Ronth tale: Rookie CPO Dinnathan pairs up with cunning GSI Yohannan for a nighttime patrol. The experienced officer teaches the young, idealistic constable the tricks of the trade and asks him to rein in his enthusiasm as they go through the various situations they encounter during the night. Their perceptions shift as they learn more about themselves, until a case challenges all they believe about one another.

Ronth review: Shahi Kabir's screenplays, whether for Joseph, Nayattu, Ela Veezha Poonchira, or Officer on Duty, frequently leave you with a lasting feeling of discomfort. This is related to how he attempts to relate his police protagonists by exposing the harsh realities that police officers encounter in their daily lives. His most recent Ronth, which he also directed, is the same.

It opens with a high-ranking officer, GSI Yohannan (Dileesh Pothan), instructing his boss not to accuse him of murder. Moments later, a group of officers cleaning up bloodstains from the street behind him can be seen as he departs the station in the rear of a police jeep. It suggests the impending gloom, and that queasy, uncomfortable sensation persists throughout the film as Shahi, through Manesh Madhavan's grounded frames, draws the audience into the unsettling journey with CPO Dinnathan and Yohannan as they respond to calls on the radio set, which range from domestic violence and suicide threats to missing persons and police escorts.

Despite all of this, Shahi's writing allows for the depiction of his characters; both Dinnathan, a newcomer who wants to follow the rules, and Yohannan, a weary officer who knows how to bend the rules (and people), are made relatable. This is the film's most valuable resource as well. During his night patrol, Dinnathan is repeatedly confronted with his personal trauma, which is when the statements of Yohannan and other officers about what a police officer should be do make sense. If you thought that this was Shahi Kabir's interpretation of Antoine Fuqua's Training Day, you wouldn't be far off; however, the fact that it is more realistic and has a moral weight makes it all the more disturbing.

Roshan Mathew's performance as the rookie cop, who gradually calms down as the movie progresses, is spot on. Shahi also considers how much he has learned throughout the night and whether he can put it to use when the pair faces a serious challenge. Roshan's performance supports this narrative, as the typical portrayal of a police officer is only briefly seen, and instead, the audience is shown how they are human, with all their flaws and virtues. The same is true for Dileesh, whose gruff, tough appearance transforms into a more sympathetic disposition as the evening wears on. Dileesh adds depth to the character in the moments when he discloses the personal tragedies he has been enduring.

Even though the movie has the pair going through the different situations that nighttime patrol officers experience, none of them seems superfluous. The audience can also gauge how much the two protagonists learn with each passing hour by seeing how they react to each other. This may somewhat hinder the watching experience, but it does enhance the character development. However, the conclusion may not have the desired effect that the team was hoping for. The conflict reaches a peak, yet the resolution comes too quickly. One may argue about the outcome of the other character, but it seems that the creator overlooked something by not allowing it to sink in.

From a technical standpoint, the sound department excels once more, pulling the spectator in as the patrol team's third member. The cuts of Managalath Praveen are likewise sharp.

Ronth's conclusion: This Roshan Mathew and Dileesh Pothan film will not let you down if you like Shahi Kabir's writing. It is another fascinating installment in his study of morally ambiguous detectives dealing with professional strains, filled with the tense excitement and real feelings that have become his trademark.