Vineeth Sreenivasan’s Karam is ambitious but uneven at every turn | Movie Review

When Vineeth Sreenivasan announced 'Karam', what many in the audience probably expected was another 'Thira'. That remains the only film where he stepped away from his usual comfort zone of love and friendships. But if you go in hoping for 'Thira', you are going to be surprised. The film does brush against some of the same themes, yet the way it unfolds feels very different.

The story centres on Dev Mahendran, played by Noble Babu Thomas, a former army officer who sets out to rescue his ex-girlfriend Sana, played by Audrey Miriam Henest, from a sex trafficking ring. Most of the film is shot abroad, with only a few sequences set in India. On paper the plot sounds promising, and to some extent it is. But it is the writing that pulls it down.

Noble Babu Thomas, who has written the story, leaves behind too many loopholes, making it difficult to stay fully invested. Viewers are asked to suspend logic far too often. One example, and this is a spoiler, is how Dev and Sana just happen to run into each other in the very same country abroad, and this also happens to be the place where she is trafficked. That kind of coincidence does not feel clever. It feels convenient, and the film struggles because of choices like these. The problem is that audiences today are too familiar with well-made action thrillers, so when the writing feels loose, it quickly becomes off-putting. Take 'Taken' starring Liam Neeson, for example. Its plot is sharp and clever, leaving little room for distraction. 'Karam', on the other hand, may tackle a serious subject, but its treatment often slips into unintentional humour.

One instance is the way most of the white characters are portrayed as foolish. In one scene, a man asks Dev for medicine, and Dev hands him Dolo tablets. It is clearly meant to be funny, but the gag feels dated and worn out. Instead of adding wit, moments like these only dilute the tension that the story desperately needs. Another issue with the film is the repetitive use of thriller tropes. A suspenseful setup in one scene is followed by almost the exact same kind of setup in the next. Once the audience begins to notice this pattern, the tension quickly fades, and the moments start to feel predictable and cliche. Noble Babu Thomas delivers his role with conviction, and the rest of the cast rises to the occasion as well. From Reshma Sebastian as Dev’s wife, Thara, to Baburaj playing Rosario, everyone fits naturally into their characters. Baburaj, in particular, injects much of the film’s humour, though at times the comedy slips into familiar territory with recycled sexual jokes. Shajohn too makes a strong impression in his part. Shah Rahman’s music carries echoes of 'Thira', and it works well in building tension and maintaining momentum throughout the film. Jomon T. John’s cinematography is equally striking, capturing both the sweeping landscapes and the bustling cityscapes with finesse.

'Karam' feels like a film that had all the right ingredients but never quite came together. The performances are strong, the music and visuals add weight, and the subject matter is urgent and relevant. Yet the writing keeps pulling the film back, with convenient plotting, repetitive thrills, and humour that undercuts the seriousness of the story. Vineeth Sreenivasan deserves credit for once again stepping outside his usual space, but unlike 'Thira', Karam struggles to find its balance. It is a film that aims high, but the execution leaves you wishing it had been sharper and more focused.