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Mohanlal-Vysakh duo's 'Monster': A thriller that rains twists

Malayalam's tryst with Punjabi costumes aren't new. So when Mohanlal-starrer Monster, written by Uday Krishna and directed by Vysakh, opens to the vibrant and garrulous Lucky Singh's (Mohanlal) ‘belle belle’ and the turban, the eager audience is quite at home.

Bhamini (Honey Rose) is a She Taxi driver who picks up Lucky Singh on his arrival at the airport. Lucky Singh has a few things to sort out in Kerala and catch the flight back in the evening. 

The Malayali-Sardarji insists on Bhamini's presence with him, which the latter agrees to reluctantly, despite it being her first wedding anniversary and she has to be with her husband. 

Filmmaker Vysakh responds to troller who called 'Monster' a zombie film

Will 'Monster' surpass 'Pulimurugan'? Director Vysakh has the perfect reply

Lucky Singh is adamant and gatecrashes into their personal space, befriends their five-year-old daughter and the nanny Durga (Lakshmi Manchu) and spearheads the celebration.

The movie progresses with few businesses to take note of but leaves enough hints of something big in store. The story then veers into a thriller terrain and keeps on raining twists. Honey Rose's superb performance makes situations convincing, while meticulously choreographed action sequences might kick you out of boredom. Lakshmi Machu also offers some moderate drama. Mohanlal holds his forte with elan.

The charming visuals and faces which fill the frames, a peppy foot-tapping number that beautifully blends Punjabi, Hindi and Malayalam lyrics and an impactful BGM by Deepak Dev will keep you glued to the screen.

Apart from that, the entourage of a huge police force including Siddique, Ganesh Kumar, Lena and Anjali Nair serves as an unwarranted burden on the storyline.

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ലൈസൻസ് ടു ത്രിൽ; മോൺസ്റ്റർ റിവ്യു

Published: October 21 , 2022 02:24 PM IST

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അനിലും ഭാമിനിയും മകൾ കുഞ്ഞാറ്റയും അടങ്ങുന്ന ‘സന്തുഷ്ടമായ’ വീട്ടിലേക്ക് ഒരുദിവസം സാഹചര്യവശാൽ ഒരു സിങ് അതിഥിയായി (വലിഞ്ഞുകയറി) വരുന്നു. ആദ്യം ഇഷ്ടക്കേടുണ്ടായെങ്കിലും പിന്നീട് അയാളുടെ സാന്നിധ്യം അവർ ഇഷ്ടപ്പെട്ടുതുടങ്ങുന്ന നിമിഷം, കഥയുടെ ട്രാക്ക് മാറുന്നു. കാണുന്നതെല്ലാം സത്യമാകണമെന്നില്ല എന്ന് പ്രേക്ഷകൻ തിരിച്ചറിയുന്നു. സത്യത്തിൽ ആരാണ് ലക്കി സിങ്? അയാൾക്ക് മറ്റെന്തെങ്കിലും ഗൂഢോദ്ദേശ്യമുണ്ടോ?...

ഫീൽ ഗുഡ് തീമിൽ പോകുന്ന ആദ്യപകുതി, ത്രില്ലർ ട്രാക്കിലേക്ക് ഗിയർ മാറ്റുന്ന ഇടവേള, ഇനിയെന്ത് എന്ന ചങ്കിടിപ്പ് കൂട്ടുന്ന പ്രവചനാതീതമായ രണ്ടാംപകുതി, അമ്പരപ്പിക്കുന്ന ട്വിസ്റ്റുകളുമായി ക്ലൈമാക്സ്!... ഇതാണ് മോൺസ്റ്റർ എന്ന സിനിമ.

ബ്ലോക്ബസ്റ്റർ പുലിമുരുകനു ശേഷം ഹിറ്റ് മേക്കർ വൈശാഖും ഉദയകൃഷ്ണയും മോഹൻലാലും ഒരുമിക്കുമ്പോൾ വീണ്ടും പ്രേക്ഷകരുടെ പൾസറിഞ്ഞ ഒരു മാസ് ലാൽ സിനിമയാണ് യാഥാർഥ്യമായിരിക്കുന്നത്. ഇൻവെസ്റ്റിഗേറ്റീവ് ക്രൈം ത്രില്ലറായ ചിത്രത്തിന്റെ ഏറ്റവും വലിയ ഹൈലൈറ്റ് മറ്റൊന്നാണ്. അതാദ്യമേ പറയാം. കമേഴ്‌സ്യൽ മലയാളസിനിമാസംവിധായകർ തൊടാൻ മടിച്ച ഒരു വിഷയത്തെ അതിന്റെ തീവ്രതയിൽ ആവിഷ്കരിച്ചിരിക്കുകയാണ് രണ്ടാംപകുതിയിൽ. ഒരുപക്ഷേ അടുത്തിടെയൊന്നും മലയാളസിനിമയിൽ ഇത്ര ചടുലമായി, ഇത്രയും ദൈർഘ്യത്തിൽ ഒരു സസ്പെൻസ് റിവീലിങ് സീൻ വന്നിട്ടുണ്ടാവില്ല. എണ്ണം പറഞ്ഞ ചില മുഹൂർത്തങ്ങൾ, അതിന് ഹരം പകരുന്ന ദീപക് ദേവിന്റെ ചടുലമായ സംഗീതം. സ്പോയിലർ ആകുമെന്നതിനാൽ അതിലേക്ക് കടക്കുന്നില്ല. ഒരുപക്ഷേ ചിത്രത്തിന് അധികം പ്രൊമോഷനുകളോ ഇന്റർവ്യൂകളോ നൽകാതിരുന്നതും പ്രേക്ഷകന് തിയറ്ററിൽ ലഭിക്കുന്ന ഈ സസ്പെൻസ് കിക്ക് നിലനിർത്താനായിരിക്കും.

‘ലിഫ്റ്റ് നൽകി വീട്ടിലെത്തിച്ച് ‘സൂപ്പർ നടൻ’ പീഡിപ്പിച്ചത് 3 യുവതികളെ!’ അന്ന് രജനിയേക്കാളും പ്രതിഫലം; കെണിയൊരുക്കിയത് മദ്യരാജാവ്?

2009ൽ ‘മീനു കുര്യൻ’; ഒരു ലക്ഷമെങ്കിലും മതിയെന്ന് 2022ൽ; മുകേഷിനെ രക്ഷിക്കുമോ ‘ലാ‌പ്ടോപ് സന്ദേശ’വും സിപിഎമ്മും?

