Cast: Atharvaa, Megha Akash, Satish, Indhuja, RJ Balaji
If Kannan had thrown light on the corrupt business practices of private engineering colleges in TN in his last offering Ivan Thanthiran, his latest Boomerang deals with the issue of interlinking of rivers. The film has an innovative idea mixed with heavy commercial elements. Does it lived up to the expectations?
The film begins in a riveting manner with Shiva (Atharvaa) getting involved in a forest fire accident that heavily disfigures his face. However, there’s a remedy suggested by doctors at the hospital and hence he gets a face transplantation surgery done. The donor is a patient who is in the verge of dying and his mom (Suhasini) gives her consent for the donation and transplantation to occur. However, Shiva has to ‘face’ innumerous problems with his new face.
Shiva’s life is in danger as there have been few attempts made to bump him off. The killers mistake him for someone else and now Shiva is in investigation mode. He comes to know of Shakti (Atharvaa again) who donated him a new face. He sets out to Trichy to know more about Shakti and his friend Gopal (Satish) and girlfriend (Megha Akash) who is a short filmmaker accompany him. They meet Maya (Indhuja) who narrates the backstory of Shakti. Actually, Shakti is an IT professional working in the city and returns to his native after he has a tiff with his company. After seeing the plight of the farmers, along with his good friend (RJ Balaji), Shakti tries to improve their lives. He comes out with a brilliant idea of interlinking rivers to solve the water crisis. However, Shakti has to face the wrath of local bigwigs and police, which leads to an unexpected twist. Now it is retribution time for Shiva.
Atharvaa in a dual role has given an honest performance and with his fit and energetic body, he impresses in action sequences. Mega Akash has nothing much to do in a limited screen space and Indhuja scores in the given role. While Satish’s comedy evokes occasional laughter, RJ Balaji’s one-liners are enjoyable. Upen Patel in a poorly written role is a passé.
Though the movie starts interestingly, it loses steam soon and begins to travel in a clichéd path with a lackluster romantic portion and monotonous humor. Kannan’s intensions are laudable, but his pacakaging has too many issues. It lacks the emotional appeal and that plays spoilsport. The concept of changing the face through plastic surgery reminds us of Suresh Menon’s Pudhiya Mugam.
Technically, cinematographer Prasanna and composer Radhan have complimented the director’s vision with their good work....