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SYNOPSIS: An out-of-form fiction writer and his wife encounter a slew of horrific incidents when they visit a hill station.
REVIEW: Jeevan (Kalaiyarasan), who once was a successful fiction writer, is not in form anymore. He is quite distressed about the fact that his publisher, of late, has been rejecting his ideas. He finds solace in cigarette packs, and his wife Jennie (Sai Dhanshika) is worried over his situation and their future as a couple. One fine day, an idea strikes him — that of a bad guy who eventually becomes a hero. Jeevan pitches the idea to his publisher, and the latter asks him to develop the plot.
Jennie, who has been urging Jeevan to give up writing for their sake, pleads with him to wait for just two months to complete the story. An excited Jeevan promises her that he would bid adieu to writing and take up a white-collar job if nothing materialises in two months’ time. He decides to go to Meghamalai as he believes its calm ambience will be very crucial in bringing out his creativity. He sets out to the hill station where he has arranged a stay at his friend’s guest house. A forest guard (Mime Gopi), too, is there to help him. But little does Jeevan know that he is taking a big risk with his decision. He encounters a series of horrific events, following which he finds it difficult to differentiate between real and imaginary incidents. Things turn topsy-turvy when Jennie pays a surprise visit to the hill station.
While Kalaiyarasan puts up a decent show, it is Dhanshika who carries the film on her shoulders, especially during the crucial part of the film. The former, as an upset writer, manages to bring in the required stress and emotion to it, while the latter, in the role of a practical and caring wife, once again proves that she is at ease in emotionally-charged scenes and sequences which require her physical effort. Mime Gopi appears in a few scenes and Daniel’s character doesn’t leave much impact. The cinematography by Prasanna Kumar, music by Johan and action scenes stand out in this psychological-horror film, which works to a good extent for movie lovers of this genre.
One of the positives of Uru, which has a few edge-of-the-seat moments, is its doing away with the done-to-death portrayal of ghosts and the clichéd flashback associated with them. Though the film starts as a laid-back attempt, it gets interesting as the story unfolds, with plenty of twists and turns in the last 30 minutes which are enough to keep viewers hooked.