‘അമ്മ’ ഞെട്ടും മുൻപേ ലോകത്തെ ഞെട്ടിച്ചവർ: അന്ന് നിർമാതാവിനെതിരെ 80 വനിതകൾ, ലൈംഗിക പീഡനത്തിന് കൊടുംതടവ്

വൈശാഖിന്‍റെ സംവിധായക മികവിനോടൊപ്പം ഉദയകൃഷ്ണയുടെ ബ്രില്യന്‍റ് സ്ക്രിപ്റ്റും സിനിമയുടെ പ്ലസാണ്. ഒരു കമേഴ്‌സ്യൽ മാസ് സിനിമയ്ക്ക് വേണ്ട ചേരുവകളെല്ലാം സിനിമയിലുണ്ട്. എന്നാൽ ഇതുവരെ മലയാളത്തിൽ അധികം ചര്‍ച്ച ചെയ്യാത്ത ചിന്തയാണ് മോൺസ്റ്ററിനെ വേറിട്ടു നിർത്തുന്നത്.. മോഹൻലാലിനോടൊപ്പം ഹണി റോസും പ്രധാനവേഷം കൈകാര്യം ചെയ്തിരിക്കുന്നു. ലക്ഷ്മി മഞ്ജു, സിദ്ദീഖ്, ഗണേഷ് കുമാര്‍, സുദേവ് നായ‍ർ, ലെന, ജോണി ആന്റണി, കോട്ടയം രമേശ്, കൈലാഷ്, ഇടവേള ബാബു, സാധിക വേണുഗോപാൽ തുടങ്ങിയവരാണ് മറ്റ് പ്രധാന അഭിനേതാക്കൾ.

ദുരൂഹമായ അടരുകളുള്ള സര്‍ദാര്‍ വേഷം മോഹൻലാൽ അവിസ്മരണീയമാക്കുന്നു. തലയിൽ ടർബനണിഞ്ഞുള്ള വേറിട്ട വേഷപ്പകർച്ചയിലൂടെയും കണ്ണിൽ മിന്നിമായുന്ന കുസൃതികളിലൂടെയും മോഹൻലാൽ ആദ്യപകുതിയിൽ പ്രേക്ഷകരെ കയ്യിലെടുക്കുന്നു.

ചിത്രത്തിലെ വില്ലൻ വേഷങ്ങൾ കൈകാര്യം ചെയ്തവരെ കുറിച്ചും പറയാതിരിക്കാനാകില്ല. ഇത്തരമൊരു കഥാപാത്രത്തെ അവതരിപ്പിക്കാൻ ആ അഭിനേതാക്കൾ കാണിച്ച ധൈര്യത്തെ അഭിനന്ദിക്കാതിരിക്കാനാകില്ല. നാല് പതിറ്റാണ്ടിലേറെ നീണ്ട അഭിനയ ജീവിതത്തിൽ ആദ്യമായാകും മോഹൻലാൽ എന്ന താരം ഇങ്ങനെയൊരു എതിരാളിയെ സിനിമയിൽ നേരിട്ടിട്ടുണ്ടാവുക. ഹണി റോസിന്‍റെ ഭാമിനി എന്ന കഥാപാത്രവും ശക്തമാണ്. നടി ലക്ഷ്മി മഞ്ജു മലയാളത്തിലെ അരങ്ങേറ്റം മോശമാക്കിയില്ല. മികച്ച സിനിമകൾ ലഭിച്ചാൽ കത്തിക്കയറാനുള്ള കനൽ ഉണ്ടെന്ന് ഹണിയെപ്പോലെ ലക്ഷ്മിയും തെളിയിച്ചിട്ടുണ്ട്. മറ്റ് അഭിനേതാക്കൾ എല്ലാം തങ്ങളുടെ വേഷങ്ങൾ മനോഹരമാക്കിയിട്ടുണ്ട്.

ചിത്രത്തിന്റെ സാങ്കേതിക മേഖലകൾ മികവ് പുലർത്തുന്നു. സംവിധായകന്റെ ചില ബ്രില്യൻസുകളും ചിത്രത്തിൽ കാണാം. പ്രേക്ഷകർ ലാഘവത്തോടെ വിടുന്ന ഓപ്പണിങ് ക്രെഡിറ്റ് സീനുകളിൽപ്പോലും സിനിമയുടെ സസ്പെൻസിലേക്ക് വഴിതെളിക്കുന്ന സൂചകങ്ങൾ നൽകിയിട്ടുണ്ട്. അതിനാൽ ആദ്യം മുതൽ ശ്രദ്ധിച്ച് സിനിമകാണുക.

ചിത്രത്തിൽ ഗാനങ്ങൾക്ക് വളരെ പ്രാധാന്യമുണ്ട്. കഥയുടെ സാരം ചുരുളഴിയുന്നതുപോലും ഒരു ഗാനത്തിന്റെ അകമ്പടിയോടെയാണ്. ദീപക് ദേവ് ഈണമേകിയ ഗാനങ്ങളും പശ്ചാത്തല സംഗീതവും സതീഷ് കുറുപ്പിന്‍റെ ഛായാഗ്രഹണവും ഷമീര്‍ മുഹമ്മദിന്‍റെ എഡിറ്റിങ്ങും സ്റ്റണ്ട് സിൽവയുടെ സംഘട്ടനവും ചിത്രത്തെ കൂടുതൽ ആസ്വാദ്യകരമാക്കി.

ചുരുക്കത്തിൽ, കൊച്ചിയിൽ ഫ്ലാറ്റ് വിൽക്കാനെത്തിയ ലക്കി സിങ് മടങ്ങുന്നത് പ്രേക്ഷകരുടെ നെഞ്ചിടിപ്പിന്റെ താളം ഉയർത്തിക്കൊണ്ടാണ്. തീര്‍ത്തും തിയറ്റർ മസ്റ്റ് വാച്ചാണ് ചിത്രം.

