There's a 'The Great Father' like sensespeckledentirely over Mikhael - both are rapt by Haneef Adeni. The movie, right from the kick-off, is aware that it is made-up to contribute Nivin Pauly that Don't-mess-with-me starcharm at every singleopportunity and attempts to be a take-off vehicle for his affable action hero standing in Malayalam.Gangster-businessman George (Siddique)'s lad Gerard (Parava fame Amal) encountersone and only his schoolmates, a girl, for a karate fight. Things don't drive as prearranged and the disputetwistsaway from their control and the walls of the graduate school, youngsters' sense of self and parents' uncertainties.
Just as in Adeni's formerflick, high-class cars, hoodie-wearing charismas, formal get-ups, slow-motion structures, sunspecs, expensive watches and concoctioncostume jewellery are what did you sayblock up the sections one after the other. There is an adequate amount for the enthusiastic fans of Nivin Pauly and supplementaryartists to applaud. Punch lines subsequently are lined up in a piece of the parts. Siddique aspects his loom best as George. The concludingbattlestructure, however a whilelengthy and ridiculousdespite the fact that the audiences get to lookout it, in all probabilitybring to mind some thrill as a littleattention-grabbingparticulars about it get exposedon the road to the climax. At the same point, by the initialpart itself, the full picture for the proceedings yet to reveal are more or less clear and those waiting to be shown post intervalscarcelyinduce any thrill as they thrash out. The extensive second half is all around waiting to perceive what the entire hero catches to do to the anti-heroes, to penalize them.
Nivin Pauly has solemnly tried to apt into the starring role of a roundhouse strike out, surgical-knife-wielding Dr Micheal John, but he barelystares the portion, be it as the MBBS scholar Micheal or the ultimate hero that he turn out to be. The fight structureslook as ifobligatory, the conveyance of the lines non-natural and his chic of implementing justice, lacking any thrill. One of the parts in which he give details to his 'victim' how he would perish, is to a certain extentalike to one more in 22 Female Kottayam. Unni Mukundan looks upright. Some of his evidently punch-filled outlines are also wishy-washy. There is also slightconcern for reason in a lot of scenes.