Karam Movie Review
Karam: A Rescue Thriller That Misses Its Sharp Edge
Karam works as an earnest action thriller but never rises above its safe narrative choices. With tighter writing and more inventive suspense, it could have been a standout entry in Vineeth Sreenivasan's filmography.A daring rescue operation by a former Indian soldier on foreign soil drives Karam. Vineeth Sreenivasan crafts a story that gains traction through the anxieties of its characters, but the execution never fully matches the strength of its premise. The film explores the plight of trafficked girls in the grip of a powerful mafia don, though the soldier's backstory is only loosely sketched before the narrative abruptly shifts to a foreign setting. While the pacing and engagement are consistent, the film struggles to deliver the suspense and intensity that such a premise promises.
The plot begins with a military operation leading to court martial proceedings for soldier Dev Mahendran, played by Noble Babu Thomas. Dev's turbulent relationship with Sana (Audrey Miriam) and the disapproval of her father Abdullah (Johny Antony) forms the emotional backdrop. Years later, after marrying Tara (Reshma Sebastian) and moving abroad, Dev's life takes a sharp turn when he encounters Sana in dire circumstances. Determined to free her from the clutches of a ruthless trafficking gang led by Andre Nicola (Ivan Vukomanović, Kerala Blasters' former coach in his impressive acting debut), Dev embarks on a perilous mission, aided by tour agent Kamal Muhammed (Kalabhavan Shajohn).
Noble Babu Thomas shines in his action avatar, combining agility and screen presence with a screenplay he has also penned. His portrayal brings energy to the film, particularly in its fight sequences. However, echoes of Vineeth's earlier film Thira linger strongly, with the foreign setting unable to mask the dejà vu. Baburaj's comic relief as Rosario feels misplaced, while Manoj K Jayan's fatherly role is underwritten and fails to resonate.
Audrey Miriam delivers one of the film's most compelling performances, authentically portraying Sana's desperation and anguish. Jomon T. John's cinematography adds visual depth, and Shaan Rahman's music complements the mood well. Still, the screenplay rarely strays from predictable territory.
In the end, Karam works as an earnest action thriller but never rises above its safe narrative choices. With tighter writing and more inventive suspense, it could have been a standout entry in Vineeth Sreenivasan's filmography.