• Monster Movie Monster Movietest -->
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• Cast & crew
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On their first wedding anniversary, Lucky Singh, an entrepreneur from Punjab walks into the lives of Anil Chandra and Bhamini. Little do they know that this man will change their future On their first wedding anniversary, Lucky Singh, an entrepreneur from Punjab walks into the lives of Anil Chandra and Bhamini. Little do they know that this man will change their future On their first wedding anniversary, Lucky Singh, an entrepreneur from Punjab walks into the lives of Anil Chandra and Bhamini. Little do they know that this man will change their future

• Udaykrishnan
• 18 User reviews
• 2 Critic reviews

Top cast 23

• Lucky Singh …

• Bhamini Chandra …

• Anil Chandra

• [ADGP] Chandrasekhar

• [SP] Joseph Cheriyan

• [CI] Mariam George
• Kunjatta Chandra

• Adv. Vasavan

• [CI] K. Vijayakumar
• [SI] Soumya Dinesh

• [Bhamini's Colleague] Diana

• [Susan] Apartment Caretaker

• [Real] Lucky Singh

• [Real] Adv. Vasavan

• [SI] Gayathri

• Juice Vendor

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• Production, box office & more at IMDbPro

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• Alternate versions The UK release was cut, the distributor chose to make cuts to scenes of strong violence in order to obtain a 12A classification. An uncut 15 classification was available.

User reviews 18

• JasonBrodyJr
• Dec 3, 2022
• How long is Monster? Powered by Alexa
• October 21, 2022 (India)
• Kochi, Kerala, India
• Aashirvad Cinemas
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• Runtime 2 hours 15 minutes

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ലക്കി സിംഗായി മോഹന്‍ലാലിന്റെ പകര്‍ന്നാട്ടം| Monster Review

മഹേഷ് കുമാര്‍, 21 october 2022, 01:25 pm ist.

മോൺസ്റ്ററിൽ മോഹൻലാൽ

ഇതൊരു പരീക്ഷണമാണ്. മലയാളത്തില്‍ ആരും പറയാന്‍ മടിക്കുന്നൊരു പ്രമേയം. തീര്‍ത്തും വ്യത്യസ്തവും പുതുമ നിറഞ്ഞതുമായ ആ പ്രമേയത്തിന്റെ ധൈര്യപൂര്‍വ്വമുള്ള ചലച്ചിത്രാവിഷ്‌കാരമാണ് മോണ്‍സ്റ്റര്‍. താരതമ്യം ചെയ്യാനോ, ഒത്തുനോക്കാനോ പോലും ഇതുപോലൊരു സിനിമ മലയാളത്തില്‍ മുമ്പുണ്ടായിട്ടില്ലെന്നുറപ്പിച്ച് പറയാം. കൊവിഡ് മാറിയെങ്കിലും കുറച്ചുനാളുകളായി തീയേറ്ററിലേക്ക് വരാന്‍ മടിച്ചു നില്‍ക്കുന്ന മാസ് പ്രേക്ഷകരെ തീയേറ്ററിലേക്ക് എത്തിക്കാന്‍ മോണ്‍സ്റ്ററിന് സാധിക്കുമെന്നാണ് പ്രതീക്ഷിക്കപ്പെടുന്നത്. മാറിയ മനുഷ്യരെ അവരുടെ ന്യൂനോര്‍മല്‍ ജീവിത പരിസരങ്ങളെയൊക്കെ മോണ്‍സ്റ്ററില്‍ കാണാന്‍ കഴിയും.

ട്രെയിലറും ടീസറും പ്രൊമോഷനുമെല്ലാം സൂചിപ്പിച്ചത് പോലൊരു ഇന്‍വെസ്റ്റിഗേറ്റീവ് ത്രില്ലറാണ് ചിത്രം. ലക്കി സിംഗാണ് ചിത്രത്തിലെ പ്രധാന കഥാപാത്രം. കൊച്ചിയില്‍ താന്‍ വാങ്ങിയ ഫ്‌ലാറ്റ് വില്‍ക്കാനായി ഡല്‍ഹിയില്‍ നിന്നും ലക്കി വരികയാണ്. ലക്കിയായി മോഹന്‍ലാലിന്റെ പകര്‍ന്നാട്ടം അസാധ്യ പ്രകടനമാണ്.

കയ്യടി അര്‍ഹിക്കുന്ന മറ്റൊരു പ്രകടനം നടി ഹണി റോസിന്റേതാണ്. ഒരു കഥാപാത്രത്തില്‍ നിന്നും മറ്റൊരു കഥാപാത്രത്തിലേക്ക് കടക്കുമ്പോള്‍ സ്വയം പുതുക്കി മറ്റൊരു വ്യക്തി തന്നെയായി മാറാന്‍ കഴിയുന്ന താരമാണ് ഹണി. ട്രിവാന്‍ഡ്രം ലോഡ്ജിലെ ധ്വനിയെ നമ്മള്‍ കണ്ടതാണ്. അതിലും മികച്ചൊരു വേഷമാണ് ഇതില്‍ ഹണിയുടെ ഭാമിനി. ഇനിയും ഒരുപാട് എക്സ്പ്ലോര്‍ ചെയ്യാനുള്ള നടി തന്നെയാണ് ഹണി.

മുഖത്ത് പ്രകടമാകുന്ന മൈന്യൂട്ടായ ചില ഭാവങ്ങളിലൂടേയും ശരീരഭാഷയിലൂടേയുമൊക്കെ അധികം സംസാരിക്കാതെ തന്നെ തന്റെ കഥാപാത്രത്തെ മനോഹരമാക്കാന്‍ ചിത്രത്തില്‍ ലക്ഷ്മി മാഞ്ചുവിന് കഴിഞ്ഞിട്ടുണ്ട്. തുടക്കം മുതല്‍ ഒടുക്കം വരെ ഒരു നിഗൂഢതയുടെ അന്തരീക്ഷം സൃഷ്ടിക്കാന്‍ കഴിഞ്ഞ സംവിധായകന്റെ ക്രാഫ്റ്റ് പറയാതിരിക്കാനാവില്ല.

പ്രത്യേകം സ്പൂണ്‍ഫീഡ് ചെയ്തുള്ള കഥ പറച്ചില്‍ അല്ലാതെ സിനിമ പ്രേക്ഷകരുടെ ചിന്തിക്കാനുള്ള ശേഷിയെ മാനിച്ചുകൊണ്ട് തന്നെയാണ് സിനിമയുടെ ഒഴുക്ക്. ഉദയകൃഷ്ണയുടെ സ്‌ക്രിപ്റ്റ് ഇവിടെ പ്രത്യേക അഭിനന്ദനമര്‍ഹിക്കുന്നതാണ്. അതോടൊപ്പം ചിത്രത്തെ ഏറ്റവും കൂടുതല്‍ സഹായിച്ചിരിക്കുന്ന ഘടകങ്ങളിലൊന്ന് സിനിമയുടെ സാങ്കേതികവശമാണ്.

