New Delhi:
There is some poem irony about a film called a film Examination It eventually fails in its exam.
Like a promising student, who stumbles in the theoretical but application, the first starts in the first beginning of the direction of S Sasikant swings on intensive subjects, yet only stops to stop, leaving the audience with the sensation of possible untrue.
In the huge metropolis of Chennai, three lives are a high-wide-one against the backdrop of the India-Pakistan cricket match. Arjun Venkatraman (Siddharth), once India’s cricket superstar, now faces his career dignity, his form is deteriorating rapidly as his relations with wife Padma (Meera Jasmine) and son etc.
Meanwhile, school students Kumukh (Nayantara) prevent an intense desire for motherhood after a disastrous abortion, giving a final chance in IVF which is a coincidentally the last day of the important match.
Her husband, Saravanan (R Madhavan), as the owner of a canteen, chases an MIT-educated scientist, secretly a revolutionary hydro-fuel project, while drowning debt sharks in debt, which responds to a match-fixing syndicate led by jeweler Dharmesh (Wine Verma).
The base bears the real intrigue – three persons, each with their own personal tests, their fate is connected through the circumstances, which are both deprived and resulting. The film makes a brave effort to detect moral ambiguity and length, in which the passion may run otherwise rational ones.
“The world does not exist in the binary, this F *** ING is unfair,” in a decisive scene, Saravanan says, a statement that serves as the philosophical spine of the film.
Nevertheless, for all its ambitious thematic aspirations, the struggle struggles with execution. In 145 minutes, the film becomes a patient test, which rotates through the emotional beats that are repeated while failing to cultivate real relations with their hero.
Character development occurs through exhibition rather than organic revelation – we have been told about Kumukh’s maternal desires, Arjun’s professional concerns and scientific ambitions of Saravanan, rather than that they can experience these care with them.
The quality of performance varies widely in the dress. Madhavan turned a standout, making Saravanan’s lineage frustrated uncomfortable, expressing her eyes with her first appearance.
Nayantara navigated Kumukh’s emotional unrest with commendable restraint, although the script sometimes reduces her character for an dimensional conception of motherhood.
The most disappointing Siddharth is the depiction of Arjuna eagerly in the form of wood – an emotional flatline in a role that demands a fine change.
Technically, the test provides moments of real achievement. Cinematographer Viraj Singh Gohil craft blindly striking frames, especially during cricket sequences, rebuild the stress of international sports. The score of singer-turn-composer Shakthri Gopalan offers emotional texture, although it sometimes overcampsen for the emotional shortcomings of the script.
The third acting of the film descends into the thriller area, tries to extend bets through match-fixing conspiracy and moral dilemmas.
However, these elements apply in haste compared to the measured character installation of the previous scenes. Resolutions reach very easily, the film was first installed, reducing moral complexity and revealed a fundamental reluctance to be fully committed to its deep implications.
The test eventually refers to its title sporting format – long, sometimes rewarded, but there is a lack of frequent mobility required to maintain interest in its duration.
Sasikant’s direction shows promise in individual moments, especially in his perspective to visual transition and visual storytelling, but is less than ambition based on overall execution.
Like their characters caught between dreams and reality, thought is present in a marginal place between thoughtful character studies and traditional thriller, never completely successful.
