Law and Order movie review: Ranjith turns Mammootty’s most iconic character into a joke - The Indian Express

Law and Order movie review: The last time I was so irritated watching a movie was when I sat through Secret (2024). It’s not that Malayalam cinema hasn’t made worse films since, but mainly because legendary screenwriter SN Swamy helmed it, marking his directorial debut. Despite decades in the industry and ample resources to update himself on the latest filmmaking methods, Swamy created something that felt like it should have existed somewhere in the 1970s (and long forgotten), worsened by its promotion of pseudoscience.

Veteran filmmaker Ranjith’s Law and Order is just as irritating, and “admirably,” he achieved this without even peddling pseudoscience. Coincidentally, Secret also featured Ranjith in a key role.

DySP Balagopal (Prakash Varma) lives in Kochi with his ailing wife (Abhirami), a former lawyer, and their son. Although he is a righteous officer, he is part of a corrupt system where many of his colleagues work hand in glove with criminals, particularly the notorious drug smuggler Prahlad Parekh alias Pacha (Shersha Sherief) and his younger brother, Chottu (Rinosh George).

Meanwhile, Balagopal loses his son during the Kerala police’s widespread crackdown on the drug cartel, of which his son was also a part. To bring the entire empire down, he joins forces with five fearless, freshly recruited police officers. However, they soon realise that they need a bigger force to end Pacha’s reign — someone who knows Kochi well and whom Kochi also knows well. And, of course, who else could it be but Karikkamuri Shanmughan (Mammootty in a brief cameo, reprising his role from Ranjith’s 2004 movie Black)?

There’s simply nothing good to say about Law and Order, and I am not even exaggerating this. It’s not just that the movie’s visuals look like they were crafted for a shoddy soap opera, but literally every aspect of Law and Order is godawful.

Despite it being a crime actioner, the Ranjith directorial introduces both its hero, Balagopal, and its villain, Pacha, in the most unimpactful manner. Not only do the scenes lack weight and intensity, but their visualisation also makes them seem like two random characters with little role in the movie.

Since the film’s basic idea bears similarities to Lokesh Kanagaraj’s Kamal Haasan-starrer Vikram (2022) — where a security personnel who lost his son to a drug empire decides to play his part in ushering in a drug-free society — it’s evident that Law and Order had the potential to at least be a decent watch. But scenarist Udaykrishna’s writing never even gives the movie a chance to stagger to its feet.

Although the film gives almost as much screen time to the five young cops as Balagopal, if not more, none of them is fleshed out. In a way, one could say they look like amateurish sketches of ACP Anbuselvan IPS (Suriya) and his gang from Gautham Vasudev Menon’s Kaakha Kaakha (2023). Yet, they come across as stereotypical youngsters often found in Malayalam cinema from the 2000s, who frequently deliver nonsensical lines, and crack lame jokes and laugh among themselves, compensating for the audience’s lack of reaction.

Law and Order also proves that it takes immense skill to extract the best performances from actors — knowing their strengths and weaknesses — which not many filmmakers possess. I mean, how else can one explain Prakash Varma going from a phenomenal job as CI George in Thudarum (2025) to whatever he has done here?

Udaykrishna is one of the most unpredictable writers in Malayalam cinema. Just when we thought we had seen his absolute worst writing in Bandra (2023), he has proved everyone wrong, showing there’s still a long way to go before he hits rock bottom. The insipid dialogues in Law and Order alone underscore this.

There’s a moment in the film where, following his son’s death, Balagopal is set to end his life and holds his service revolver to his face. Suddenly, his wife walks in and bluntly asks, “Will it have one more bullet?” Not even kidding, but that shot reminded me of meme-ers’ favourite line, “Kurach kanji edukkatte Manikka?” from Mohanlal’s Odiyan (2018).

Udaykrishna’s writing is so bad that even the dialogues he utters during his brief appearance are abysmal. I mean, how much time would it have taken him to come up with a name other than Marvel University, which sounds like the Marvel (Cinematic) Universe, for the educational institution shown in the movie?

In between, he and Ranjith also, out of the blue, peddle the “Hindi is our national language, and everyone must learn it” narrative for no reason at all. If the film had been even a bit better, we could have analysed its problematic aspects, but Law and Order simply doesn’t deserve that kind of discussion.

Even its promotional posters were so execrable that it felt like literally no one cared about the movie. Or worse, the film’s entire cast and crew were in a strange competition to see who could do the shoddiest job. While Prakash Varma made the first move with an uninspired performance, the poster designers matched him.

