Almost the entire team of Vennila Kabbadi Kuzhu is back sans a few faces in Kulla Nari Kootam which also happens to be the debut directorial venture of Sri Balaji an erstwhile assistant of Suseendiran. This fact and the promos have colored the film as something that is to be expected on the lines of a light entertainer revolving around romance.

Although the title of the film could suggest a cunning, intelligent and at the same time comical plot of someone involved in love for its successful fruition, KNK’s epicenter does not appear to be this. In the second half, when there is a justification of the title made in the way of a dialogue with serious connotation, it only evokes laughter from the audience for its silliness.

The theme of Kulla Nari Kootam is not fresh or novel as it is about a hero trying to win his love interest. It is about Vetri (Vishnu), an MBA, who is fondly called by his brother as Vetti as he is waiting for the right kind of job. Vetri’s dad is completely against police force and this has even prevented the eldest son from applying for passport as it would warrant police officials visiting his place for verification.

A small error in the cell number for recharging, activates the meeting of Priya (Remya Nambeesan) and Vetri which turns into romance.  Priya’s dad a military man wants his son-in-law only from military or from police force and Vetri’s dad is completely against his son donning the Khaki. This sets off the story of Kulla Nari Kootam.

Sri Balaji seems to have divided his film into two parts – the first half delving on romance and the second half on a pursuit of the hero’s mission. The plot had the potential to be woven into an interesting tale, had only the director made an attempt to impart some airtight packaging in the content. KNK very slowly unravels, takes various detours in its path, the scenes and dialogues get boring (especially in the second half) and the concept flounders. The connection of the audience with the characters does not happen and the amateurish performance of most of the artists further adds up to this factor.

The romance that blossoms between the lead pair and the premise of it appears interesting. Selvaganesh’s ‘Vizhigalile Vizhigalile’ number enhances the mood. Unfortunately, there is no zing in their love and the duo appears very casual about the whole thing. Vishnu as the unemployed youth, dependent on his dad and brother tries to deliver the goods but his best is yet to come. Remya Nambeesan looks every bit like the typical middle class girl and is quite affable. There are also other members from Venilla Kabbadi Kuzhu who fail to make a mark. Most of the sequences have a ‘drama’ like feel about them especially Vishnu’s family members.

Under Selva Ganesh’s music Vizhigalile is mellifluous which appears in the 1st half. The songs in the second half are forced and are a misfit. There is nothing much to write home about the technical aspects of the film. The second half sequences involving the selection of police personnel and the drama leading to their corrupt plot being uncovered are juvenile.

Although KNK does not engage the audience completely and lacks in a taut narration, the film is devoid of double entendres or anything crass.

Verdict: Nothing cunning about this Nari!