As the title suggests, Khalid Rahman's foray into the action genre is based around a string of fights that happen for reasons you wouldn't want to go deep into. Written by Ashraf Hamza and Muhsin Parari, the film is tailor-made for the Instagram/YouTube generation, with a non-linear narrative structure. Oft-times, you watch a slickly shot set-piece first and then learn the story behind it. The entire film and its characters ooze swagger, set against vibrant frames (by Jimshi Khalid), and mind-blowing transitions. Yes, the editing work (by Nishadh Yusuf) is the soul of this particular movie.
The entire ensemble deliver solid performances too, with Tovino Thomas, Lukman Avaran, Swathi Das Prabhu, and Shine Tom Chacko standing out. The first half, with its knotty plot connections, peppy songs (barring a 'rap' which felt completely out-of-place), and fight sequences popping by the minute, is enjoyable but we initially sense a lack of coherence. Things get mighty better in the latter half however, and when the knots slowly begin to untangle, the fights offer a greater adrenaline rush. And this is a film where the stunts need to be talked about in detail. The scale of each set-piece varies - the one taking place inside a car and an all-out brawl at a cinema hall are truly outstanding.
Like one long darned Instagram reel, you'll remember the film for all its punches and kicks, pulsating background score, swanky costumes and trendy haircuts, and not for its plot (if there ever was one). The film definitely needed more humor though; I'm sure North Keralites will lap it up just the way it is (owing to regional context and dialect) and everyone else will relish the factors mentioned above. Does the film glorify coming to blows at the slightest discomfort? Yes, but like Ajagajantharam, think of this film playing out in a little universe of its own, distinct from the real world, and you'll want to appreciate the work that has gone into creating and detailing it. The romance in the film rides on a very thin (and questionable) line, though Kalyani Priyadarshan does light up the screen every time.
The entire ensemble deliver solid performances too, with Tovino Thomas, Lukman Avaran, Swathi Das Prabhu, and Shine Tom Chacko standing out. The first half, with its knotty plot connections, peppy songs (barring a 'rap' which felt completely out-of-place), and fight sequences popping by the minute, is enjoyable but we initially sense a lack of coherence. Things get mighty better in the latter half however, and when the knots slowly begin to untangle, the fights offer a greater adrenaline rush. And this is a film where the stunts need to be talked about in detail. The scale of each set-piece varies - the one taking place inside a car and an all-out brawl at a cinema hall are truly outstanding.
Like one long darned Instagram reel, you'll remember the film for all its punches and kicks, pulsating background score, swanky costumes and trendy haircuts, and not for its plot (if there ever was one). The film definitely needed more humor though; I'm sure North Keralites will lap it up just the way it is (owing to regional context and dialect) and everyone else will relish the factors mentioned above. Does the film glorify coming to blows at the slightest discomfort? Yes, but like Ajagajantharam, think of this film playing out in a little universe of its own, distinct from the real world, and you'll want to appreciate the work that has gone into creating and detailing it. The romance in the film rides on a very thin (and questionable) line, though Kalyani Priyadarshan does light up the screen every time.