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Pattampoochi Movie Review

by rameshe

Critic’s Rating : 2.5 / 5

Pattampoochi Movie Review : A loud, violent serial killer film

Pattampoochi Movie Synopsis: A murder convict facing a death sentence confesses that he is actually behind a series of unsolved murders. Can a cop with PTSD prove that he is actually telling the truth and keep his loved ones alive?

Pattampoochi Movie Review: With the title credits, director Badri makes it clear what we are in for with Pattampoochi. Playing over an over loud musical number, we get images of Jai’s serial killer brutally murdering his victims while blood splatters on the screen. Even with the A certificate, the images come across as torture porn, more so with the song’s lyrics glorifying this character.

When the film begins, we see this character, Sudhakar in prison, waiting for his death sentence to be carried out in a couple of days, and meeting Vijayalakshmi (Honey Rose), a reporter. It is to her that he confesses that while he did not commit the murder that lead to his imprisonment, but has committed over half-a-dozen murders under the identity of Pattampoochi, a notorious serial killer, whose identity the police had given up hope of finding.

With the court putting the death sentence on hold, the police chief appoints Kumaran (Sundar C), a cop who is keen on a desk job, to tie up the case. But little do they realise that the case is only going to get even more complicated, with Sudhakar plotting to secure his freedom and murder those close to Kumaran.

In contrast to its tender title, Pattampoochi is a hyper-violent, loud crime thriller that plays out as a battle of wits between a cop with PTSD and an intelligent criminal with a medical disorder. The film is set in 1989, but beyond a few markers, like movie posters, landline phones, news reports of the infamous violence in the state assembly and poorly done visual effects that recreate the roads and landmarks of the then Madras, it unfolds more like a contemporary thriller. The costumes and hairstyles of the characters and the art direction resemble pretty much the present-day ones further adding to this effect.

The first half is filled with barely plausible scenes, a crudely filmed flashback episode that includes child abuse and murder, and half-hearted stabs at romance. For some time, you wonder if the film is going to be a textbook lesson on how not to make a psycho-killer movie, especially with Navneeth Sundar’s loud score threatening to damage our ears.

Thankfully, things get better once the narrative turns into a cat-and-mouse game between Kumaran and Sudhakar. The casting works, mostly. Jai comes across as a good choice to play the psycho, given his somewhat baby face, which comes in handy in scenes when the character fakes innocence. Sundar C is more or less in the casual mode that we find him in his Aranmanai films. This actually aids the film as we see his confident moves leading to the loss of lives. Honey Rose, as a damsel in distress, plays the role efficiently though her lipsync goes awry at times.

We get some moments of suspense as Sudhakar goes after a cop and his daughter, and later, after Vijayalakshmi and Kumaran’s father. And the film manages to keep us hooked purely by making us wonder if Kumaran can nab Sudhakar before it is too late, especially given the bumbling manner in which he goes about solving the case. To heighten our anxiety, Badri resorts to the device of a young girl who is constantly put in life-threatening situations; mostly, it is due to the careless nature of the adults around her. The writing also attempts to give a closure to Kumaran’s PTSD by having the current events mirror the tragedy of his past, though, the execution is in-your-face, like the rest of the film.

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