The story of Monster centers on Lucky Singh, a “Punjabi Malayali” guy who travels to Kerala to attend to his personal and professional obligations. He attempts to establish a relationship with Bhamini (Honey Rose), a She-Taxi driver/operator, and extends an invitation to attend her wedding anniversary festivities. That Lucky Singh is not who he purports to be becomes immediately apparent. This prepares the ground for certain surprises and conflicts.
With his energetic performance, Lalettan was able to carry the first half by himself. The job is a piece of cake for Mohanlal. He is cheery, outspoken, and occasionally irritated as Lucky Singh. After a protracted absence, Honey Rose finally had the chance to portray a significant and lengthy character in a movie, and she did so admirably. For the stunts she pulled off, Lakshmi Manchu, who has a significant part in the film, deserves special notice.
Udaykrishna and Vysakh acknowledged that Monster doesn’t fit within their typical mold of entertaining films like Pulimurugan. In actuality, the plot of the film is set up so that it begins as a supposed comedy, transitions to a family drama, continues as an investigative drama, and ends as an action-packed crime thriller. When watching Monster, you have the feeling that you have seen it all before. The film consists of jumbled-together, stale scenes except from a few potent big-screen moments.
In Monster, LGBT+ people are consistently stereotyped. Deepak Dev’s music serves as a good ambient soundtrack. Most of the time, the cinematography uses just one color tone, which is unusual for a Vysakh film. The action scenes in the conclusion also appeared to be well-done.
Monster, the most recent criminal thriller by director Vyshak, penned by Udaykrishna, is rife with clichés, stereotypes, and illogicality. Mohanlal’s Monster is an amalgam of a number of genres as a whole. A Missed Opportunity! 2/5