The lesser I say about the plot-oriented Mounaguru the better it is for potential viewers, to whom I give the green light. Mounaguru is a thriller with good intentions. However, it ebbs and flows because of the switches between the engaging plot and a half-baked love story that has little to do with anything. What brings this to a temporary halt is the intermission. Do we really need intermissions for thrillers? Seriously, are we expected to compartmentalize our emotions?
an (Arulnithi) is a social reject. He does what he wants to do and does it alone. Most people don't like that and provoking him becomes a favourite hobby at college. Things are of a lighter shade at home where he receives second class treatment. One scene has him come home after almost being murdered but everyone's busy event planning. Bad luck gets him ensnared by dirty cops who themselves are ensnared by a deed of succumbing to hazardous temptation. The story is new and engaging even with the Kollywood treatment. Plot contrivances certainly make it easier for the filmmakers to give answers but in Mounaguru, they're acceptable. Karunakaran's personality is befitting for a guy with Arulnithi's looks. You already believe this guy when he's composed and speaking in a monotone. When those acting moments come, he becomes memorable. John Vijay who has taken comic turns in the past, plays bad guy with ease. Debutant director, Santha Kumar refuses to be part of the misogyny that Kollywood perpetrates by casting an actress in the role of that-intelligent-cop-who-uncovers-the-unknown. The score chooses mood over emotion and keeps you glued to your seat, which is more than I can say for most Tamil movies.
Critic: Rohit Ramachandran
(3 / 5) : Good