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Cadaver Movie

The predictable thriller with an unexpected conclusion by Amala Paul

By Kirthika Published about a year ago 2 min read
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Cadaver is thrilling & gripping tale of love & crime.

Imagine eating a dish that has been cooked to perfection with the right spices and seasoning, but the meat is unfortunately rotten. When I watched Cadaver by Amala Paul, I experienced a similar aftertaste. Aravind Singh's work as a filmmaker, San Lokesh's work as an editor, and Ranjin Raj's work as a composer contribute to the elegant production of the murder mystery. The shoddy screenplay and story are the bad meat here. This concoction is extremely uncommon. When it comes to thrillers, it usually works the other way around: great concepts on paper are lost when they are translated to the screen.

Cast: Amala Paul, Thrigun, Riythvika, and Munishkanth San Lokesh,

Director: Anoop S Panicker's editor,

does an excellent job of containing the suspense in this thin story. Even though the non-linear narrative gets a little confusing at times, it is probably the only thing that keeps the audience interested until the end. Aravind Singh's frames and Ranjin Raj's music work well together in many places, and the thriller's mood is beautifully set by these two artists' work. They also know when to hold back and give the audience a break, so they don't go all out all the time.

In Cadaver, a police surgeon tries to unravel a string of enigmatic homicides, all of which point to a prisoner serving a life sentence who hasn't left his cell in years. The reason for his imprisonment is the story's biggest unresolved issue. Even though the movie delves into a number of subplots, it never attempts to explain why a main character is held captive. The massive flaws in the narrative destroy everything the technical team builds.

The tracks of both Athulya and Riythvika are extremely formulaic, and we immediately recall a dozen films with characters who are identical. The numerous cliches associated with their roles obscure their invested performance.

Plastic dialogues are Cadaver's other major flaw. In an interview, Amala Paul said that the movie was originally written to be a Malayalam feature, but that it was later changed to Tamil. This is made clear in multiple places by the verbosity of the dialogue and the ineffectiveness of even crucial one-liners. Additionally, the film draws significant tropes from Malayalam films. For instance, the murderer leaves Bible references as hints for their next victim. Several other films have utilized this concept before, including Memories (Aarathu Sinam in Tamil).

Amala's performance as the brave and unassuming forensic surgeon is very convincing. In a crowd full of stereotypes, her style of appearance and body language feels very refreshing. The film would have been much more engaging if the rest of the characters were written with the same level of invested writing.

When the primary antagonist is revealed, the whodunits all come to an end. Convenience and coincidence, on the other hand, are two types of villains that appear frequently in all of the most recent thrillers. When these two villains appear, the filmmakers and writers' efforts to create an unsolvable case and suspense that cannot be predicted vanish into thin air. The most recent film on the list to feed these beasts is Cadaver. Additionally, thrillers will continue to see deaths that are even more gruesome than the protagonists'.

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Kirthika

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