Geethu’s refusal to stick to stereotypes and her affecting reading of a love tale that tears up the social tapestry earn for ‘Moothon’ a distinctive place amidst the sparsely lit up landscape of queer cinema in the country. The howls and catcalls and the loud sniggers and the off-colour jokes in the cinema halls notwithstanding, it’s a cinematic composition that needs to be appreciated for its compassionate and unapologetically adult take on human sexuality.
This oddly gruesome thriller has the bite, but just not enough of it to keep the viewers dangling on their seat edges. Which is why, despite the spine-tingling moments here and there, ‘Underworld’ eventually leaves you impassive and indifferent.
The one take back that the film does offer is courtesy Berny Ignatious and the very beautiful number ‘Puthumazhayayi Vannu Nee’ from the original film is played yet again in the sequel. The rest of it is however, just a misaligned combo of horror tropes that lie scattered all over the place.