അതോടൊപ്പം നടന്മാരായ സിദ്ധീഖും ഗണേഷ് കുമാറുമെല്ലാം തങ്ങളുടെ അനുഭവ സമ്പത്തിന്റെ കരുത്തിനാല്‍ അഭിനയത്തിലെ അനായാസതകൊണ്ടും ഒഴുക്കു കൊണ്ടും കൈയ്യടി നേടുന്നുണ്ട്. എല്ലാ അര്‍ത്ഥത്തിലും പുതുമയുള്ള സിനിമയാണ്. വൈശാഖിന്റെ മുന്‍ മാസ് ആക്ഷന്‍ സിനിമകളില്‍ കണ്ടിട്ടുള്ളതില്‍ നിന്ന് വിഭിന്നമായ ട്രീറ്റ്‌മെന്റാണ് മോണ്‍സ്റ്ററിലേത്.

ലക്ഷ്മി മഞ്ജു, സിദ്ദിഖ്, ഗണേഷ് കുമാര്‍, സുദേവ് നായര്‍, ലെന, ജോണി ആന്റണി, കോട്ടയം രമേശ്, കൈലാഷ്, ഇടവേള ബാബു, സാധിക വേണുഗോപാല്‍, അഞ്ജലി നായര്‍ തുടങ്ങി ചിത്രത്തിലെ എല്ലാ താരങ്ങളും തന്നെ തങ്ങള്‍ക്ക് ലഭിച്ച വേഷങ്ങള്‍ മനോഹരമാക്കിയിട്ടുണ്ട്. അതോടൊപ്പം തന്നെ ചിത്രത്തില്‍ കുഞ്ഞാറ്റ എന്ന കഥാപാത്രമായെത്തിയ ജെസ് സ്വീജന്‍ എന്ന കുട്ടിയുടെ പ്രകടനവും ശ്രദ്ധേയമാണ്.

എന്നും ഹെവി ബജറ്റ് ആഘോഷ ചിത്രങ്ങളുടെ സംവിധായകനായ വൈശാഖ് പക്ഷേ മോണ്‍സ്റ്റര്‍ ഒരു പക്കാ ഇന്‍വെസ്റ്റിഗേഷന്‍ ത്രില്ലറായാണ് ഒരുക്കിയിരിക്കുന്നത്. മികച്ച ഡീറ്റേയിലിംഗും സിനിമയുടെ ആസ്വാദനത്തെ വളരെയധികം സഹായിച്ചിട്ടുണ്ട്. ദീപക് ദേവ് ഈണമേകിയ ഗാനങ്ങളും പശ്ചാത്തല സംഗീതവും സതീഷ് കുറുപ്പിന്റെ ഛായാഗ്രഹണവും ഷമീര്‍ മുഹമ്മദിന്റെ എഡിറ്റിംഗും സ്റ്റണ്ട് സില്‍വയുടെ സംഘട്ടനവും ചിത്രത്തെ കൂടുതല്‍ ആസ്വാദ്യകരമാക്കിയിട്ടുണ്ട്. തീര്‍ച്ചയായും ചിത്രം സംസാരിക്കുന്ന വിഷയത്തിന്റെ പ്രാധാന്യവും ഈ കാലഘട്ടത്തിലെ അനിവാര്യതയും കണക്കിലെടുത്ത് ചിത്രം പ്രേക്ഷകര്‍ക്കിടയില്‍ വലിയ ചര്‍ച്ചാ വിഷയമാകുമെന്നുറപ്പാണ്

Content Highlights: Monster Review, Mohanlal Film, Honey Rose , Lakshmi Manchu, Vysakh, Udayakrishna

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Monster Movie Review: Crude, crass, energy-draining beast

Rating: ( 0.5 / 5).

There have been only a few occasions when I felt sorry for myself while sitting inside a movie theatre, and they all happened after I started a career in film journalism. When not writing about films, there is the option of avoiding them -- and safeguarding your mental health in the process; unfortunately, that's become near impossible now.

Director: Vysakh Cast: Mohanlal, Honey Rose, Lakshmi Manchu, Lena

There was a time when the terrible films of Mammootty and Mohanlal tormented me. Lately, though, the former seems to have grown more sensible with regard to his script choices. On the other hand, the latter seems to be going in the opposite direction, and he doesn't seem to care -- except when asking reviewers to learn about filmmaking before talking ill of a film? My question is this: If someone is so passionate about filmmaking or good cinema, why agree to do films like Monster , Aaraattu , Big Brother , and Neerali ?

Just when I thought things couldn't get any worse than Aaraattu , here comes Monster , a creation of the same writer, Udayakrishna. I paused to reflect on which of the two is the worst, and my answer has to be Monster . I would've said Aaraattu considering it's longer than Monster , but the latter managed to inflict as much pain despite its relatively shorter runtime. And since I end up exhausted by the end of one of these films, it's also become quite a challenge to expend whatever energy I have left to write about it. I'll try.

Before the release of Monster , there were speculations about it containing zombies and vampires. There is no such thing. I don't know who started that rumour. Perhaps the makers themselves did it through one of their clandestine promotion teams -- you know, to create hype through negative publicity because that's actually a thing. That said, the film exhibits the traits of a vampire in that it sucks your energy instead of blood. I would've included the actors, too, but then I remembered that actors only do what the writer and director tell them to do.

Let me start with Mohanlal's 'Lucky Singh', yet another over-the-top investigator-in-disguise who feels like an extension of his character in the recent 12th Man . Of course, one can see that it's deliberate, but just because a character has to assume a different identity to mislead others, it doesn't mean we should endure everything thrown at us. In 12th Man , Jeethu Joseph was smart enough not to stretch the 'drunken guy' act beyond what was necessary. In Monster , however, Lucky Singh isn't a drunk, but he puts on the garb of an annoying chatterbox who makes every woman he meets uncomfortable. Let's remember that Mohanlal once did a wonderfully entertaining undercover movie called Olympian Antony Adam , where he got the job done without going overboard. Where did today's makers suddenly get the idea that the lamest of dialogues and jokes can entertain audiences? Don't they see that it's no longer working?

For some odd reason, writer Udayakrishna seems to think he is being clever by having Lucky Singh behave like he is participating in a wordplay competition. The effect is more annoying than astonishing. The early developments take a long time to simmer -- imagine an extreme version of that wallpaper scene from TP Balagopalan MA Only here, Lucky Singh isn't selling wallpapers, only his false identity.

