Vadacurry has elements in common with other movies released this year. Similar to Pulivaal, the story begins when the main character takes a mobile phone; and, like what happens to the hero of Damaal Dumeel, this act of taking something that doesn’t belong to him leads to problems with criminals. Sathish (Jai), who has just started working as a medical representative, finds his old-fashioned cell phone embarrassing. Early on, we see him waiting at a clinic to meet a doctor, and the awkward conversations he has with two friends are overheard by everyone nearby. Following advice from his loud friend Karikaalan (RJ Balaji), Sathish tries to get an expensive mobile phone but can only afford a cheap one he calls a "Korean set." The phone’s jarring ringtone just creates more issues for him. His sister-in-law (Kasturi) uses the device to scare her child into eating, his friends tease him about it, and even a shop owner threatens him for using such a phone near his business. Wanting to end this humiliation, Sathish steals an iPhone and starts showing it off. However, his auto-driver brother’s (Aruldoss) honesty makes him consider what he's done, and the young man decides to return the phone to its rightful owner. This only gets him into more difficulty with another medical rep, Dhayalan (Ajay Raj), who is trying to find the phone’s mysterious owner to resolve his own personal issues. Director Saravana Rajan has a smooth time in the first half of the film, relying on RJ Balaji's humor that sometimes works well and other times falls flat. There’s also the usual romantic subplot between Sathish and Naveena (Swati), whose performance echoes her role from Idharukuthaane Aasaipattai Balakumara, particularly when she plays the part of the nagging girlfriend. Interestingly, during a noteworthy scene following the song Nenjukulla Nee, the director directly addresses the amount of unwanted attention attractive women (and heroines in general) face daily. However, Rajan’s style is similar to Venkat Prabhu's, and like his mentor, he seems reluctant to let things get too serious, so he quickly diffuses this somewhat profound moment with humor. And when Sathish is desperately trying to escape the trouble he’s created, we see lighter scenes where RJ Balaji, who has been taken hostage, becomes friendly with his captors. Even the seriousness of the villain's crime—repackaging expired medicine and selling it to unsuspecting people—doesn’t significantly impact the story. There are other influences from Venkat Prabhu’s filmmaking style as well. Like how information is revealed; Rajan shows us who the bad guy is, then cuts to flashbacks of his previous actions (the editor is Praveen KL, who has worked on all of Venkat's films). The director also shares Venkat’s habit of casting friends in small roles; besides Jai, Ajay Raj and Venkat himself appear briefly, along with guest appearances by Premgi Amaren and Mahat Raghavendra. Despite the energy, the film feels unbalanced, and the effort to maintain a lighthearted tone makes it seem like nothing truly matters. And after all the suspense surrounding the villain, we are presented with someone who doesn’t quite live up to the buildup. The story could have been a strong black comedy or a commentary on our materialistic society, but it lacks real bite.

Source on TMDB