Kadavul Irukkaan Kumaru Synopsis: A confused groom and his friend get booked by a cop while they are on the way back from a bachelor party.
Kadavul Irukkaan Kumaru Review: Given director Rajesh’s knack of making engaging comic capers, an average movie-goer can’t be blamed if they expect Kadavul Irukkaan Kumaru (KIK) to be a film with ample fun elements. However, blame it on an ineffective story line, and only a few laughs here and there, which make KIK an unsatisfying watch, overall.
The plot starts off with the protagonist, Kumar (GV Prakash), who studied in a CBSE school (Corporation Boys School-la E section), now all set to start a life with Priya (Nikki Galrani). Kumar is confused about getting hitched to Priya, and what is bothering him is the memory of his ex-lover, Nancy (Anandhi). This is also the reason why Priya often comes across as a possessive and insecure fiancée. Enter Balaji (RJ Balaji), who takes Kumar to Puducherry to throw him a bachelor party. With the wedding just a couple of days away, on their return, they run into cop Manimaran (Prakash Raj), who threatens to finish them off if they don’t agree to his demands.
Meanwhile, memories of Nancy continue to haunt Kumar, and he starts wondering if he should give a second chance to the relationship, which turned sour due to the adamant nature of the girl’s father (MS Bhaskar). But, even though there is scope to come up with interesting sequences, and considering that RJ Balaji and Prakash Raj are in descent form, things fall too flat and predictable, making the film a tiresome watch towards the end.
Despite having artistes who are adept at comedy, the film misses the target and joins the list of unappealing movies from the filmmaker. As with Prakash’s previous outing, Enakku Innoru Per Irukku, Kadavul Irukkaan Kumaru, too, has the quintessential ‘Thala-Thalapathy’ references, but they make no impact here. The spoof scenes of the TV show Solvathellam Unmai and the imitation of a popular telephone network ad are hilarious though. The inclusion of a few contemporary issues, too, is enjoyable, reminding us of the Rajesh who we saw in Siva Manasula Sakthi, Boss Engira Baskaran and Oru Kal Oru Kannadi.
But, with a half-baked plot and unconvincing execution of the protagonist’s relationship with the two female leads, it becomes difficult to empathise with the protagonist’s problems. And the absence of two major factors which worked in Rajesh’s successful films — drinking scenes and Santhanam — is felt. While the decision of doing away with the former is a welcome relief, the absence of the latter is clearly felt throughout.