I should admit the pre-interval development was a nice touch; it's effective at piquing one's curiosity. But everything starts to go haywire post-interval when more characters enter the picture, most of them faces you'd recognise in an AMMA event photograph. It gets to a point where you start wondering whether things got even more ridiculous when these characters started acting all 'serious' or when they used to be silly. There is a scene where Mohanlal is briefing his khaki-clad colleagues, who sport an expression that seems to say they are already aware of how ludicrous the entire script is but are somehow trying so hard to look serious. Looking at their 'attentive' faces, one would think Lucky Singh is telling them about some Illuminati conspiracy. And what about Lucky Singh showing up in a motorcade of black Mercedez Benzes flanked by sub-ordinates who look like they just got back after filming an Indian remake of Men in Black ?

The atrocity attains its zenith when we learn the identity of the serial killers. One gets the feeling the makers have something against a particular community. In the pursuit of doing something 'different', the makers conjure a background story for the killers that is as unconvincing as it is insensitive.  The writing is crass and devoid of grace that it leaves a sour aftertaste. Why make them look like stock villains? Was there no space for nuance or layers? Why ask them to talk and pose in a stereotypical way? What's with the amateurish music video-style visualisation?

Also, why name the film Monster ? Yes, we get a mention of it through Lucky Singh's closing dialogue, but it is as senseless as everything else in the movie. There was a mention of 'monster' in Aaraattu too, and I don't get the obsession. Is there a UCU (Udayakrishna Cinematic Universe) in the making? I shudder at the thought.

In a pre-release promo video, Mohanlal said the film's screenplay is both hero and villain. Well, having seen the movie, I can say I understood half of it.

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Monster Movie Review (2022)

Vysakh's 'monster', with mohanlal and honey rose, is a pulpy thriller that entertains until it starts to explain itself.

Monster Movie Cast & Crew

I'll begin by saying that Vysakh's Monster is not a "tasteful" film. It's a film for those with an appetite for trashy pulp fiction, where you keep turning the pages feverishly in order to find out who the bad guy is. Mohanlal plays a turbaned man named Lucky Singh, a Malayali settled in Punjab, and the minute he says " soni kudi ", you know this is not something you take seriously. Short of shaking his shoulders to shouts of balle balle , Mohanlal plays not a character but a caricature. This, I think, is intentional. The man is a total pile-on, a total pest. We are irritated with his mannerisms. We are unable to bear his larger-than-life way of sucking up all the air in the room. And this mirrors the state of mind Bhamini finds herself in. In short, when Lucky Singh hops into Bhamini's cab and spends the day with her, we find ourselves completely empathising with her annoyance and discomfort.

Honey Rose gives a fantastic performance as Bhamini – and this is something you may realise only after the film. It is her first wedding anniversary and she wants to be home, but Lucky Singh latches on to her like a leech. Watch every single emotion on Honey Rose's face, and then recall them after the climax – you will see how cleverly her character is written and how well the actor performs. Monster opens with Bhamini and her husband (Sudev Nair) who has lost his job. They have a little daughter, and their financial situation is dire. They live on the kindness of others, like the nanny played by Lakshmi Manchu. This nanny continues to work despite not having been paid for months. The only wage-earner in the family is Bhamini, who works for a cab company called She-Taxi. The significance of this name will, again, register later.

The writer, Udaykrishna, keeps building the screenplay with small details. One, Bhamini is an orphan. Two, she is not much of a socialiser – she likes to be with her small family and cherish every small moment. So on and so forth. All of this adds to the character in ways we don't expect – and then, the film begins to pile on the twists. There's a murder. The security guard says he never saw Lucky Singh, so are we in a ghost story? Is all of this happening in Bhamini's head, due to her difficult situation? I laughed at the outrageous plot turns, but I must admit I was also gripped. Monster is utterly unpredictable for the most part. At one point, Mohanlal's body language changes. At another point, Honey Rose's body language changes. We realise a lot of this is being done to fool us, the audience, but I was game for the ride. I love shamelessly pulpy stuff (and this film is exactly that), and I needed to get to the bottom of it all.

But when the explanations begin to arrive, the air leaks out of the narrative. Some of the planning to catch the culprit is really far-fetched – but that part is still okay, it’s still part of how pulp works. It's the big fight at the end and the hurried depiction of a relationship that leaves a really bad taste as you walk out of the theatre. In principle, I am not against people being portrayed in a certain way. We are inside fiction, and we have to understand that the sensitivity we have in real life might be sacrificed for the sake of thrills. But this last section is so sudden and so out of a Chinese martial arts movie that you lose any sympathy the film is trying to create in order to justify the murders. The characters become caricatures, very much like Lucky Singh. If that had been addressed, this enjoyable film might have become a moving film as well.

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Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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Home » Review » Monster movie review: Mohanlal, Honey Rose's experimental thriller yields mixed results »

Monster movie review: Mohanlal, Honey Rose's experimental thriller yields mixed results

Depicting how the society treats homosexuals as the reason for its characters to turn criminals negates whatever daring the makers of Monster had tried.

• Sanjith Sidhardhan

Last Updated: 06.01 PM, Oct 21, 2022

Lucky Singh, a hotelier from Punjab, lands in Kochi to complete a flat transfer deal and return the same day. Ferrying him around is can driver Bhamini on her first wedding anniversary. Coincidentally, Lucky's flat is in the same complex as Bhamini's and he becomes an unwelcome visitor in her family's life for the day. But is Lucky all that he says he is or does he have another motive?

In a scene in director Vysakh's Monster , two cops tell their superior that they have done all that they have been asked to but are still confused about what's going on. This happens after they have apprehended a suspect of a murder case and also have gone great lengths to verify the suspect's claims by bringing a man who was in another State. At times, while watching the Mohanlal-starrer, it won't be too far-fetched to say that the cops' thoughts also reflect what the audience is feeling. This greatly has to do with how the script of the film has been structured - mainly to hold off the middling suspense. 

The film revolves around the visit of a Punjabi-Malayali entrepreneur named Lucky Singh, who is ferried around Kochi by cab driver Bhamini. His intrusive ways also mean he becomes an unwelcome guest at her first wedding anniversary. But after Lucky departs, Bhamini is caught up in a mess she has no explanation for. Is Lucky who he claimed he was and what were his true intentions? - the answers of these form the plot of this Udaykrishna directorial, which has his usual staple of 'mass' moments, a convoy of cars and the male gaze.

