‘Valathu Vashathe Kallan’ review: A familiar Jeethu Joseph thriller that over-explains itself

Jeethu Joseph’s name has long been synonymous with twists that arrive with clockwork precision. From 'Detective' to 'Memories' and, of course, 'Drishyam', his films have trained audiences to sit up straighter, waiting for that moment when the narrative quietly pulls the rug from under their feet. 'Valathu Vashathe Kallan', his latest, comes with that same expectation, and while the film does deliver on a few familiar beats, it also exposes the limitations of a formula that feels increasingly over-explained.

The film revolves around Antony, a morally compromised police officer played by Biju Menon, and Samuel, a desperate father portrayed by Joju George, whose daughter Irene has gone missing. On paper, this setup promises a tense investigative drama, but Jeethu Joseph makes a conscious choice to steer away from the procedural thrills that defined his earlier police films. Instead of focusing on step-by-step investigation, 'Valathu Vashathe Kallan' places its gaze on characters operating in moral grey zones, particularly Antony, whose personal life and professional ethics are in constant conflict.

This shift in perspective is one of the film’s more interesting choices. Antony is not presented as a righteous officer chasing truth at all costs. He is flawed and hesitant, often guided by self-preservation rather than conviction. Biju Menon understands this internal conflict well and delivers one of the film’s most grounded performances. He resists the temptation to play Antony as overtly corrupt or melodramatic, allowing small gestures and silences to convey the character’s guilt and confusion. His portrayal of a troubled father struggling to connect with his son adds emotional texture, even when the writing leans heavily into dramatic dialogue.

Joju George’s Samuel, however, feels less fully realised. While Joju brings sincerity to the role, the character itself comes across as a familiar amalgamation of roles he has played before. The emotional beats land in isolation, but the character lacks enough depth to sustain prolonged empathy. One often wishes the script had invested more time in exploring Samuel beyond his grief, instead of using him primarily as a narrative device.

Where 'Valathu Vashathe Kallan' begins to falter is in its writing. The film consistently underestimates its audience, opting to spoon-feed information rather than allowing viewers the satisfaction of piecing things together. Writer Dinu Thomas Eelan appears determined to explain every turn, often reiterating motivations and plot points that are already evident. This approach drains the twists of their impact and makes several revelations feel less clever than they are intended to be.

Some of these twists also feel uncomfortably reminiscent of Jeethu Joseph’s earlier work, particularly 'Drishyam'. While repetition is not inherently a flaw, the lack of reinvention here makes certain narrative turns predictable. The film’s tendency to become preachy further compounds the issue. Moments that could have resonated emotionally are weighed down by moral commentary that is spelled out rather than implied.

The first half builds a steady sense of intrigue and asks for patience from the viewer. The second half moves at a quicker pace, but the writing begins to lose its grip. Certain character decisions feel unconvincing, particularly in moments where urgency gives way to procedural hesitation. These choices disrupt the narrative flow and slightly dilute the film’s sense of credibility.

Emotionally, the film sits in an awkward space. It attempts to comment on parenting, responsibility and the consequences of moral compromise, and its intentions are sincere. Yet the underdeveloped supporting characters prevent these themes from fully taking root. Ironically, what audiences may end up rooting for most is not the character Antony, but Biju Menon himself, whose performance carries far more weight than the script allows.

Technically, the film is polished. Satheesh Kurup’s cinematography embraces a bleak, rain-soaked atmosphere that complements the story’s sombre tone. Vishnu Shyam’s background score, particularly the anticipation theme, adds tension without overwhelming the narrative.

In the end, Valathu Vashathe Kallan works in fragments rather than as a cohesive whole. It has moments of emotional clarity and a strong central performance, but these are diluted by overexplanation, familiar tropes and uneven writing. What could have been a sharp moral thriller instead settles into something messier and far less clever than it believes itself to be.