Seesaw Movie Review: Much ado about nothing
Seesaw Movie Review: Critics Rating: 2.0 stars, click to give your rating/review,Seesaw simply doesn’t deliver the thrills it promises. It’s a forgettable entry in a crowded genre,
Critic's Rating: 2.0/5
Seesaw Movie Synopsis: When a servant is found murdered and a businessman and his wife disappear from their home, a seasoned police inspector takes on the investigation, determined to uncover the truth.
Seesaw Movie Review: One might be forgiven for entertaining the notion that k-town had exhausted the well of murder mysteries. Such optimism would be misplaced. Seesaw emerges, or rather stumbles, onto the scene as yet another addition to the burgeoning catalog of whodunits, replete with the obligatory tropes that have become as predictable as the sunrise. We are presented with a police inspector who’s handed a puzzle with more missing pieces than available ones, a deceased individual dispatched with such haste that one is left with no recourse but to ponder the futility of it all, and an assortment of witnesses who dole out information in a piecemeal fashion, conveniently omitting crucial details that would likely incriminate themselves or others. And let us not overlook the grand entrance of our protagonist, Aadhavan (Nishanth Russo), complete with a song and dance routine that feels as out of place as a fish on a bicycle. This, then, is the backdrop against which Seesaw unfolds, an investigative drama that squanders a considerable portion of its runtime on recollections delivered to the beleaguered Inspector Mugilan (Natty).
The film’s pacing is lethargic. The narrative, such as it is, is largely conveyed through the testimonies of witnesses to Mugilan, a device that results in a choppy, disjointed viewing experience. There are hints of a natural flow to the scenes, but the intrusive editing and the frequent cuts leave you with a fragmented impression, devoid of any rhythm or coherence. One is left utterly unmoved by the unfolding events. Then there is Aadhavan, a bright student who suffered a mental breakdown following the demise of his father. It is made clear, early on, that he has bipolar disorder, characterized by manic and depressive episodes (though, in truth, he appears to be perpetually manic and alarmingly violent). For a significant duration, the film fixates on him and he leads Mugilan down a series of blind alleys. Yet, he is depicted as so consistently violent and dangerous that one cannot help but question why his family did not see fit to have him committed to a secure mental institution. This exposes a glaring flaw in the script: had Aadhavan been institutionalized early on, the central conflict would have been effectively neutralized. The murders might still have occurred, but they would have been relegated to the status of a mere subplot. One is left to wonder, what was the point of him, again? Conveniently, he has a friend, a normal guy who’s also an embalmer just when needed. And let’s not even discuss Dr. Senthilvelan’s pronouncements. It’s not that his statements are untrue, but his self-important delivery is so meme-worthy.
The musical numbers add nothing of value to this film. It’s worth noting Nataraj’s skill in portraying law enforcement officers, a role he’s taken on frequently and successfully lately. His imposing stature, gruff voice, and intense gaze are well-suited to the part. Nishanth Russo, for his part, adequately portrays the role of a man teetering on the brink of madness. Padine Kumar, as his wife, delivers a passable performance, her character primarily serving as a barometer for Aadhavan’s mental state, which fluctuates depending on her presence or absence.
Seesaw simply doesn’t deliver the thrills it promises. It’s a forgettable entry in a crowded genre, unlikely to leave a lasting impression. A swing and a miss.
Written By: Abhinav Subramanian
Seesaw Movie Review: One might be forgiven for entertaining the notion that k-town had exhausted the well of murder mysteries. Such optimism would be misplaced. Seesaw emerges, or rather stumbles, onto the scene as yet another addition to the burgeoning catalog of whodunits, replete with the obligatory tropes that have become as predictable as the sunrise. We are presented with a police inspector who’s handed a puzzle with more missing pieces than available ones, a deceased individual dispatched with such haste that one is left with no recourse but to ponder the futility of it all, and an assortment of witnesses who dole out information in a piecemeal fashion, conveniently omitting crucial details that would likely incriminate themselves or others. And let us not overlook the grand entrance of our protagonist, Aadhavan (Nishanth Russo), complete with a song and dance routine that feels as out of place as a fish on a bicycle. This, then, is the backdrop against which Seesaw unfolds, an investigative drama that squanders a considerable portion of its runtime on recollections delivered to the beleaguered Inspector Mugilan (Natty).
The film’s pacing is lethargic. The narrative, such as it is, is largely conveyed through the testimonies of witnesses to Mugilan, a device that results in a choppy, disjointed viewing experience. There are hints of a natural flow to the scenes, but the intrusive editing and the frequent cuts leave you with a fragmented impression, devoid of any rhythm or coherence. One is left utterly unmoved by the unfolding events. Then there is Aadhavan, a bright student who suffered a mental breakdown following the demise of his father. It is made clear, early on, that he has bipolar disorder, characterized by manic and depressive episodes (though, in truth, he appears to be perpetually manic and alarmingly violent). For a significant duration, the film fixates on him and he leads Mugilan down a series of blind alleys. Yet, he is depicted as so consistently violent and dangerous that one cannot help but question why his family did not see fit to have him committed to a secure mental institution. This exposes a glaring flaw in the script: had Aadhavan been institutionalized early on, the central conflict would have been effectively neutralized. The murders might still have occurred, but they would have been relegated to the status of a mere subplot. One is left to wonder, what was the point of him, again? Conveniently, he has a friend, a normal guy who’s also an embalmer just when needed. And let’s not even discuss Dr. Senthilvelan’s pronouncements. It’s not that his statements are untrue, but his self-important delivery is so meme-worthy.
The musical numbers add nothing of value to this film. It’s worth noting Nataraj’s skill in portraying law enforcement officers, a role he’s taken on frequently and successfully lately. His imposing stature, gruff voice, and intense gaze are well-suited to the part. Nishanth Russo, for his part, adequately portrays the role of a man teetering on the brink of madness. Padine Kumar, as his wife, delivers a passable performance, her character primarily serving as a barometer for Aadhavan’s mental state, which fluctuates depending on her presence or absence.
Seesaw simply doesn’t deliver the thrills it promises. It’s a forgettable entry in a crowded genre, unlikely to leave a lasting impression. A swing and a miss.
Written By: Abhinav Subramanian
