Karam Movie Review: Vineeth Sreenivasan’s Thriller Struggles Despite Strong Performances
Vineeth Sreenivasan’s latest directorial venture, Karam, was widely anticipated as a high-stakes thriller, following the success of Thira. While the film touches upon similar themes of human trafficking and heroism, it struggles to deliver the intensity and emotional engagement that made its predecessor memorable.
The Story
The narrative revolves around Dev Mahendran (Noble Babu Thomas), a former army officer living a peaceful life with his wife Thara (Reshma Sebastian) and child. A family trip to Lenarco unexpectedly plunges Dev back into danger when he encounters Sana (Audrey Miriam Henest), an ex-girlfriend trapped in a sex trafficking ring. Determined to rescue her, Dev risks not only his life but also the safety of his family.
The premise promises suspense and action, yet the plot relies heavily on coincidences and predictable thriller tropes. Key story beats, including Dev’s encounters and the villain’s schemes, often feel convenient rather than clever. Attempts to add tension frequently slip into unintentional humour, weakening the stakes of the narrative.
Performances
- Noble Babu Thomas delivers a committed performance as Dev, capturing the physicality and earnestness of a former soldier. However, the writing restricts his emotional depth, limiting the impact of his heroism.
- Audrey Miriam Henest provides nuance as Sana, navigating multiple shades of vulnerability and resilience.
- Reshma Sebastian brings warmth and relatability as Thara, while Baburaj adds sporadic comic relief, sometimes unnecessarily.
- Ivan Vukomanović, cast as the primary antagonist, impresses visually but suffers from a lack of substantial characterization.
- Supporting performances from Manoj K. Jayan, Kalabhavan Shajohn, Shwetha Menon, and Vishnu G. Varrier are competent, though many are underutilized.
Technical Aspects
Cinematography: Jomon T. John captures the film with a mix of handheld ruggedness and sweeping visuals, effectively showcasing both urban landscapes and foreign locales. Silhouette shots and neon lighting add a stylistic flair reminiscent of modern action thrillers.
Music & Score: Shaan Rahman’s score aims to elevate tension and inject Kerala-specific elements like Chenda, but the soundtrack occasionally feels misaligned with the on-screen action.
Action: The fight sequences are technically sound, yet they lack the relentless pace or intensity required for a gripping thriller. Vineeth’s restraint in depicting gore makes the violence impactful without being gratuitous.
Strengths
- Strong performances, especially from Noble Babu Thomas and Audrey Miriam
- Stylish cinematography and international settings
- Relevant social theme addressing human trafficking
- Occasional humour and light moments providing brief relief
Weaknesses
- Weak writing with predictable plot points and convenient coincidences
- Repetitive thriller tropes that reduce suspense
- Humour that undercuts serious moments
- Underwritten antagonist and supporting characters
- Lack of originality compared to Thira
Analysis
Vineeth Sreenivasan clearly aimed to step out of his comfort zone, tackling a subject of urgency and relevance. Karam has all the ingredients of a successful thriller: a committed cast, high production value, engaging locations, and a socially relevant narrative. However, the script fails to maintain focus, with loose plotting and over-reliance on generic action-thriller conventions. Compared to Thira, which balanced urgency, grounded characters, and tight suspense, Karam feels uneven and derivative.
The film’s pacing falters in the second half, with the humor and side gags failing to sustain engagement. Even high-stakes sequences, including the climactic rescue attempts, lack the emotional weight necessary to fully resonate with audiences.
Verdict
Karam is an ambitious thriller that struggles to find its footing. While Noble Babu Thomas and Audrey Miriam give commendable performances, and the cinematography and score provide stylistic polish, the weak writing and predictable plot hold the film back. For viewers expecting a gripping, edge-of-the-seat experience akin to Thira, this may be a disappointment.
Bottom Line: A visually appealing and socially relevant thriller that never quite delivers the intensity or originality it promises — worth a watch for fans of Malayalam cinema, but don’t expect a high-octane suspense ride.
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