Virunnu Review: A Stale Attempt at Filmmaking—The Only Fresh Element Is the Anti-Tobacco Ad

The movie landscape is constantly evolving, but every once in a while, a film comes along that feels like it’s been unearthed from a time capsule—and not in a good way. “Virunnu,” the latest venture from director Kannan Thamarakkulam, is precisely that kind of movie. This film, with a script penned by Dinesh Pallath, seems to be stuck in the past, delivering outdated tropes and a storyline so convoluted that even the cast might have trouble keeping up.

A Character Stuck in the ’90s

The first half of Virunnu introduces us to Hemanth, a character portrayed with an almost robotic lack of emotion by Gireesh Neyyar. This character is the epitome of a ‘90s stereotype—the kind-hearted hero who drives cancer patients to the RCC (Regional Cancer Centre) in his autorickshaw, abstains from alcohol to keep his blood pure for donations, and bizarrely, stalks his sister for her own good. Yes, you read that right. The character’s actions and motivations are so puzzling that one can’t help but wonder what the filmmakers were thinking.

The lack of expressiveness on Neyyar’s face makes it clear that he’s far from a seasoned actor. A quick search online reveals why—Gireesh Neyyar isn’t just the lead actor; he’s also the film’s producer. This is one case where following your gut instinct pays off because it becomes apparent that this is more of a vanity project than a serious attempt at storytelling.

A Plot That’s All Over the Place

Virunnu opens with the mysterious death of a businessman named John Kalathil. As the investigation into John’s death unfolds, his wife Elizabeth also meets a tragic end in a car accident. In her final moments, Elizabeth sees Hemanth and implores him to meet a man named Balan. What follows is a mishmash of events as Hemanth embarks on a quest to uncover the truth behind the deaths of John and Elizabeth. Sounds intriguing, right? Unfortunately, the execution leaves much to be desired.

The narrative is so disjointed and scattered that it feels like several different movies spliced together. It’s unclear whether the film wants to be a thriller, a melodrama, or a morality play. The characters come and go with little purpose, and subplots are introduced and abandoned without resolution. By the end, the viewer is left scratching their head, wondering if there was ever a coherent story to begin with.

Outdated Writing That Misses the Mark

The script, written by Dinesh Pallath, feels like a relic from a bygone era. There are moments in the film that seem intended to be profound or inspiring but come off as awkward and out of place. For instance, there’s a scene where a character played by director Ajay Vasudev himself refers to young boys as “kanal” and then throws in the phrase “oru thari mathi” (a handful of sardines) in a bizarre attempt at evoking some sort of emotional reaction. The dialogue is not only clunky but also utterly tone-deaf to modern sensibilities.

It’s almost as if the filmmakers believe that this type of melodrama still resonates with today’s audience. But in 2024, when viewers have a plethora of nuanced, well-crafted content to choose from, such outdated tropes and cringe-worthy dialogues fall flat. It’s like trying to sell a flip phone in the age of smartphones—sure, some people might be nostalgic for it, but it’s not going to fly with the majority.

A Visual Feast That Leaves a Bad Taste

Director Kannan Thamarakkulam employs a variety of camera tricks and rapid cuts in an attempt to make the film feel dynamic and fast-paced. However, these techniques only serve to underscore the film’s lack of substance. The cinematography, handled by Ravi Chandran and Pradeep Nair, features lighting and framing choices that are more reminiscent of a low-budget soap opera than a feature film. The climax, in particular, is a visual mess, with gaudy production design and amateurish execution that make it difficult to take the film seriously.

The most striking part of the film is ironically the new anti-tobacco ad that plays at the beginning. This might be the only fresh element in the entire movie, a stark reminder of how much the rest of the film feels like a stale retread of tired tropes and clichés. When the highlight of your film is an anti-smoking PSA, it’s a clear indication that something has gone terribly wrong.

Performances That Range from Bland to Laughable

The performances in Virunnu are a mixed bag, with most of the cast seemingly phoning it in. Tamil actor Arjun, playing a stereotypical action hero, does little more than flex his muscles and strike dramatic poses. His performance lacks depth and feels more like a caricature than a real person. Gireesh Neyyar, as the lead, struggles to deliver his lines convincingly, often coming off as wooden and unengaged. It’s almost painful to watch him on screen, especially knowing that he likely funded the entire project to showcase himself. The audience’s response is equally painful—free-ticket holders mockingly clap for Neyyar’s performance, seemingly unaware that he may have sponsored their seats.

Nikki Galrani, who plays a character that loses both parents within a short span, manages to maintain perfect hair and makeup throughout, which is more distracting than impressive. Mukesh and Sona Nair, as her parents, are barely given any material to work with. Baiju Santhosh, playing a communist leader named Balan, offers perhaps the only performance that feels grounded in reality, while Hareesh Perady, portraying an unintentionally comedic villain, provides a few moments of unintentional levity in an otherwise exhausting climax.

A Call for Change in a Stale Industry

At this point, you might be wondering, “What were you expecting from the notorious duo of Kannan Thamarakkulam and Dinesh Pallath?” It’s a fair question. But even with low expectations, Virunnu manages to disappoint. You’d think that after years in the industry, filmmakers would evolve, learn from their mistakes, and strive to offer something fresh. Instead, what we get is yet another half-baked attempt at storytelling that insults the intelligence of the audience.

With the OTT market becoming more selective and favoring only those movies that have proven successful in theaters, it’s high time that creators like Thamarakkulam and Pallath consider shifting their focus from quantity to quality. Audiences today are more discerning than ever, and the age of fast-food filmmaking is slowly but surely coming to an end. To survive in this evolving landscape, it’s crucial for filmmakers to prioritize craft over mediocrity.

Final Verdict: A Fossil of a Film

Virunnu is a film that feels hopelessly stuck in the past, clinging to outdated storytelling techniques and cliched characters that do little to engage a modern audience. If you’re looking for a cinematic experience that’s fresh, exciting, and thought-provoking, this is not the film for you. But if you’re in the mood for a trip down memory lane to the days of cheesy dialogue and over-the-top melodrama, then maybe Virunnu will provide some unintentional laughs.

In the end, it’s a film that serves as a reminder of how far cinema has come—and how far some filmmakers still need to go. The only thing truly fresh about this fossil of a film is the new anti-tobacco ad that precedes it. Here’s hoping that the filmmakers take the hint and deliver something more substantial next time.