Name: Patriot
Genre: Action, Thriller
Duration: 3 h
Rating: 6.5
Cast: Mammootty, Mohanlal, Kunchacko Boban, Nayanthara, Fahadh Faasil

മലയാളം

Malayalam

தமிழ்

Tamil

12 AM To 8 AM

Early Morning

8 AM To 12 PM

Morning

12 PM To 4 PM

Afternoon

4 PM To 7 PM

Evening

7 PM To 12 AM

Night

10 PM To 12 AM

After 10 PM

₹ 0 - ₹ 100

₹ 100 - ₹ 200

An espionage thriller about a covert surveillance plot that spirals into a national-security crisis. Operatives race to expose the network before it crushes dissent.

Patriot

Times of India

India Today

The Indian Express

Rediff

NDTV

Pinkvilla

Mahesh Narayanan's Mammootty–Mohanlal reunion film Patriot has a strong plot, compelling ideas, stunning visuals, and impeccable background music. It leaves you with the feeling of watching a legacy project, even though it is not fan service to a large extent. Here is the thing: it deals with a serious and somewhat technical subject, and whether it will resonate with the audience remains to be seen especially as it lacks a strong emotional anchor, beyond the central friendship.
Patriot tells the story of a spyware application, Periscope, that spies on the lives of ordinary people. How will a defence application, when equipped to spy on the country’s own people, affect their lives—and who all will be implicated in this larger game? Daniel James is a senior official, while Mohanlal plays a retired soldier in this film that explores a dystopian situation. There are clear Animal Farm references and very George Orwell-ish elements in the treatment of the concept. It is a difficult story to tell, and Mahesh has done his best with it.
Mammootty, as Daniel James, carries the film’s first half on his shoulders, along with the audience’s hope for a reunion. For a patient moviegoer, this film works in ways that unfold only when you are willing to be part of the world-building and character development. Daniel turning into a vlogger after the first quarter adds an interesting layer, and the slow pace and setting only build the intrigue further. Casting Mohanlal in a significant role that has yet to make a physical screen appearance until then also deepens that intrigue and rewards patience. Mammootty delivers an exemplary performance as Daniel.
Mohanlal, as Rahim Naik—first in name and later in presence—looms large over the film in a very effective way. The character and the background further pack a punch, and Mahesh makes it clear that he can present Mohanlal as “mass” in any genre. The action sequences are charged, and the confrontations, background music by Sushin Shyam, and smooth dialogues lift the film at key moments. It definitely has several high points. Manush Nandan’s cinematography deserves to be lauded, complementing the film’s visuals effectively.
Fahadh Faasil is in his element as Shakthi Sundaram. Kunchacko Boban is great as Michael Devassy. These characters are all intertwined; there are mutual sentiments, and at the same time, many calculations that stand above everything. When Fahadh’s character says that what they had built is not followers but faith, it rings true for both the characters and the actors. In fact, their interactions carry an undercurrent of real-life conversations. Was it absolutely necessary? Did it work? Very well. What could be called morbid talk is layered with a good deal of philosophy, just before a thrilling car chase. Towards the end, the screenplay get a little messy before it settles, just like in the beginning.
The dynamics between couples, friends, and even father and son—all of it finds a place in this stellar writing by Mahesh. The female characters—each treated with respect and agency—are key to the storytelling. Did the advocate or the minister have to be women? No. But the fact that they are women matters, especially given the character settings they have.
When legends unite, expectations go through the roof. While the film does falter in places, it might satisfy a cinephile, but whether it will fully work for a fan remains a question.

What does a spy thriller warrant in 2026? Pan-India ambition, big scale and even bigger stars? That's mostly what most directors are aiming for. But Mahesh Narayanan does the unthinkable with Patriot — a largely engaging intelligence procedural featuring the Big M's of Malayalam cinema and most of the industry's popular faces. He keeps it grounded, letting the story lead rather than the stardom or pan-India ambition.
The film begins with Dr Daniel James (Mammootty), a scientific analyst who works for the government agency DRW. A false case pushes him to quit and fly to London, where he runs a YouTube channel called Vimathan — meaning dissident — through which he exposes how civilians are being monitored via their laptops and phones.

