Maranamass (2025) Review: A Dark Comedy That Rides on Chaos and Charisma
Maranamass (2025), directed by debutant Sivaprasad, is a black comedy that gleefully embraces chaos. With a quirky title and an even quirkier premise, the film follows a bus journey that spirals into a darkly comic, unpredictable night involving a serial killer, his intended victim, her unsuspecting lover, and a series of absurd passengers. Released alongside bigger-budget Vishu offerings like Bazooka, Maranamass proudly carves out its space as an offbeat entertainer that doesn’t shy away from being ridiculous — and often delights because of it.
At the center of the madness is Luke P P, played by Basil Joseph, a seemingly average man whose life collides with chaos when he boards a night bus. Unbeknownst to the passengers, a serial killer, channeling the sinister energy of fictional villain Ripper Chandran, is also aboard. From there, the film snowballs into a cocktail of satire, suspense, and silliness. Rajesh Madhavan shines as Sreekumar, the charming yet unsettling killer, turning in a performance that balances creepiness with comic timing. Suresh Krishna, in a role that critics and fans have hailed as one of his best, adds depth and eccentricity, and Babu Antony brings weight to the role of the investigating DySP.
Sivaprasad’s direction shows promise, especially in the way he keeps the tone shifting between tension and hilarity. Co-writer Siju Sunny, who also plays a major role, crafts a script that tries to subvert the traditional serial killer narrative by adding layers of satire and social commentary. The first half is energetic and fast-paced, packed with engaging dialogues and colorful character moments. However, the second half loses momentum. The screenplay starts meandering, and some of the absurdist humor begins to feel forced. There are moments where you can feel the director trying too hard to be quirky instead of letting the comedy flow organically.
The film is visually sharp. Neeraj Revi’s cinematography complements the movie’s chaotic energy, with well-composed frames and smart lighting choices inside the tight bus setting. Jay Unnithan’s music works in sync with the story, punctuating both tension and humor effectively. Editing is decent, though the runtime could’ve been tightened by trimming a few overindulgent sequences in the second half.
Where Maranamass truly succeeds is in its casting and performances. Basil Joseph shows that he can carry a film with comic timing and charm. Rajesh Madhavan, though, is the scene-stealer — his character is written with enough unpredictability that you never know what he might do next. Cameos by Tovino Thomas and Guru Somasundaram are a bonus for fans.
Audience reception has been broadly positive. Fans on social media called it the kind of dark satire Malayalam cinema has been missing. Many found the climax unpredictable and hilarious, though some viewers admitted that the film tried too hard to be clever in certain places. Critics, on the other hand, offered a more tempered response, appreciating the performances and the genre experiment while pointing out the film’s pacing and tonal imbalance in the latter half.
In the end, Maranamass isn’t a flawless film, but it’s a bold and mostly entertaining one. It deserves credit for attempting something different and managing to hit more than it misses. With tighter writing and more restraint in its comedy, this could’ve been a knockout. Still, it’s a worthwhile ride for those who enjoy their humor with a dose of death and absurdity.
Rating: 3.5 out of 5
(+1 for performances, +1 for original concept, +0.5 for music and cinematography, -1 for inconsistent pacing and forced humor)
