arungeorge13

From the very first shot, it becomes obvious that the David Koepp-written, Steven Soderbergh-directed Presence isn't your typical jumpscare-filled supernatural chiller. The audience perspective is that of the poltergeist's, in first-person, following the protagonists around in an urban home. David Koepp is generally one of the finest writers in Hollywood, and his last collab with Soderbergh - Kimi - was a really solid COVID thriller. After watching Presence, I cant say I'm as thrilled (or intrigued), but there are still some fairly interesting ideas left unexplored in this 1h 24m flick.

Firstly, the performances are strictly average. The cast includes names like Lucy Liu, Chris Sullivan, Callina Liang, and more, with no one really leaving a mark. The long takes are well-shot and put together (by Soderbergh himself), with Zack Ryan's subtle score highlighting what the poltergeist feels. Yet, even with all the technical innovation and creativity at play, the writing lacks payoffs (beyond the obvious climactic culmination); there are a few loose ends thrown at us that don't add up to anything substantial, like the husband's phone conversation, for instance. The film concludes rather abruptly with a twist that fails to register as hard as it was meant to. That being said, when you rewind the proceedings in your head, some of it (..well, yes SOME OF IT) increasingly starts to make sense.

I feel Dragon is a film that's saved by its second half. Maybe I was wrong in anticipating a full-fledged comedy entertainer (like those mid-2000s to mid-2010s Dhanush flicks), but Ashwath Marumuthu's second film is a proper emotional drama. Its first-half college portions were dull for me, but the film takes flight once the redemption arc is front and center. The writing, except for the final act, feels a tad too convenient-it simply breezes through the struggle of finding a job, but makes passing college exams sound like the toughest thing in the world-not true in 2025, bro!

Pradeep Ranganathan has a limited acting range (for now), and thankfully, the screenplay focuses on his strengths. Conversely, the ladies are merely supporting actors in the overall scheme of things, existing to solidify Dragon (..and his inimitable bad-boy aura). Anupama certainly has more to do than Kayadu Lohar, and it's certainly one of her finer roles in recent times. Both look absolutely dashing, however. The real acting standout undoubtedly is Mysskin as principal Mayilvahanan, bringing an almost Raju Hirani-esque character to life with ease. Bjorn Surrao is also fun in an early scene, while seeing Gautham Menon dance is a delight.

The key supporting acts, VJ Siddhu & Harshath, are merely okay. Leon James' music and score seem to suit the material fairly well, especially the Vazhithunaiyae track. I see where the appeal for a film like this comes from; given both Dhanush and Sivakarthikeyan have moved on to more intense acting roles, there's always a space for breezy, coming-of-age drama in Tamil cinema. If not for the all-too-convenient writing in the first half, I think I'd have liked Dragon a lot more.

Shahi Kabir's most mainstream thriller screenplay (..thus far) largely works because of its strong performances and technical efforts. Yes, there are some usual cop movie tropes like the PTSD-induced protagonist, his family eventually coming under threat, rape-revenge-blackmail implementing baddies, and so on. But credit where it's due, this absolutely does NOT feel like a debut director's work. Jithu Ashraf (who also acts in a key role) understands the assignment and navigates the splendidly-paced screenplay in a non-linear manner, making most of the little details matter. Kunchacko Boban pulls off CI Harishankar like a seasoned veteran, letting his rugged body language do most of the heavy lifting. We learn of the character's past in a sufficiently effective flashback, and to some extent, such an evolution contributes to the physicality involved in the latter acts. The stylized gang of baddies, led by Vishak Nair, includes some interesting finds.

Roby Varghese Raj (director of Kannur Squad) is cranking the camera here, and his shaky, handheld approach works wonders for the chase and fight sequences. Chaman Chakko is now an editor in high demand, and the way he paces the film and weaves the action in between regular procedural scenes (and toys with contrasting lighting) is excellent. Jakes Bejoy uses a little too much Saw-inspired score, but he succeeds in delivering a solid soundtrack overall; a couple of soundbites are instant earworms.

Also, the women in the film (other than the victims) hold their ground. That goes for Priyamani, the two women antagonists, and even the little girl who plays Harishankar's younger daughter. A fight sequence set inside a mortuary is deliciously choreographed and shot. The final act does lose a bit of steam and reminds you of Memories, yet the film manages to keep you on edge. Though somewhat formulaic and predictable in places, I'll recommend Officer on Duty for those who enjoy intense, sporadically violent cop thrillers.