In the landscape of genre-centric Kannada cinema, where deviation from the conventional mass entertainer format is rare, “Matinee”, directed by Manohar Kaampali, stays rooted in traditional tropes. Starring Sathish Ninasam, the film kicks off with a hero’s welcome, complete with the expected introduction song. Love interests, portrayed by Rachita Ram and Aditi Prabhudeva, afford him a romantic duet in each half of the movie, further adhering to the established format.
Billing itself as a horror-comedy, “Matinee” struggles to find its footing, its screenplay lacking the solid structure necessary to effectively delve into its stated genre. A reunion of four friends at Arun’s (played by Sathish Ninasam) mansion, intended for camaraderie, instead becomes the backdrop for a series of supernatural occurrences.
The cast, including Nagabhushana, Shivaram KR Pete, Sathish, and Poornachandra Mysore, brings an off-screen friendship to their roles, offering potential for genuine chemistry and authentic humor. However, this promising setup underutilizes their comedic prowess, further illustrating that talent alone isn’t sufficient—robust scripting is essential.
There are fleeting moments when “Matinee” seems to echo the essence of “Romancham”, the unexpected Malayalam hit of 2023. Under the deft direction of Jithu Madhavan, “Romancham” captivated audiences with the tale of friends haunted by the aftermath of using an Ouija board. Unfortunately, “Matinee” fails to replicate that clear narrative focus, resulting in sparse laughs and infrequent frights.
One glaring misstep of the film is the misplaced comedy, which often registers as irritating rather than amusing. Although Nagabhushana and Shivaram KR Pete deliver their lines with flair, “Matinee” is devoid of the anticipated roaring laughter or groundbreaking plot twists.
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Tackling the intricacies of the horror genre can undoubtedly be challenging, and this becomes evident as “Matinee” stumbles into its climax. Scenes intended to terrify inadvertently provoke humor, leaving audiences bewildered by the director’s misguided attempts at fear. An unexpected surge of melodrama further muddles the movie’s tone, making one question if the comedic roots were a mere afterthought. In a closing twist that could raise eyebrows, “Matinee” daringly hints at a sequel—arguably the most alarming jump scare of the entire experience.
Currently showing in theaters, “Matinee” exemplifies a trend within the Kannada film industry: a reluctant embrace of niche genres while remaining tethered to mainstream sensibilities. Despite a capable cast and moments of potential, the final product emerges as a disjointed mishmash that neither frightens nor tickles the funny bone as one might hope. The audience is left with a faint shadow of what could have been a thrilling ride had the film ventured further from its safety net and fully committed to the wild, unpredictable domain of horror-comedy.
