Maareesan Movie Review: A Promising Start Derailed by an Uneven Second Half
Maareesan, released on July 25, 2025, is a Tamil comedy-thriller directed by Sudheesh Sankar, starring Fahadh Faasil as Dhayalan (Dhaya) and Vadivelu as Velayudham Pillai. Produced by R. B. Choudary under Super Good Films, this 154-minute film blends humor, drama, and vigilante thrills with a strong ensemble cast, including Kovai Sarala, Vivek Prasanna, and Livingston. With Yuvan Shankar Raja’s music, Kalaiselvan Sivaji’s cinematography, and Sreejith Sarang’s editing, Maareesan starts as a quirky road trip but shifts into a morally complex thriller, leaving audiences both intrigued and frustrated. While Fahadh and Vadivelu’s performances anchor the film, its tonal inconsistencies and regressive undertones prevent it from fulfilling its early promise. Plot Synopsis: A Tale of Two HalvesMaareesan begins with Dhayalan, a small-time thief fresh out of Palayamkottai prison, who claims houses “call out” to him for robbery. One such house leads him to Velayudham Pillai, an elderly man chained to a window, claiming Alzheimer’s disease and mistaking Dhaya for his son, Kumar. Velayudham offers to pay Dhaya to free him, revealing a bank balance of Rs 25 lakh. Sensing an opportunity, Dhaya agrees to escort Velayudham to Tiruvannamalai, hoping to manipulate him into revealing his ATM PIN. Their road trip from Nagercoil unfolds as a blend of comedy and empathy, with Velayudham’s memory lapses and Dhaya’s scheming creating a dynamic interplay.The first half is a slow-burn comedy-drama, filled with humorous exchanges, like Velayudham’s tantrums and Dhaya’s exasperated reactions to wrong PINs. However, around the interval, the film takes a sharp turn, morphing into a vigilante thriller. Without spoiling key twists, Velayudham’s true motives and past unravel, revealing a darker agenda tied to justice against sexual predators. This shift reframes the narrative, turning a lighthearted con game into a morally ambiguous tale of revenge and redemption, leaving Dhaya—and the audience—questioning who the real “mark” is.Performances: Fahadh and Vadivelu Steal the ShowFahadh Faasil delivers a compelling performance as Dhayalan, infusing the character with his signature nonchalance and charm. His portrayal of a cunning yet increasingly conflicted thief is both entertaining and nuanced, though some critics note similarities to his past roles like Thondimuthalum Driksakshiyum or Njan Prakashan. Vadivelu, continuing his dramatic pivot from Maamannan, is the film’s heart. As Velayudham, he balances vulnerability and rage, shedding his comedic persona for a layered role that resonates deeply, especially in scenes of quiet grief. Their chemistry—Dhaya’s sly manipulation clashing with Velayudham’s unpredictable demeanor—drives the film’s best moments.The supporting cast, including Kovai Sarala and Vivek Prasanna, adds color but feels underutilized. Sarala’s brief comedic role is effective, while Prasanna’s part in the parallel police investigation lacks depth due to weak writing. The ensemble’s potential is overshadowed by the film’s focus on its leads, limiting their impact.Strengths: Strong Performances and a Bold PremiseMaareesan shines in its first half, where the quirky road trip setup captivates with its blend of humor and heart. The dynamic between Dhaya and Velayudham feels authentic, with moments like their ATM fumbles or a goat-hitting mishap eliciting genuine laughs. Yuvan Shankar Raja’s retro-infused score, including a nod to Maya Bazaar in the teaser, adds nostalgic charm, while Kalaiselvan Sivaji’s cinematography captures the vibrant Tamil Nadu highways. The film’s exploration of moral grey zones—Dhaya’s growing empathy and Velayudham’s hidden motives—offers a fresh take on the conman-victim trope, making the interval twist a gripping surprise.Vadivelu’s performance is a standout, proving his versatility beyond comedy. His ability to convey pain without overacting, particularly in a flashback revealing his motivations, adds emotional weight. Fahadh’s effortless charisma keeps the audience rooting for Dhaya, even as his ethics waver. The film’s willingness to tackle serious issues like vigilante justice, albeit imperfectly, adds depth to an otherwise familiar genre.Weaknesses: Tonal Shifts and Regressive WritingThe film’s biggest flaw is its jarring tonal shift post-interval. What begins as a heartfelt comedy-drama becomes a gritty thriller, but the transition