Manashimaya
‘Turbo,’ the latest film by director Vysakh, aims to showcase Mammootty in a high-octane action role. However, despite its ambitions, the weak screenplay holds back Mammootty’s charge, leading to a film that feels more like a recycled collection of old tropes than a fresh and engaging action thriller.
From the very beginning, ‘Turbo’ sets a tone of relentless action, punctuated by the whirring sound of an accelerator whenever ‘Turbo’ Jose, played by Mammootty, is about to engage in a fight. This sound effect is intended to build anticipation for the action sequences that follow. Unfortunately, the weak screenplay holds back Mammootty’s charge, making these moments less impactful than they could have been.
Comparing ‘Turbo’ to Vysakh’s previous work, ‘Monster,’ there is a noticeable improvement. Yet, the weak screenplay holds back Mammootty’s charge, preventing ‘Turbo’ from reaching its full potential. The film’s philosophy seems to be that a minimal story is sufficient as long as there are ample action set pieces. Screenwriter Midhun Manuel Thomas follows this philosophy, resulting in a script that fails to elevate the film. The character of ‘Turbo’ Jose is presented as a regular guy from the high ranges who frequently gets into fights. When his friend Jerry (Shabareesh Varma) becomes a target, Jose’s attempt to help leads to unintended consequences, moving the action to Chennai. Here, they encounter Vetrivel Shanmuga Sundaram (Raj B. Shetty), a businessman engaged in political horse trading. Despite this intriguing setup, the weak screenplay holds back Mammootty’s charge, making the story predictable and lacking in surprises.
In the first half of the film, Vysakh and Midhun establish the plot without any complexities, saving the second half for extended chases and action sequences. This structure, however, contributes to the film’s predictability. The weak screenplay holds back Mammootty’s charge, as there is little to surprise the
audience once the central banking scam is revealed. A few well-written moments, such as Auto Billa’s Marlon Brando impersonation and Jose’s childhood trauma narrative, offer glimpses of potential, but they are not enough to save the overall weak screenplay that holds back Mammootty’s charge. In the end, ‘Turbo’ is likely to be remembered for its reliance on clichéd tropes and its reluctance to innovate. Despite Mammootty’s efforts, the weak screenplay holds back his charge, resulting in a film that feels disappointingly familiar. The promise of a sequel at the film’s conclusion might suggest confidence, but it also highlights the missed opportunity to create something truly memorable in this installment.
In summary, ‘Turbo’ had the potential to be an exciting action film with Mammootty at the helm. However, the weak screenplay holds back his charge, resulting in a film that fails to stand out. While there are some entertaining moments, they are overshadowed by the overall predictability and lack of originality. As fans await the promised sequel, one can only hope that future efforts will learn from these shortcomings and deliver a more engaging experience.