- Director: Gautham Ramachandran
- Cast: Nivin Pauly, Natarajan Subramaniam, Shraddha Srinath, Prakash Raj
- Storyline: The tale of Richie and his nature, as uncovered by a journalist.
There’s a Virumaandi enhance all finished Richie. The non-direct portrayal is comparative. The perspective groupings are similar. The ‘courageous woman’, Shraddha Srinath, plays a journalist who needs to disentangle a few occasions that occurred in Manapad — much like Rohini does in the Kamal Haasan-starrer.
Yet, Nivin Pauly is no Kamal Haasan. He needs to be a mass star — or if nothing else that is the vision of the executive, Gautham Ramachandran, in this film. In this way, Nivin gets a legend presentation grouping that has been attempted in Tamil silver screen no less than a couple of dozen times. A man is speaking sick about Isaac (the individual Richie works for) and Richie guarantees that he talks no further. There are many moderate movement shots. Nivin Pauly has arrived.
Considerably later in the film, he gets another presentation style scene. He lands at a place that has the lettering: welcome to Tamil silver screen. A Vijay film blurb (Kushi) and an Ajith film publication (Amarkalam) embellish the dividers. Richie moves to a Rajinikanth melody and a Kamal Haasan tune. He tries to be that neighbourhood.
An occasion, described in flashback, is the sole reason that Richie (Nivin Pauly) turned out the way he did. He’s a rascal who continues slaughtering professionally — a companion even alludes to him as a ‘sandiyar’.
In any case, the film isn’t completely about him. It is additionally about Raghu (Raj Bharath), who has had some not really wonderful encounters with him previously. What’s more, there’s a different track with Selva (Natty, who’s discreetly conveying some flawless exhibitions) that gets some portion of the fundamental story just towards the fag end, and one around a costly statue that continues evolving hands.
There are many issues with Richie (it’s the revamp of Kannada film Ulidavaru Kandanthe), and one among them is the lead’s exchange conveyance. Nivin manages to look like it, however, with paan and cigarette stuffed in his mouth all through the film, it’s occasionally difficult to monitor what he says. His Malayalam-covered complement doesn’t help much either.
Executive Gautham has gone to considerable lengths in the characterisation — it is delighting to see each of the three fundamental performing artists being given due screen time — yet misses a trap in the setting of the stories. The characters don’t appear to have a place there. The fascinating brotherhood between Prakash Raj and Nivin isn’t investigated as much as it could have been, and Richie continues seems to be a film that made a decent attempt yet fizzled.