Also read: Exclusive! Lakshmi Manchu: Mohanlal’s Monster gave me a chance to push myself and step out of my comfort zone  

Both Udaykrishna and Vysakh had admitted that Monster doesn't follow their usual template of entertainers and it doesn't. In fact, the movie is structured such that it starts off as a supposed comedy, moves to a family drama, proceeds as an investigative drama and finally ending as a crime thriller with some action. Sadly, for most parts, the movie doesn't work, and even when it does, in the latter half, it does come with its set of problems. Depicting how the society treats homosexuals as the reason for its characters to turn criminals doesn't land as intended and painting the characters evil, in fact, negates whatever daring the movie's makers had tried. But due credit, this is also where the film becomes interesting. The action sequences, especially the one in the climax, is a standout for several reasons. 

Also read: Exclusive! Mohanlal’s Monster has a mixed genre and several unexpected turns: Sudev Nair

For Mohanlal, the role is a cakewalk (no pun intended). As Lucky Singh, he is jovial and loud, and sometimes irritable too. But that's what the writer seems to have gone for. He also gets his share of moments that play to the gallery. The rest of the cast, however, fails to raise the energy. You could feel this by how the movie's pace slackens when the actor is not there. Honey Rose is probably the only other actor to stand out here, partly getting the audience to empathise with her situation in the first half.

All said and done, even though the movie was initially planned as an OTT release, it does have a few tricks up its sleeve to excite die-hard Mohanlal fans but apart from that, this Monster lacks teeth.

Mohanlal's Monster is a mishmash of several genres and only works when the makers focus on the crime thriller aspect. Apart from a few scenes, which the makers are pushing as new territory for mainstream superstar-driven movie, the film leaves much to be desired.

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Monster (U/A) 21/Oct/2022 Action, Thriller 2hrs 15mins

Critics Review

Mohanlal's cringey acting as a sikh rivals the script's creepy homophobia.

The stereotyping of LGBT-plus persons in Monster is unrelenting. A lesbian couple are filmed through an unapologetically lascivious lens � bosoms heaving as they hungrily tear into each other with their eyes before their bodies collide with an animal fervour, unmindful of the company in the room � in a scene evidently designed to cater to a common cis-heterosexual male fantasy of watching women make love to each other. In a country where conservatives often describe homosexuality as a �Western concept�, Monster even has an English song playing in the background while summarising a same-gender romance in the storyline. (more)

Source: Anna, Firstpost.com

A homophobic failure

The film is all about a monster who has the choice to use the trust of his fans to take up the Malayalam cinema or to bring it down. Well, do fans and films need any logic? (more)

Source: TOI, Times Of India

This Mohanlal film is outright offensive

It�s time Mohanlal stops signing every film that comes to his reading table. Instead, he has to pick the projects that honour his formidable body of work spanning over four decades. This is not the movie for a versatile actor who has given us Iruvar, Kireedam and Drishyam. This is a film for amateurs and is not meant to be performed by a cinema giant. (more)

Source: Manoj Kumar, Indian Express

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Monster review: This Mohanlal film claims to be progressive, completely messes up

Warning: This review has major spoilers and discusses the ending of the movie. Do not read further if you don't like spoilers.

Monster , Mohanlal’s new film written by Udaykrishna and directed by Vysakh, comes with many problems. Four days before the film released, there were reports of a ban in Gulf countries because it has LGBTQIA+ content. The filmmakers had however not given an official statement confirming or denying it. Perhaps it is because the LGBTQIA+ content comes out only towards the end of the film, forming its climax and the answer to the crime the film has been trying to solve. Even if you brush aside the poor scripting and filmmaking and annoying characterisations until then, you have to call out the brash, problematic and completely senseless portrayal of a lesbian couple, played by Honey Rose and Lakshmi Manchu.

Mohanlal is introduced as Lucky Singh, an important client of the taxi service that Bhamini (Honey Rose) works for as a driver. The long sequences of the taxi ride, meant for mass appeal and comedy, appear more like a punishment, a sentence given to those who chose to watch the movie early in the morning. To give the Punjabi air, the beats of Bhangra are in the background every time Mohanlal delivers a ‘punchline’ – which mostly circle around how pretty Bhamini is, or Lucky Singh’s bachelorhood. To add to it, Lucky has to make cracks about the woman driver not knowing a thing about a puncture fix.

'Subtle' messages like these pour out from scene 1. Bhamini is cooking breakfast for the family and her husband Chandran (played by Sudev Nair) laments that she has to do all this work and she promptly says, “That’s ok, it is for my family right?” To every woman and particularly every feminist hearing this, the film seems to say, "Don’t make a big deal out of cooking." Both Sudev and Mohanlal’s characters are shown as men who cook, with Lucky Singh pointedly adding, “of course men should know how to cook.”

In the midst of it all is also a child called Kunjatta, looking very much like Baby Shalini of the 1980s — Jess Sweejan playing the kid of the couple Bhamini and Chandran. She does a good job, dancing to a totally unnecessary song Lucky begins singing in their apartment, after barging into the house. Perhaps the only likeable character in the whole script. Though it is not clear what the purpose of Kunjatta is, except by way of allowing the entry of Durga (Lakshmi Manchu) as her ayah.

Watch: Trailer of the film

After giving the fans all the mass scenes and comedy, Lucky begins to show a different side of his, pulling out a gun, acting mysterious, throwing Bhamini into a crime she had no part in. The big suspense behind Bhamini’s so-far nice and loving character only comes out in the climax, in a big haunted-looking house that Mohanlal enters alone, unarmed. By then Lucky has changed costumes and is in the robes of an investigating officer — his turban's gone, but the beard stays. That’s when you are given the back story of Bhamini and Durga, who both remove their disguises and put angry expressions on their faces.

They tell their story of humiliation from many years ago — drawing from  the real life wedding of a lesbian couple, legally recognised by a Haryana court in 2011. Durga – also known as Catherine – says how, after the wedding, the two women were attacked in their house, dragged out, beaten up and humiliated. And how the law that should have protected them did nothing. You cannot, for a minute, appreciate the momentary honesty the script allows, because by then the couple reveal that they turn to crime as a way of making money to go somewhere outside the country so they could live together peacefully.

The crime they choose is murder, Bhamini pretending to fall in love with a man, marrying him, making him take an insurance of a large amount in her name and then killing him so the money comes to her. Right, after going through some really horrible humiliation, the first thing they choose to do is turn to crime. A terrible portrayal by a film that claims to be progressive, as if LGBTQIA+ communities in the country aren't demonised enough already. As if LGBTQIA+ people need more stereotypes than those already imposed on them. Please, you’d want to tell the makers, if this is how you make progressive content, stop.

