The only way Gopalakrishnan can escape from certain bankruptcy is to sell the property he owns in the city and use the proceeds to settle his debts. To do that, he has to evict his tenants from there first. Unfortunate for him, his tenant is the feisty Meera and her family, who absolutely refuses to vacate the house. Gopalakrishnan uses an obscure clause in the contract to take up residence at the house, and tries his best to smoke his tenants out. Much hilarity ensues. Written by Anonymous

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Sethumadhavan wants to start a biscuit factory near his house but the bureaucratic corruption poses hurdles in his path. Along with that he has to solve his family problems created by his brother and brother-in-law. He marries his long-term fiancee Sulochana, who always cribs that he doesn't love her the same way as he did before their marriage. How Sethumadhavan succeeds in his life beating all the odds against him forms the rest of the story. Written by Soumitra

Rajeev Menon (Mohanlal) is a wealthy orphan, a spoilt rich brat who grew up to be an eccentric millionaire. While his trusty manager (Karamana Janardhanan Nair)takes care of his vast estates, Rajeev drowns his days in alcohol. His lack of values stems from bitter childhood memories of his mother deserting his father. His eccentricities vary from picking up drunken brawls with strangers to wanting to experience 'interesting' things in life like being handcuffed by the police. Winds of change gush into his lonely life when he agrees to play host to his friend Scaria's (Nedumudi Venu) family for the vacation. Scaria's brood of mischievous kids take a liking to Rajeev. As they tear his palatial house down, they also make him realize what he's been missing in life. Once they leave, he feels a void in his existence which he intends to fill by adopting a child. When he is denied adoption due to his wayward ways, his friend Dr. Hameed (Sukumaran) suggests artificial insemination as a way of procuring his own progeny. He also introduces him to Annie (Rekha) whose willing to bear his child in exchange of money to fund the surgery of her wheel chair bound husband Chandradas (Murali). The deal is sealed. Annie gets pregnant. Changes occur in Rajeev, some subtle and others glaring - he quits drinking, takes an interest in work, becomes a socially acceptable gentleman. All in the effort to become a responsible Father to his yet unborn child. But once the child is born, Annie gets too attached to the infant to give him up. Written by Prabhu Manohar

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Abroad the No. 20 Madras Mail to try and meet Mammootty, Tony Kurushingal (Mohanlal), Hitchcock Kanjikuzhyi (Manian Pillai Raju) and Kumbalam Hari (Jagadish), consume alcohol, and Tony flirts with an attractive female passenger, Devi Nair (Suchitra). He wants to sit next to her, but the passenger occupying that seat, as well as her father, R.K. Nair, objects, leading to a physical altercation, which results in Tony being asked to return to his seat. After a scheduled stop, the train resumes, and Mr. Nair finds his daughter's dead body in the toilet. The Police are summoned, begin an investigation, and conclude that one of three people may have have responsible for this homicide, namely: The passenger seated next Devi - a male who is not who he claims to be; Tony; and a third unknown male/female suspect. Written by rAjOo (gunwanti@hotmail.com)

Manickam (Mohanlal) is the manservant/best friend of Srikrishnan (Venu). On a trip together, they get saddled with a village performer Karuthambi (Shobhana) and her uncle. Both men fall in love with her, Srikrishnan turns out more intent on having her for himself and decides to make life somewhat difficult for Manickam. Written by Joyojeet Pal

After Nadodikkattu (1987) and Pattana Pravesham (1988), CIDs Ramdas and Vijayan are back for another wacky adventure. After a priceless gold crown is stolen from India, Ramdas (Mohanlal) and Vijayan (Srinivasan) are sent to the United States to retrieve it. The only clues they have is a pseudonym (Paul Barber) and a piece of a torn shirt. In the States, the two remain as helpless and clueless as they were in the two prequel films and realize that this is their toughest case yet. While Akkare Akkare Akkare is lacking in the poignant drama that made its predecessor films so endearing, it makes up for it by being the funniest movie in the trilogy. A Malayalam comedy classic that is still remembered more than 15 years after its release. Written by MervKV

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