Meanwhile, composers Joe Daniel and Bijibal entered the scene and briefly took over the top position with infuriating songs and background scores, respectively, before cinematographer Prasanth Raveendran dethroned them with visuals that look as amateurish as 80s and 90s’ Kerala wedding videos.

Just when we thought Udaykrishna’s poor writing would emerge as the ultimate champion, Ranjith swooped in and took over the throne by not only tarnishing the legacy of his iconic film Black (2004) and Mammootty’s legendary character in it, Shanmughan, but also by delivering an abomination that ranks among Malayalam cinema’s absolute worst of 2026.

While the central female characters have virtually no role in the story’s progress, the only time Ranjith and cinematographer Prasanth Raveendran focus on the women on screen is during party scenes, when the film seeks to objectify and sexualise them.

Even Law and Order’s camera angles are, in general, so poor that they prove a large part of Black’s brilliance was courtesy of its cinematographer, Amal Neerad, who captured Kochi, its dark alleys, and Shanmughan so brilliantly.

Plus, I don’t understand the reasoning behind discarding the iconic background score Rajamani gave Karikkamuri Shanmughan in Black for a comical recreation of the 2004 movie’s hit track “Ambalakkara” in Law and Order.

Also, when will our stunt choreographers stop creating hackneyed action scenes where glasses and tables break one after another, with nothing fresh to offer? I mean, the sheer number of glasses and tables broken here by the five young cops here is shocking.

Law and Order is so bad that it literally made me want to ask Ranjith what Chandramouli (Mohanlal) asked Maharaja (Suraj Venjaramoodu) in the same director’s Rock n’ Roll (2007): “Those superhit songs credited to your name, were they actually created by you?” I mean, how can someone who is said to have made Black, Kaiyoppu (2007), Thirakkatha (2008), and Paleri Manikyam: Oru Pathirakolapathakathinte Katha (2009) create something so dreadful?!

Besides, why did Ranjith pull Mammootty also into this hellhole, even though Law and Order’s story and the movie as a whole wouldn’t have turned out in any other way had Shanmughan not been there?

In all honesty, Mohanlal and Mammootty should really learn how to say no to people or so-called friends who exploit their stardom by getting them to make cameo appearances in such abysmal movies.

Law and Order movie cast: Prakash Varma, Abhirami, Mammootty, Shankar Ramakrishnan, Joy Mathew, Suresh Krishna, VK Prakash Law and Order movie director: Ranjith Law and Order movie rating: 0.5 stars

Anandu Suresh is a distinguished Deputy Copy Editor at The Indian Express Online, where he serves as a leading voice in cinematic critique and industry analysis. He is a Tomatometer-approved film critic and a Golden Globes voter. With over seven years of rigorous experience in the media landscape, he has established a reputation for incisive, long-form commentary that bridges the gap between commercial cinema and arthouse narratives. Experience & Career Anandu’s professional journey is rooted in a deep academic and practical foundation in the humanities and communication. He holds a Bachelor's degree in English Language and Literature and a PG Diploma in Journalism and Communication. Before ascending to his current editorial leadership role at The Indian Express, he honed his skills on the news desk of The New Indian Express in Hyderabad. His career is marked by a transition from core news operations to specialised cultural journalism, allowing him to bring a structured, news-oriented rigour to the entertainment beat. Expertise & Focus Areas While Anandu’s portfolio spans the global cinematic landscape, he is widely regarded as an expert in Malayalam Cinema. His unique approach to film criticism is defined by: Cinema Anatomy: A dedicated column where he deconstructs the structural layers of films to uncover deeper sociopolitical meanings. Marginalised Narratives: A commitment to on-ground and analytical reporting on how cinema represents or fails marginalised communities. Critiquing "Performative Wokeness": Rigorous analysis of modern filmmaking trends, identifying the difference between authentic representation and superficial social commentary. Multimedia Discourse: Actively fostering continuous public dialogue on cinema through digital platforms and archival research. Authoritativeness & Trust Anandu Suresh is a trusted authority in the film journalism circuit, frequently providing exclusive coverage from major international festivals like the International Film Festival of Kerala (IFFK). His work goes beyond standard reviews; he is known for holding the industry accountable, as seen in his extensive reporting on sensitive issues like the 2017 Kerala actress assault case and the legal complexities surrounding film credits. By prioritising "Journalism of Courage," Anandu ensures his readers receive commentary that is not only intellectually stimulating but also ethically grounded and factually robust. ... Read More