Disclaimer: This review was not paid for or commissioned by anyone associated with the series/film. TNM Editorial is independent of any business relationship the organisation may have with producers or any other members of its cast or crew.

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Monster movie review: Mohanlal’s cringey acting as a Sikh rivals the script’s creepy homophobia

Mohanlal hams to embarrassing levels as the team of Monster tries to camouflage their closeted conservatism by pretending to care about LGBT-plus rights

Language: Malayalam with some Hindi and Punjabi  

Cast: Mohanlal, Honey Rose, Sudev Nair, Lakshmi Manchu, Leena, K.B. Ganeshkumar, Siddique, Johny Antony       

Director: Vysakh

Star rating: 0.25/5

Sikhs, Punjabis and homosexuals are not viewed as people by the team of Monster . Instead, they’re seen as gimmicks, tools to build suspense and write grand reveals in a crime drama.

Full marks to director Vysakh and writer Uday Krishna for being consistent in this new Malayalam film – consistently cringeworthy.

Monster begins with a women-drivers-only taxi service sending Bhamini (Honey Rose) to ferry a client named Lucky Singh ( Mohanlal ) around Kochi. When they meet, she is put off by his over-familiarity. Almost as off-putting as Lucky’s flirtatious, creepy conduct with a woman young enough to be his child and a stranger mistaking her for his wife, is the veteran actor hamming his way through the role of a Sikh and pretending to be a natural Punjabi speaker though his awkwardness with the language is glaring. Lalettan in Monster sprinkling Punjabi and Hindi in his conversations with Malayalis in Kerala who do not know either is as ridiculous as Suresh Gopi ’s character in the recent Mei Hoom Moosa peppering his sentences with Hindi in a village in the state. It is contrived, unrealistic and truly silly.

Next in Monster , an alleged crime occurs, a probe follows and fugitives are apprehended.

After a terrible first half, there is for a short while in the second half some excitement generated about the possible identity of the various parties involved and the motivations of the criminals, but no aspect of Monster is so effective as to overshadow its unfailingly superficial script, generic treatment, crudeness, clumsy dialogues and Mohanlal’s self-conscious acting.

At one point, Monster decides to bat for LGBT-plus rights. It should have spared the world the effort because, as we learn from watching this film, a closet homophobe faking progressiveness can be worse than open homophobia.

The characterisation of the homosexual individuals in Monster and the awful acting are both geared to fit prevailing prejudices. The writer is confused, misinformed and ignorant about laws regarding marriage and same-gender relationships in India. He compounds this grievous laxness towards his theme with an apparent cluelessness about the difference between legal sanction and social acceptance. Certain characters spout lines that are purportedly considerate towards homosexuality, yet their vocabulary is never free of an us-vs-them mentality.

Certain aspects of Monster reminded me of a horrendous Hindi film called Girlfriend released in 2004 in which the lead was a murderous, kickboxing, mobike-riding lesbian who – to top off the stereotypes – chopped her long hair part way through the narrative, and in the end was revealed to be (wait for it!) Christian. The saving grace in that episode was that Girlfriend ’s writer-director Karan Razdan was a marginal player who never made it big in films, just like its stars Isha Koppikkar, Amrita Arora and Aashish Chaudhary. It is a matter of shame that Vysakh, in contrast, is the hugely successful maker of the blockbusters Pokkiri Raja and Pulimurugan , Uday Krishna is his equally successful, long-time collaborator, and Mohanlal, as one of the foremost names in Malayalam cinema history, is clearly not struggling to get offers. What then is this trio’s excuse for creating a film as horrifically regressive as Monster ?

One of the heartening facets of contemporary Malayalam cinema has been the normalisation of Kerala’s religious minorities. This month though has been a sad reminder that Malayalam filmmakers are not free of bigotry and play-it-safe trickery. Exhibit A: the Islamophobia in Mei Hoom Moosa . Exhibit B: a homophobic filmmaker pointedly identifying the homosexuals in Monster as Christian, thus protecting himself from the anger of majoritarian elements in the audience in a largely anti-LGBT society. In doing this, Vysakh follows in the footsteps of not just the obscure Girlfriend , but also Pan Nalin’s much-acclaimed Hindi-English film Angry Indian Goddesses (2015).

The stereotyping of LGBT-plus persons in Monster is unrelenting. A lesbian couple are filmed through an unapologetically lascivious lens – bosoms heaving as they hungrily tear into each other with their eyes before their bodies collide with an animal fervour, unmindful of the company in the room – in a scene evidently designed to cater to a common cis-heterosexual male fantasy of watching women make love to each other. In a country where conservatives often describe homosexuality as a “Western concept”, Monster even has an English song playing in the background while summarising a same-gender romance in the storyline.

In its choice of title, Monster mirrors the likes of the Tamil thriller Ratsasan (Demon / 2018), which villainised a man who, in fact, deserved audience empathy for the oppression he had faced all his life. “It takes a monster to destroy a monster,” says the trailer of Vysakh’s film, while aiming its fire at people whose unlawful activities were born of the extreme persecution they had suffered. In case you don’t get the point, in the end the supposed good guy in Monster makes a statement to this effect: “It is not the circumstances of the criminal but justice for the victim that is the responsibility of law enforcers.” I guess we can safely conclude what his stand would have been if he was a character in Victor Hugo’s French classic Les Miserables and witnessed a poor man stealing bread for a starving family. The lack of nuance, sensitivity and basic humanity in Monster is staggering.

Rating: 0.25 (out of 5 stars)  

This review was first published in October 2022 when Monster was released in theatres. The film is now streaming on Disney+Hotstar.

Anna M.M. Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial

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Frequently Asked Questions (FAQs) About Monster

In this Monster film, Mohanlal , Lakshmi Manchu played the primary leads.

The Monster was released in theaters on 21 Oct 2022.

The Monster was directed by Vysakh

Movies like Paalum Pazhavum , Haal , Bharathanatyam and others in a similar vein had the same genre but quite different stories.

The Monster had a runtime of 134 minutes.

The soundtracks and background music were composed by Deepak Dev for the movie Monster.

The cinematography for Monster was shot by Satheesh Kurup .

The movie Monster belonged to the Drama, genre.

