It’s a film that begins promisingly, with most of the first half spent explaining the many dealings that make this courthouse corrupt. We see RJ Balaji playing a crooked lawyer named Baby who has cooked the entire system. Two simpletons walk into this court expecting justice, and it requires the intervention of a God to make matters move. Despite all the time the film spends early on to set the rules of this fantastical world, we see the film working just as hard to undo the workings of this premise. Take, for instance, the perfectly plausible interpretation of Suriya’s mega monochromatic entry as Karuppan. We’re told that Baby has consumed a psychedelic, and we see Karuppan reveal himself to Baby during his hallucination. These images are dreamlike, and we see the film take the imagery of an anime to plant this Godlike entry. And yet, a scene later, there’s absolutely nothing magical about the manner in which Preeti (Trisha) can see Karuppan perform his Godly duties like it’s no big deal.
Sillier still is the promise Karuppan is required to make, only for the plot to move further. Baby insists that Karuppan is not allowed to make use of his powers to directly clean up the system. Just two scenes after this agreement, we see Karuppan forget the rule to descend on this courtroom with all his might. It’s as though the makers realised that a small-town lawyer is of no match for a man who presents himself as God and then went backwards to create odd-sounding weaknesses for this character. It forces us to believe that Karuppan’s powers are limited to a particular area, a lot like the network of a mobile phone service provider. We’re also made to believe in grand sub-plots which involves relocation of an entire courthouse, just so the lawyers and judges can escape the powers of Karuppan.
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