If you’ve been keeping an eye on Malayalam cinema lately, you know Mammootty is on some kind of legendary “side quest.” He’s done with the hero worship; now, he just wants to unsettle us. Kalamkaval, which just landed on Sony LIV, is the latest proof of that.
It’s a slow-burn, atmospheric thriller that doesn’t care about “mass” entries or high-speed chases. Instead, it sits you down and makes you watch a predator at work.
The Vibe: Pure, Unfiltered Evil
Directed by debutant Jithin K. Jose, the movie is loosely inspired by the real-life “Cyanide Mohan” cases. But don’t expect a standard biopic. The story follows a series of missing women—usually those in vulnerable social positions like widows or divorcees—who vanish after meeting a seemingly “nice” man.
Enter Vinayakan as Jayakrishnan (nicknamed ‘Nathu’ or Owl), a tired, sharp-eyed cop investigating a communal riot that turns out to be just the tip of a very dark iceberg. He’s eventually joined by Stanley Das (Mammootty), an officer from the Tamil Nadu border.
What follows isn’t exactly a “whodunnit”—the movie shows you the killer early on—but a “how-will-they-catch-him.”
Why It Works (and Why It Might Not for Some)
Mammootty is Chilling: There are no loud villain monologues here. He plays Stanley with a terrifying, mundane calmness. He’ll be talking about a random news item or humming a vintage Tamil song one minute, and the next, he’s committing a cold-blooded atrocity. It’s that “everyday evil” that really gets under your skin.
The Vinayakan Factor: Vinayakan is fantastic as the foil. He plays the cop with a heavy, lived-in restraint. The chemistry—or rather, the psychological friction—between him and Mammootty is the film’s engine.
The “Slow” in Slow-Burn: Let’s be real: the first half takes its sweet time. It’s structured in chapters, and while that adds flavor, the pacing can feel like a crawl if you’re looking for a Drishyam-style adrenaline rush. It’s more about the mood and the “procedure” than the payoff.
The Verdict
Kalamkaval isn’t a perfect film. It’s a bit over-engineered in the writing department and definitely tests your patience in the second act. But for a debut, Jithin K. Jose shows he knows how to handle “dark.” It’s gritty, it’s uncomfortable, and it refuses to sugarcoat how easily society lets vulnerable people fall through the cracks.
If you like thrillers that feel “heavy” and value performance over plot twists, this is a solid weekend watch. Just don’t expect a feel-good ending.