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Monster review: An embarrassingly unimaginative show put up by a hit combo

In this Mohanlal-starrer, director Vysakh and writer Udaykrishna fail to reproduce the magic they did in 'Pulimurugan'.

Published:Oct 22, 2022

Mohanlal's 'Monster' is embarrassingly unimaginative. (Supplied)

A great misuse of Mohanlal!

Monster (Malayalam)

• Cast: Mohanlal, Lakshmi Manchu, Honey Rose, Lena, Ganesh Kumar, Siddique, Sudev Nair and Johny Antony
• Director: Vysakh
• Producer: Antony Perumbavoor
• Music: Deepak Dev
• Runtime: 2 hours 15 minutes
• Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
• Director: Maneesh Sharma
• Producer: Aditya Chopra
• Music: Pritam Chakraborty
• Runtime: 2 hours 35 minutes

Lucky Singh (Mohanlal), a Punjabi-Malayali, lands in Kochi to complete a business deal related to his flat. He has a few things to sort out in Kerala.

He takes Bhamini’s (Honey Rose) taxi from the airport. He asks her to accompany him, and she reluctantly agrees.

Soon, she finds herself in a mess. The story then slowly veers into thriller zone.

Mohanlal’s latest release Monster is from the team that delivered the blockbuster hit Pulimurugan (2016), directed by Vysakh and written by Udaykrishna.

The writer also worked for Aarattu (2022), Madhura Raja (2019), Aanakkallan (2018), and Masterpiece (2017) after Pulimurugan . So, that should set your expectations high.

And the shows begin! #Monster in theatres near you from today! pic.twitter.com/UajIuHGDlz — Mohanlal (@Mohanlal) October 21, 2022

Poor script, obsolete twists

Monster has a nice-enough thought line, but Udaykrishna’s script is really poor, especially the fillers. The twists are 55 years old, to say the least. In fact, Prem Nazir’s Cochin Express (1967) had better twists!

The dialogue was grating and in no way exciting. Some of the scenes were unintentionally funny.

In a nutshell, everything — right from the beginning — goes through the motions of making yet another mediocre thriller film.

Vysakh makes it effective with a few “Mohanlal” touches. He made certain things work, like the ending action scene, and the interval portion.

A hodgepodge of nonsense

Mohanlal’s ‘Monster’ has worn-out scenes that are jumbled together. (Mohanlal/Twitter)

Monster talks about a topic that needs to be talked about in today’s society, but it doesn’t work as intended.

Society’s view on homosexuals, the reason for the protagonists becoming criminals, the result, etc., do not fall in the right places.

Indeed, nowhere does the script try to be clever or socially correct on the topic; even the minute points they thought of including are diminished by implausible, clichéd, and ridiculous scenes.

Comedy scenes were a hodgepodge of nonsense, just like the writer’s and director’s previous movies — vulgar, wildly unreasonable, and even cartoonish.

They are lame and unfunny dross. They don’t respect a grown-up mind. Acting, too, was not good in the scenes.

After all those intolerable “comedy” scenes and an interesting interval twist, just when the characters try to get serious and give the story some meaning and depth, the movie ends up becoming so lame.

An average show

Mohanlal in ‘Monster’. (Supplied)

The performances were above average, but not particularly great.

There are a few moments for Mohanlal, but sadly, even he fails to do anything with his character’s surface-level depth, and the farcical scenes in the first half. In fact, his show starts at the interval bang.

Honey Rose is decent, but not great. She sometimes looks stoned.

Ganesh Kumar is good and Lakshmi Manju is ok. The other actors appear like mannequins in a closed store.

The background music of Deepak Dev is quite good. The final action sequence is the best part of the whole movie. Stunt Silva choreographed the action scenes.

As you watch Monster , you get the impression that you’ve seen all of it a hundred times before.

Apart from a couple of effective big-screen moments, the movie comprises worn-out scenes that are jumbled together.

It isn’t horrible; it’s simply embarrassingly unimaginative. To say the least, it is a great misuse of Mohanlal!

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Monster Malayalam Movie

Everything in director Vysakh's Monster is cringeworthy. One would cringe while watching Mohanlal perform the role of Lucky Singh, a Keralite who lived for a long time in Punjab and owns a chain of restaurants there. For an experienced Punjabi, Lucky Singh speaks Punjabi clumsily and makes crass one-liners and double-meaning jokes about women and marriage. He keeps telling random girls that he is a bachelor, which seems to be a trend that continues from Aaraattu. So what if he is a bachelor? Is he the only bachelor in the world? The only few Punjabi words he knows include "Mere Naal" and "Soni Kudi."

The way he treats his cab driver, Bhamini (Honey Rose), would be enough to make any cabbie despise him. Still, Honey Rose's character has to bring Lucky home to her husband and child for a special occasion due to her business relationship with him. What happens to the family after Lucky's visit to their home forms the crux of the plot.

Monster has a wide range of plot twists. Nothing in it seems to be the same as it appears. It seems like there is a twist or two in every plot element. However, writer Udayakrishna fails to mine his twists into a series of logical and plausible plot elements. It is hard to discuss this film without giving away the plot, because Vysakh's storytelling style is plot-intensive. Therefore, I am not delving into any of those tiny details here.

Making a thriller with a mediocre script is bad enough. It is worse to make an irresponsible film with the same bad script. The idea that the film advocates at the end for the LGBTQ+ community is an all-time low for Malayalam cinema. Not every film can become inclusive, but at least you can write your plot in a way that does not do a disservice to lesbians, gays, bisexuals, transgenders, queers, and others.

It is odd, because there is an attempt from the makers to normalize the LGBTQ+ community, but it ends up having a counterproductive effect. In other words, it will only stigmatize the community.

What else can I tell you about a movie that fails on so many levels that it is unbelievable? Let us talk about the fight choreography for a change. When Mohanlal easily jumps his way up through the railings and other elements of a staircase, you cannot help but cringe at it. Mohanlal is a veteran and cannot be all that acrobatic, which is understandable. He is also flexible enough for his age, but it seems like this movie is his dress rehearsal for a new Desi Superhero parody role. It is hardly the actor's fault that he mainly gets to do these roles of late. He brings an unbridled sense of energy to the Sikh character, but it is misguided. As an ardent fan of his old movies, I felt bad for him.

While Honey Rose overacts in a lot of scenes, she at least plays her part with sincerity. Lena is no stranger to the role of a no-nonsense cop, but she does her part with the utmost conviction too. On the other hand, Lakshmi Manchu and Sudev Nair walk away with respectable performances in half-decent roles.

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