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A striking, daring person, Sulaiman, is quick to carry positive advancement to his seaside town, however wrongdoing can be a dangerous slant 


A few movies and books can be hard to get snared onto in the beginning phases. They get going with such an excess of power that it can feel like excessively and too hard to even think about continuing. But then, there will be something in the characterisation, plot or language that holds your advantage barely enough and afterward proceeds to give a compensating experience. Malik gives you that sense, however it doesn't completely follow through on the experience. 


The movie, composed, coordinated and altered by Mahesh Narayanan, begins with the depiction of old hero Sulaiman Ali Ahammad, played by Fahadh Faasil, who is set to go on Haj. A people group pioneer who has fostered the beach front space of Ramadapally, he needs to deal with pressures and tough spots even in the midst of the arrangements for the journey. Yet, his significant other Rosaline, who appears to be a power by her own doing, is resolute that he utilize the Haj to show that he is making a break from his obscure past. 


Loaded with activity, characters and clashes - in the family, local area and with government officials - the main scene makes for a substantial beginning. Be that as it may, Fahadh and Nimisha are entertainers who, regardless, are fit for catching and clutching your eye. Also, as the scene changes, the story begins to stream in a more fathomable way. 


Going in a non-straight design, the dramatization takes a gander at how lawmakers control the framework and individuals to make projects that obliterate networks and the land, while filling their pockets. While the police capture Sulaiman before he leaves for Haj and we hold on to perceive how that works out, the film exhibits the energetic Sulaiman, who begins as a runner and a striking daring person, who is likewise quick to work for the adjoining Muslim and Christian people group in his retrogressive waterfront region. However, wrongdoing is a tricky slant and keeping in mind that local people admire him, the administration is obliged to make a move against his criminal operations. What's more, when they think that its troublesome, we perceive how the political framework mercilessly sets sibling against sibling. 


At a running season of 160 minutes, there are minutes when the film slacks and pieces that appear to be somewhat of a stretch and hazy, for example, the terminating when Sulaiman's young child is killed. Yet, the principle plot which fixates on the police attempting to stop the Sulaiman issue is dramatic and fascinating. 


Mahesh Narayanan, who has given us fascinating undertakings, like Take Off, might have kept the story more tight. Sanu Varghese's cinematography is an excellent equilibrium of abrasive and pleasant. While the main pair are acceptable, especially in their more seasoned symbols, the supporting cast of essentially Joju George, Dileesh Pothen and Indrans add quality to the film. 


The film is a bit long and makes them confound bits, however on the positive side, Malik reflects significant issues of our occasions in a convincing way; government officials controlling individuals - because of our framework, this subject can be investigated in a few diverse manners - minority networks confronting a difficult stretch excelling, and individuals being set in opposition to one another. In these tangled occasions, these are stories that should be told.



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