feels forced and poorly executed. The second half’s vigilante arc, while bold, leans on clichéd tropes and lacks the emotional coherence of the first half. The writing by V. Krishna Moorthy falters, with logical inconsistencies—like Velayudham’s inconsistent Alzheimer’s symptoms—and a cheesy infusion of “goodness” that undermines the moral complexity. The parallel police investigation feels tacked on, failing to create tension or enhance the narrative.Critics have also flagged the film’s regressive undertones. Its stance on vigilante justice, particularly regarding sexual offenders, is disturbingly blunt, presenting punishment without debate. This approach risks glorifying extrajudicial actions and feels tonally at odds with the earlier empathy-driven narrative. The pacing drags in both halves, with the first half’s meandering setup and the second’s reliance on theatrics stretching the 154-minute runtime. Sudheesh Sankar’s direction lacks a cohesive vision, failing to elevate the genre shift or tie the two halves together seamlessly.Technical Aspects: A Mixed BagYuvan Shankar Raja’s music is a highlight, blending nostalgic and intense tracks that suit the film’s shifting tones, though some songs disrupt the flow. Kalaiselvan Sivaji’s visuals capture the road trip’s vibrancy but lack a distinct directorial signature. Sreejith Sarang’s editing is uneven, with the first half feeling bloated and the second rushed, undermining key dramatic moments. The production values are solid, but the film’s ambitious scope feels constrained by its execution.Final Verdict: A Flawed Yet Engaging ThrillerMaareesan is a cinematic chimaera—part charming road trip, part provocative thriller—that struggles to reconcile its ambitious halves. Fahadh Faasil and Vadivelu deliver captivating performances, and the first half’s humor and heart make it a delightful watch. However, the abrupt shift to a vigilante narrative, coupled with regressive themes and lazy writing, derails its potential. It’s a film that dares to experiment but falters in execution, leaving viewers torn between admiration and frustration. For fans of Fahadh and Vadivelu or those who enjoy genre-blending Tamil cinema, it’s worth a theater visit, but temper expectations for a cohesive experience.
Rating: 3/5
Maareesan, released on July 25, 2025, is a Tamil comedy-thriller directed by Sudheesh Sankar, starring Fahadh Faasil as Dhayalan (Dhaya) and Vadivelu as Velayudham Pillai. Produced by R. B. Choudary under Super Good Films, this 154-minute film blends humor, drama, and vigilante thrills with a strong ensemble cast, including Kovai Sarala, Vivek Prasanna, and Livingston. With Yuvan Shankar Raja’s music, Kalaiselvan Sivaji’s cinematography, and Sreejith Sarang’s editing, Maareesan starts as a quirky road trip but shifts into a morally complex thriller, leaving audiences both intrigued and frustrated. While Fahadh and Vadivelu’s performances anchor the film, its tonal inconsistencies and regressive undertones prevent it from fulfilling its early promise. Plot Synopsis: A Tale of Two HalvesMaareesan begins with Dhayalan, a small-time thief fresh out of Palayamkottai prison, who claims houses “call out” to him for robbery. One such house leads him to Velayudham Pillai, an elderly man chained to a window, claiming Alzheimer’s disease and mistaking Dhaya for his son, Kumar. Velayudham offers to pay Dhaya to free him, revealing a bank balance of Rs 25 lakh. Sensing an opportunity, Dhaya agrees to escort Velayudham to Tiruvannamalai, hoping to manipulate him into revealing his ATM PIN. Their road trip from Nagercoil unfolds as a blend of comedy and empathy, with Velayudham’s memory lapses and Dhaya’s scheming creating a dynamic interplay.The first half is a slow-burn comedy-drama, filled with humorous exchanges, like Velayudham’s tantrums and Dhaya’s exasperated reactions to wrong PINs. However, around the interval, the film takes a sharp turn, morphing into a vigilante thriller. Without spoiling key twists, Velayudham’s true motives and past unravel, revealing a darker agenda tied to justice against sexual predators. This shift reframes the narrative, turning a lighthearted con game into a morally ambiguous tale of revenge and redemption, leaving Dhaya—and the audience—questioning who the real “mark” is.Performances: Fahadh and Vadivelu Steal the ShowFahadh Faasil delivers a compelling performance as Dhayalan, infusing the character with his signature nonchalance and charm. His