Viruman' Review

2022 - 8 - 12

Post cover — Image courtesy of "The Hans India"

Viruman Movie Review and Release Day LIVE UPDATES: Viruman ... (The Hans India)

Viruman is an Indian Tamil-language masala film written and directed by M. Muthaiah and starring Karthi and debutant Aditi Shankar, while Rajkiran, ...

Muthiah has stuck to the basics and has given us what we expect. Emotions to comedy - everything works. Father-son at loggerheads story with good dose of Muthaiya style of drama makes this engaging so far. — Prashanth Rangaswamy (@itisprashanth) #Virumaninterval - Sema fun, perfect meter. @Karthi_Offlexcels in an emotionally driven role, holding the film throughout along with the SUPERB cast it has. The film is produced by Jyothika and Suriya under 2D Entertainment

Viruman review: Karthi's rural entertainer is tepid and formulaic (The News Minute)

In his previous film 'Devarattam', Muthaiah used sexual violence as a prop to further the hero's arc. In 'Viruman', it is domestic violence.

GM Sundar is wasted in the role of a corrupt MLA. The film is resolutely about Viruman vs Muniyandi, with each trying to get the better of the two. This is a small town where a young woman can have no aspirations other than marriage; but this is also a small town where a young woman can kiss a man on the lips in front of the panchayat because it makes for a good interval block. The bad men use ‘pombala’ (woman) as an insult; the good men think a ‘pombala’ is a ‘pokkisham’ (treasure). None of them think a ‘pombala’ is human, and can do more in life than stand around witnessing their endless clashes. For the rest of the film, she is a photograph. Cut to the present, and Viruman makes his entry in a wrestling competition.

Viruman movie review: Karthi leads a predictable but engaging drama (Hindustan Times)

Viruman movie review: Karthi's film is a predictable but engaging rural drama. While Viruman is no Komban, it works. Mostly because of the performances and ...

Viruman grows up into a fine young man but his hatred towards his father remains intact and he looks forward to opportunities to teach his father a lesson. Viruman is no Komban, the last outing from the Muthaiya-Karthi combo, but it’s definitely one of the better rural-based stories to come out of Tamil cinema in recent years. Filmmaker Muthaiya is probably the lone Tamil filmmaker – even after close to a decade since his debut – who still continues to make rural-based stories.

'Viruman' movie review: Karthi and Prakash Raj are endearing in ... (The Hindu)

'Viruman' starring Karthi and Aditi Shankar is definitely an upgrade from Muthaiya's previous films. At best, it is watchable and to some extent, ...

Viruman movie review: Karthi's film is passable (The Indian Express)

Karthi in Viruman. Director Muthaiya has developed a reputation as being one of the few Tamil directors, who can pull off films about rural Tamil Nadu. Yet, his ...

At the end of the day, the problems notwithstanding, Viruman is a safe film for both the makers and the audience. In Viruman, there is a scene where Thaen’s face reflects on Viruman’s dead mother’s photo – it was one of many instances where I laughed at the film. Not just the old ideas, the film also harps on the outdated formula of Tamil cinema, where everything ends on a happy note. Viruman is conflictless from the start. However, Viruman is uncontrollable, and he is moments away from going for the kill. Like all his previous films, Viruman is another straightforward film with moralistic stands and conservative ideas that are welcomed by the masses.

'Viruman' Review: An uninventive film with unintended humour... (The New Indian Express)

Of course, in that film, Yuvan Shankar Raja delivers an unforgettable album, and the same cannot quite be said about his work here. I spent some time thinking ...

Once the heroine gets established in a temple, it’s time for a villain scene, and then, a fight scene, and then, a comedy scene, and then, a duet… At some point in the first half, Viruman comments, “Elaam palasaa irukke…” I doubt I could come up with anything more straightforward to summarise this film with. In one serious scene, a bad guy—with intentions of causing trouble—asks the restaurant owner to bring him eggs, and the latter shows his resistance by bringing back a slate on which he’s drawn five circles. A new scene shows someone lighting a vilakku in a temple and instantly, you can sense that the heroine's arrival is imminent. Though preoccupied in thought, I found that I could make accurate guesses about everything happening in the film. Director Muthaiya’s latest template exercise is that sort of film—it allows you time for plenty of casual musing, while it goes about checking the usual boxes.