Belova / Crimson Widow

David Harbour as Alexei Shostakov / Red Guardian

Rachel Weisz as Melina Vostokoff / Iron Maiden

O.T. Fagbenle as Mason

William Hurt as Thaddeus 'Thunderbolt' Ross

Ray Winstone as Dreykov / The Handler

• Cate Shortland

Writer (based on the Marvel comics by)

Writer (story by).

• Jac Schaeffer
• Eric Pearson

Cinematographer

• Gabriel Beristain
• Leigh Folsom Boyd
• Lorne Balfe

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• Home » Movies » Live Malayalam Movie Review

‘Live’ movie review: Taking sensationalism by online news head on; but falling slightly short

Directed by VK Prakash, Live is a socially relevant film that also delves into the area of cyber crimes and yellow journalism.

Published:Aug 10, 2023

A poster of VK Prakash's 'Live'. (Supplied)

Live (Malayalam)

• Cast: Mamta Mohandas, Priya Prakash Varrier, Soubin Shahir, Shine Tom Chacko, and Anjali Krishna
• Director: VK Prakash
• Producer: Darrpan Bangejja, Films 24
• Music: Alphons Joseph
• Runtime: 2 hours 5 minutes
• Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
• Director: Maneesh Sharma
• Producer: Aditya Chopra
• Music: Pritam Chakraborty
• Runtime: 2 hours 35 minutes

The new Malayalam movie Live  has many layers, but at its heart, it deals with the issue of sensational news reporting by TV channels. 

Directed by VK Prakash,  Live  is a socially relevant film that also delves into the area of cyber crimes. YouTube channels that propagate yellow journalism also are highlighted in the movie. 

TRP ratings and live news that have a single-day shelf life and how these affect the lives of people are some of the issues craftily covered by Live . The movie is critical of new-age media that cooks up news stories without verification. 

Setting the storyline

Live’s  screenplay is written by S Suresh Babu, who has previously written scripts for critically-acclaimed  movies like Oruthee  (2022). Live is also VK Prakash’s second team-up with Suresh Babu after Oruthee . 

Live  starts with the introduction of Dr Amala Sriram (Mamta Mohandas), a well-known paediatric surgeon, who is being targetted by an unknown person who is sending her obscene photos. She is married to Sriram (Soubin Shahir) who is a businessman. Their relationship is a strained one as both of them have different points of view towards society. 

While Sriram is focused on making money, Amala is interested in service. She works in a government hospital in Kochi. Then comes Anna (Priya Prakash Varrier), who is aspiring to be a doctor. She has the backing of Amala, who is helping her study and clear the entrance exams. 

Also Read: ‘Malli Pelli’ is an honest story about Pavitra and me: VK Naresh

The conflict.

Poster of the Malayalam movie ‘Live’. (Supplied)

An untoward incident that happens in Anna’s life takes the story forward. Anna is wrongly accused as being a member of a prostitution racket and is taken to police custody. Media glares and trials that happen after this incident are quite similar to what we see in the present world. 

Amala is the person is supporting Anna and her grandfather (whom Anna lives with) throughout this incident. Amala’s friend Nikhila (Reshmi Soman), a fellow doctor and friend in the media, is also helping Anna.  

The plot primarily focuses on fake news that is published by online media, without verification, for views. How Anna, Amala, and their friends face the fake media industry forms the crux of the movie. 

Also read: ‘Yash 19’ rumours continue, Rishab Shetty announces Kerady Studios

Characterisation.

‘Live’ is a women-centric movie. (Supplied)

While Anna is not strong, Amala is a powerful character. She is ready to fight against cyber crimes and fake news. She even says that it’s not heroism but heroinism when it’s done by a woman. These two lead female characters are mirrors of society following the advent of online media. 

Shine Tom Chacko as Chief Editor Sam John Vakathanam is a well-crafted character. He bears the characteristics of almost every editor that we see on national news channels. Unfortunately, his flashback of how he became a journalist — going from a driver to a chief editor — is pure filmy and unrealistic. 

While the movie primarily revolves around the two female leads, Soubin Shahir’s Sriram gets prominence at the end of the movie. But then arises the question: Are his “heroic acts” really necessary in this women-centric movie? 

Also read: Second-look poster of Mammootty-Jyothika starrer ‘Kaathal’

The performance.

Mamta Mohandas as Dr Amala in ‘Live’. (Supplied)

Priya Varrier was impressive as a teenager and she was given a good role to play. Mamta Mohandas was also good, but unfortunately not extraordinary. 

Shine Tom Chacko as the chief editor was well played, however, some of his scenes with Mamta Mohandas in the train could have been conceived better. 

Soubin Shahir didn’t have much to do, so his was a decent performance given the circumstances. The role of Dr Nikhila was a good one for Reshmi Soman.

Critical of media

Live  is surely a critic of the media, mainly online media, which is interested in clicks and subscriptions. The movie even dares to question a huge media house in Kerala, which is considered to be popular for its integrity.  

How the media influences people and society is the main theme of the movie. Living in the age of WhatsApp forwards and unverified news on social media, this movie is relatable and current. 

Also Read: Cult classic ‘Antha’ joins league of multiple re-releases

Since the movie focuses mainly on criticising the media and fake news, the flashback story of Anna and even Sam John didn’t make much of an impact.

But for the fact that the movie was a sincere effort to showcase yellow journalism and its after-effects on the common people, the script would have been better had the climax been more realistic. 

The final take

Live  is a good effort by the filmmakers to showcase the dark side of online news.

(Views expressed are personal)

Tags:  

• Entertainment
• Malayalam cinema
• Movie review

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The order reflects Tomatometer scores (as of December 31, 2021) after adjustment from our ranking formula, which compensates for variation in the number of reviews when comparing movies or TV shows.

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Based on the Governor General's Award-winning novel by Kim Thúy, Ru is the story of the arduous journey of a wealthy family fleeing from Vietnam, before landing in Quebec. Based on the Governor General's Award-winning novel by Kim Thúy, Ru is the story of the arduous journey of a wealthy family fleeing from Vietnam, before landing in Quebec. Based on the Governor General's Award-winning novel by Kim Thúy, Ru is the story of the arduous journey of a wealthy family fleeing from Vietnam, before landing in Quebec.

• Charles-Olivier Michaud
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• Trivia Kim Thuy, the author of the book who inspired the film, was an advocate and have a restaurant before writing the book Ru, who won the prestigious General Gouvernor award (Canada).

User reviews 6

• About the scene "inside the escape boat". It seems like a big metal ship with very roomy space. In reality, in all the escape big ships and wooden boats, all refugees were packed like sardines. You can verify this fact by googling all photos about Vietnamese boat people.
• The whole story happened in a cold, snowy Montreal. Probably the author wanted it this way, as it told us the harsh weather the refugees had to cope with in the country of resettlement. But it doesn't do justice to Montreal though. Montreal not only has cold. Snowy winter but also warm, nice, flowery summer. So the new country was portrayed one-sidedly.
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