Teddy Review : The amusing acts of the teddy bear and its chemistry with Arya entertains the viewers, but the film ends up as a partly engaging fare, thanks to a slew of incoherent sequences.

Shakti Soundar Rajan, who has a penchant for unusual storylines, has tried his hands at something different again with Teddy. Although the first glimpse of the film reminded moviegoers of the Ted franchise, Teddy is nowhere near it. It begins with Sree (Sayyeshaa), who is kidnapped by a ruthless medical mob that is also involved in organ trafficking. Incredible as it may sound, in a peculiar situation, his soul enters a teddy bear after falling into a coma due to drug intoxication. He befriends Siva (Arya), a person with OCD and a great ability to learn something new, and seeks his help to find out if Sree is alive or not.

Making a compelling movie with an unfamiliar and implausible plot is a challenging task, and the filmmakers are only successful in parts. The film’s novel plot is its biggest positive aside from a committed performance from Arya, who effortlessly plays the role of a person with obsessive-compulsive disorder. The story begins as a breath of fresh air compared to the usual commercial kettles.

The teddy bear’s hilarious acts and his chemistry with Arya entertain viewers, despite leaving us a hint that the story will take a serious turn. Although Arya’s compelling characterization as a player of all trades is helpful in several sequences, cinematic freedoms are exceeded in some sequences in the second half, especially when those episodes take place in a foreign country. The story also takes a long time to reveal the people behind the angle of crime involved in it.

The visuals of Yuva and the music of Imman add to the overall appeal of the film. Sakthi Saravanan’s action sequences look interesting on screen, but the scenes leading up to the action could have been better. The behind-the-scenes visual effects of Teddy look pretty convincing in most scenes.

Characters, except Arya’s, are backed up. Sathish, as the hero’s helper, for the umpteenth time, does what he usually does in those roles. Karunakaran’s character as an employee in the Azerbaijani embassy lacks conviction and Magizh Thirumeni’s antagonistic role, as the mastermind behind organ trafficking, leaves little impact. The emotional scenes between Arya and Sayyeshaa work up to a point.

In short, what should have been a roller coaster ends up being a partly attractive fare, thanks to a host of incoherent sequences.

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