While it delivers genuine shocks, pulpy characters, and two jaw-dropping twists one at intermission and an even bigger one at the climax it stumbles in execution and fails to maintain a tight narrative required to become a modern classic in the lines of a Soodhu Kavvum or Jigarthanda.
The plot
The plot kicks off when Bhumi (Andrea Jeremiah), an opportunist who publicly runs an NGO but covertly operates a high-profile sex racket for politicians and businessmen, is handed a lucrative assignment to erase her dark past. A powerful politician wants her to distribute crores of black money to voters ahead of the elections. Bhumi hides the cash in her supermarket but a gang of masked intruders pull off a perfectly timed robbery and vanish with the fortune.
Desperate to recover the money and save her skin, she hires Velu (Kavin), a greedy private detective who proudly calls himself “ethical” despite bending every rule for the right price. What Bhumi doesn’t know is that Velu has his own murky connection to one of the masked robbers. Then comes a revelation that explodes spectacularly on screen.
No good souls
The strongest suit of Mask is its refusal to serve conventional heroes. Almost every major character operates in shades of grey, and the few genuinely good souls are deliberately kept off-stage until the final act. Kavin’s Velu lies, cheats, and extorts without a shred of remorse, yet somehow remains watchable because of the actor’s effortless charm and comic timing.
Andrea Jeremiah sinks her teeth into the meatiest role of her career; her Bhumi is manipulative, seductive, and terrifyingly pragmatic. The supporting cast, including Ruhani Sharma in an alluring yet substantial part and veteran Charle in a delightful surprise package, add further flavour to this rogues’ gallery.
Where 'Mask' falls
Where Mask truly shines is in its unpredictability. The intermission block leaves you reeling, and the climax twist is bold enough to make you audibly gasp in the theatre. These moments provide genuine cinematic highs. GV Prakash Kumar’s songs, particularly the catchy Kannumuzhi and the energetic Vetri Veerane, work well within the narrative.
However, for every brilliant stretch, there’s a detour that feels unnecessary. The screenplay meanders in both halves, introducing sub-plots and characters that are eventually abandoned or resolved too conveniently. Certain scenes drag, while others—especially those setting up the masked gang’s motive and their enmity with the political class—lack the sharpness they desperately need.
Uneven ride
The background score, also by GV Prakash, is surprisingly flat and fails to amplify the tension during crucial sequences. Visually, RD Rajasekar’s cinematography is functional but rarely striking; the film never achieves the stylish noir look its premise begs for.
Had Vikranan Ashok trimmed the flab and polished the second half with the same ruthlessness his characters display, Mask could have joined the big league of cult Tamil crime comedies. As it stands, it remains an enjoyable yet uneven ride—flawed, frustrating at times, but still packed with enough swagger, shocks, and stellar performances to make it a respectable one-time watch.
Kavin continues his hot streak after Star and Bloody Beggar, proving he can carry a film even when the protagonist is thoroughly unlikeable. Andrea Jeremiah finally gets a role that matches her intensity. If the writing had matched their conviction, we would be talking about a potential game-changer.
Passable crime caper
Overall, Mask is passable dark comedy crime caper elevated by its fearless grey characters and two knockout twists, but let down by inconsistent writing and pacing.
Worth a theatrical visit for the surprises alone, though it stops short of being a great film.
