Magizh Thirumeni, a director who, in my opinion, is among the most underappreciated of this age, has returned with yet another intriguing screenplay that stays so true to the genre that there are no plot-distracting elements. The writing is the obvious main plus in the movie with the right pacing and untying the knots at the perfect timing, which is why I’m going to start my review with it. By pace, I mean that the plot, the conflicts, and the surprises are all strategically positioned to keep the audience watching the movie.
One of the most knowledgeable financial experts in town, Thirukumaran (Udhayanidhi), moves suspiciously with his secret other side. Along with some internal backstabbing, key secrets of Vajra, one of the top corporations in the nation, are being revealed one after another. These two pathways cross, and when the connection slowly emerges, it holds the audience firmly in their chairs. The majority of the plot’s challenges are expected, but the film’s non-linear storytelling, back-and-forth explanation of events, and surprising shocks make it more compelling to watch how they unfold. One of the better examples of how to write a suspenseful intermission is the staging and execution of the scenario in the train station. Another illustration is the way the heroine introduces the villain to the hero. This is a common scene in Tamil or even Indian cinema, but it is brilliantly executed by simply doing away with the cliché that we have all grown accustomed to.
Even though it seemed out of the blue, Nidhi Agarwal’s portrayal of Mythili and the love story was engaging and worked nicely toward the finale. The second half of the film is just a cat and mouse game with the antagonist all set to hunt down the protagonist and the counter responses. Arjun, played by Aarav, is hired to determine who the real threat is behind the corporate exposure. The director succeeds in this area with his attention to detail in execution, and even up until the climax, the real back story is kept a secret. It is finally revealed with a tiny amount of well-deserved drama.
Arjun is vicious, and his deeds easily justify the persona because to Aarav’s delivery of the dialogue, vile demeanour, and body language. Udhayanidhi seizes the chance and takes on a challenging role; as a result, his acting resume shows a spike, but there is still considerable room for growth. Although the situations, persona, and stunt choreography are probably appropriate for him, I would have preferred to see more intensive efforts put into the action moments. As Karthick (a) Gandhi, Kalaiyarasan receives yet another crucial part that is a piece of cake for him, yet he gets a role that is once again let go in the middle. Nidhi Agarwal portrays Mythili with maturity, and unexpectedly for a movie heroine, the focus is on her job and aspirations. With several cleverly placed close-up views, Dhillraj’s cinematography effectively depicts the tensions. The background music follows a well-known pattern and occasionally becomes loud and annoying.
The movie slowed down toward the conclusion, but it was made up for with amazing detail and inventiveness. The real reason behind the conflicts is revealed at the climax, and that information, together with the minor turns, maintains it until the very conclusion. Despite the fact that the film is a really compelling thriller, there aren’t many moments that will leave viewers saying, “Wow.” I genuinely hope that this receives the much-needed attention that a select few of the director’s other excellent films, including Meeghaman and Thadayara Thaakka, sadly did not.
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This is Madhan Ranganathan (a) Felix Kingsley - Behind the Mirrors
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