The alien appears without warning in a sleepy Kerala village, and the first reaction from a local is not terror but a bewildered frown. Neeraj Madhav’s Vicky stands at the centre of this chaos, and it’s his deadpan confusion that sells the absurd premise.
Madhav anchors the film’s shift from routine to comic upheaval with a performance built on restraint. He never overplays the shock, letting the situation’s inherent ridiculousness do the work.
Adithyan Chandrashekar’s direction chooses contrast over depth
The director understands the power of a high-concept collision: rural Kerala meets extraterrestrial disruption. That contrast generates the film’s best moments, the alien’s arrival and the ensuing village-wide hysteria.
But the screenplay by Niyas Muhammed struggles to escalate beyond one-note gags. The second half reportedly loses momentum, falling back on repetitive misunderstandings rather than deepening the central relationship between Vicky and Pluto.
I kept waiting for the script to introduce a genuine dramatic complication, but it stays stubbornly in comedy-first mode.
The genre execution lands somewhere between charming and shallow
Pluto is a science-fiction comedy that leans entirely on the disruption caused by its alien visitor. The film wisely avoids scientific exposition, focusing instead on how ordinary people react to the extraordinary. The best scenes involve the alien’s first contact and the gradually amplifying series of hilarious encounters that follow.
Yet the craft remains functional rather than inventive. Vishnu Sarma’s cinematography captures the village’s earthy palette but never finds a visual language for the alien presence. The extraterrestrial is treated more as a prop than a character, limiting the comedy’s potential for emotional stakes.
Arcado’s background score keeps the tone light, but it cannot compensate for the lack of genuine surprise. The film’s second half reportedly drags, suggesting the premise runs out of juice long before the climax.
Althaf Salim and Aju Varghese add texture to a thin ensemble
Althaf Salim plays Pluto, the alien visitor, with a wide-eyed physicality that contrasts nicely with Madhav’s groundedness. His performance is built on gestures and reactions rather than dialogue, which fits the character’s extraterrestrial otherness.
Aju Varghese appears as Tiger Thampi, a role that allows his signature comic timing to shine in the village-wide chaos scenes. Aarsha Chandini Baiju, as Meera, brings a welcome warmth to the proceedings, though her character remains underwritten. The supporting cast, including Vineeth Thattil David and Dinesh Prabhakar, fills the frame with familiar faces, but none receive scenes that demand more than stock reactions.
If you enjoy ensemble Malayalam comedies, you might find this cast’s chemistry worth the trip. Browse more Malayalam Sci Fi reviews on our site for similar village-set fare.
The audience reception angle reveals a film without dissent, or acclaim
No major critic or audience survey has weighed in on Pluto as of now, which creates an unusual silence around the film. The available coverage frames it as a heartwarming tale of friendship and unexpected events, suggesting a safe tonal balance. But without verified reviews, the film exists in a curious vacuum, it has generated interest through its premise alone.
This might appeal to viewers who prefer discovering movies without preconceived critical baggage. For others, the lack of any strong negative response could be reassuring or suspicious, depending on one’s appetite for risk.
Neeraj Madhav’s performance remains the single unqualified positive note in an otherwise speculative reception picture.
Pluto tries to be a light, accessible sci-fi comedy, and on that modest ambition it partly succeeds. Watch it for Madhav’s steady presence and the charm of its village setting. The theatrical format suits the film’s communal comedy, though I suspect a streaming release would expose its thin plotting even more. This is a 2.5/5 film that earns its points through sheer likability rather than craft.
For a tighter blend of alienation and humour, explore our take on Spider Man review.
The director’s earlier romantic comedy Apology verdict shows a surer handle on character dynamics.
Ankit Jaiswal is the Chief Author, covering Indian cinema and OTT releases with honest, no-filler criticism. An SEO strategist by background, he brings a research-driven approach to film writing, cutting through hype to tell you exactly what's worth your time.
