Revenge has been the main characteristic of Jeethu Joseph thrillers since 'Detective'. And with it, a war with themselves. All this has come through in his previous films in many ways. 'Kooman' is a continuation-like first half of all this and a second half that abandons sequels in many ways. 'Kooman' starts from an intriguing start that follows the usual patterns of Jeethu Joseph films, with a very characteristic atmosphere.But the film leaves that rhythm somewhere with some unnatural sequences. From mantras and tricks to extreme paths, the film takes a different path.

The story and setting that starts with a very low rhythm is a common characteristic of Jeethu Joseph films. All his films, including 'Drisham', which have gained attention, start telling the story very slowly by bringing the story, environment, characters and their lives to the audience.Kooman' follows the same path. The director and Krishnakumar's screenplay manage to get the audience in the mood of the film with the very characteristic scenes of a village and a police station on the Tamilnadu-Kerala border.The film begins with scenes of a man fighting with himself. There is an expression in Malayalam called 'Choruk khyya vaalal'. The film begins with this seemingly simple situation. The life of Police Constable Giri Shankar and his subtle psychological issues are very intriguing. From there the plot is very cleverly constructed.The story moves forward through very natural, simple events. But in the continuation of that story, the movie loses its rhythm by abandoning all the logic.Jeethu Joseph in any screenplay follows the method of conveying events to the audience like filling in a word problem. It can also be seen in 'Kooman'. It is concentrated in Giri Shankar and a village called Nedumbara. But then towards the climax the film loses its simplicity and starts relying on supernatural powers.Although it may indirectly remind some of the events that are in the news now, all the tensions that are made as a thriller movie will disappear in the second half of 'Kooman'.

In Malayalam cinema, there is a pattern now being seen regularly in the thriller genre. The presence of serial killers, depraved murders, and various types of psychopaths will come into play.Kooman also had a different beginning from this but saw a method stuck in this routine and 'cliché'. At least for those who regularly watch contemporary Malayalam thriller movies, this is likely to be a boring sight.It is generally seen that Jeethu Joseph draws the characters in front of the audience with great care. Asif Ali's Giri and Jafar Idukki's Maniyan in 'Kooman' are characters that have been made with much scrutiny. The screenplay and direction pay close attention to the themes of ego/emotional decay.But in the final stages, this meticulous attention to the introduction of some other characters feels lost. Asif Ali and Jaafar Idukki have handled this movie with great care.

Moviegoers will want a clear primordial match. When these things get out of hand at times, it affects the overall enjoyment of the film.If you look at it like that, 'Kooman' is a film that opens up the possibility of micro analysis somewhere, and at the same time, it is lost somewhere else.