portrayal of a cunning yet increasingly conflicted thief is both entertaining and nuanced, though some critics note similarities to his past roles like Thondimuthalum Driksakshiyum or Njan Prakashan. Vadivelu, continuing his dramatic pivot from Maamannan, is the film’s heart. As Velayudham, he balances vulnerability and rage, shedding his comedic persona for a layered role that resonates deeply, especially in scenes of quiet grief. Their chemistry—Dhaya’s sly manipulation clashing with Velayudham’s unpredictable demeanor—drives the film’s best moments.The supporting cast, including Kovai Sarala and Vivek Prasanna, adds color but feels underutilized. Sarala’s brief comedic role is effective, while Prasanna’s part in the parallel police investigation lacks depth due to weak writing. The ensemble’s potential is overshadowed by the film’s focus on its leads, limiting their impact.Strengths: Strong Performances and a Bold PremiseMaareesan shines in its first half, where the quirky road trip setup captivates with its blend of humor and heart. The dynamic between Dhaya and Velayudham feels authentic, with moments like their ATM fumbles or a goat-hitting mishap eliciting genuine laughs. Yuvan Shankar Raja’s retro-infused score, including a nod to Maya Bazaar in the teaser, adds nostalgic charm, while Kalaiselvan Sivaji’s cinematography captures the vibrant Tamil Nadu highways. The film’s exploration of moral grey zones—Dhaya’s growing empathy and Velayudham’s hidden motives—offers a fresh take on the conman-victim trope, making the interval twist a gripping surprise.Vadivelu’s performance is a standout, proving his versatility beyond comedy. His ability to convey pain without overacting, particularly in a flashback revealing his motivations, adds emotional weight. Fahadh’s effortless charisma keeps the audience rooting for Dhaya, even as his ethics waver. The film’s willingness to tackle serious issues like vigilante justice, albeit imperfectly, adds depth to an otherwise familiar genre.Weaknesses: Tonal Shifts and Regressive WritingThe film’s biggest flaw is its jarring tonal shift post-interval. What begins as a heartfelt comedy-drama becomes a gritty thriller, but the transition feels forced and poorly executed. The second half’s vigilante arc, while bold, leans on clichéd tropes and lacks the emotional coherence of the first half. The writing by V. Krishna Moorthy falters, with logical inconsistencies—like Velayudham’s inconsistent Alzheimer’s symptoms—and a cheesy infusion of “goodness” that undermines the moral complexity. The parallel police investigation feels tacked on, failing to create tension or enhance the narrative.Critics have also flagged the film’s regressive undertones. Its stance on vigilante justice, particularly regarding sexual offenders, is disturbingly blunt, presenting punishment without debate. This approach risks glorifying extrajudicial actions and feels tonally at odds with the earlier empathy-driven narrative. The pacing drags in both halves, with the first half’s meandering setup and the second’s reliance on theatrics stretching the 154-minute runtime. Sudheesh Sankar’s direction lacks a cohesive vision, failing to elevate the genre shift or tie the two halves together seamlessly.Technical Aspects: A Mixed BagYuvan Shankar Raja’s music is a highlight, blending nostalgic and intense tracks that suit the film’s shifting tones, though some songs disrupt the flow. Kalaiselvan Sivaji’s visuals capture the road trip’s vibrancy but lack a distinct directorial signature. Sreejith Sarang’s editing is uneven, with the first half feeling bloated and the second rushed, undermining key dramatic moments. The production values are solid, but the film’s ambitious scope feels constrained by its execution.Final Verdict: A Flawed Yet Engaging ThrillerMaareesan is a cinematic chimaera—part charming road trip, part provocative thriller—that struggles to reconcile its ambitious halves. Fahadh Faasil and Vadivelu deliver captivating performances, and the first half’s humor and heart make it a delightful watch. However, the abrupt shift to a vigilante narrative, coupled with regressive themes and lazy writing, derails its potential. It’s a film that dares to experiment but falters in execution, leaving viewers torn between admiration and frustration. For fans of Fahadh and Vadivelu or those who enjoy genre-blending Tamil cinema, it’s worth a theater visit, but temper expectations for a cohesive experience.
Rating: 3/5