Nine tracks new territories in Malayalam in its aspiring endeavor to mix dramatization, repulsiveness, tension and sci-fi, and Jenuse Mohamed prevails in it all things considered. The movie, notwithstanding its last details and ambiguities, keeps you snared to its novel and fresh story as the executive works his way through the penetrating feeling of the obscure. While Abinandhan Ramanujam’s camera easily clears you to the vortex of ghastliness and riddle, Sekhar Menon’s sound plan renders the film its close flawless rhythm. Prithviraj handles the complexities of his character with most extreme balance and Alok is cute as meager Adam. Wamiqa Gabbi conveys what is requested as she arranges the dreadful wanders aimlessly, never transforming it into an awful exchange off.

Nine has a canvas dribbling reds and blacks — nightfall saturating the screen and setting different tones of unusual, faces lit up by the shocking sparkle of candles and casings investigating the surface of obscurity. Its storyline originates from a fascinating reason, an enormous marvel that leaves the earth without power and correspondence for a period spreading over nine days. In the meantime, Nine isn’t any desi science fiction exemplary nor is its legend occupied with some doomsday experience to spare the cosmic system. It’s all the more a psycho spine chiller with dashes of paranormal, based on a straight, uncluttered screenplay.

The main issue with Nine is its rushed peak, an amazing disclosure that does not have its crucial crescendo. It required more develop and reel time before it gradually advanced to the point through additionally fascinating signs and figurings. The film includes a profoundly skippable flashback tune grouping, however it loses coarseness when the most pivotal snapshot of the film arrives. Having said that, Nine is not really fair any admiration and the film is certainly an alternate and reviving watch.