In an attempt to expose a surveillance app owned by Shakti Corporation — headed by Shakti Sundaram (Fahadh Faasil) — being secretly installed in civilians' devices, Daniel gets framed for espionage. The case pulls him back in, and what follows is his attempt to unravel a government conspiracy that threatens national security, aided by several members of the Indian armed forces.


What makes Patriot interesting is its focus on character over scale. As the story travels across the country and continents, you travel with it. The film is also deliberately verbose — you need to pay attention to follow its intricacies, and that is a feature, not a flaw. At its core, Patriot is about data theft: not just the stealing of personal information, but its weaponisation against ordinary people through scams, manipulation and worse. The film doesn't shy away from implicating corrupt politicians and government complicity — and that willingness to go there is one of its biggest strength.

Mammootty carries the film's considerable weight with ease, but he is well supported. Fahadh Faasil is quietly menacing as Sundaram, and Kunchako Boban brings warmth to a pivotal role. Mohanlal, as Colonel Rahim Naik, gets a limited but well-written part, and makes every minute of it count. Revathi, Prakash Belawadi and Indrans each get their moments. Nayanthara, despite her marquee billing, is reduced to little more than a cameo — those coming specifically for her will be disappointed.

Patriot is not without its flaws. There are stretches that lose momentum before the film pulls you back in, and some of the action blocks lack the nuance the genre demands. Two sequences, however, are standouts: an aircraft fight featuring Mammootty and a hospital confrontation with Mohanlal that both deserve a special mention.

This is not a film of elevation moments or high-concept spectacle. It is a grounded, methodical spy drama — and for those willing to meet it on those terms, it rewards patience.

We all grew up listening to the apocryphal tale about Alfred Nobel donating a lion’s share of his wealth to establish the Nobel Prizes out of regret for being cited solely as the inventor of dynamite, which was widely used to make military explosives, right? While this anecdote has often been debated, with some even dismissing it, there’s no doubt that human beings have created quite a few Frankensteins. In director Mahesh Narayanan’s Patriot, we meet one such creation — Periscope, which un/surprisingly sounds and appears a lot like Pegasus — and we follow one of its key minds’ efforts to save millions of innocent people from falling prey to its misuse by those in power.

Dr Daniel James (Mammootty) works at the DRW under the National Defence Ministry as a scientific advisor. One day, he is summoned by Minister Nalini Ramakrishnan (Revathy) to warn him that Periscope, which they masterminded for national security, is being misused by political heavyweight JP Sundaram (an impressive Rajiv Menon). Worse still, JPS has also made moves to license it to a private company owned by his son, Shakthi Sundaram (Fahadh Faasil). A spyware that can remotely access cameras, microphones, and data on people’s gadgets, they fear that Shakthi will use Periscope for his selfish gains. As Daniel begins his battle against this, JPS brands him a “national traitor,” forcing him to go on the run. But Daniel is determined to expose the father-son duo, and there’s “someone” to help him.
As Mammootty kept reiterating in promotional interviews, the plot is indeed the hero in Patriot. Despite the movie featuring some of the biggest names in the industry, Mahesh never loses sight of his material from start to finish. About three hours long, the movie begins slowly, taking its time to establish the world, the characters, the impending threat, and the conflicts it creates.
Even with one superstar (Mammootty) already introduced and another (Mohanlal) awaiting his cue for entry, Mahesh doesn’t rush or fall victim to the screenplay formats established by mainstream Indian cinema. He doesn’t unnecessarily crank up the tension or insert high-octane bloodbaths at constant intervals. He demonstrates absolute clarity in what he wishes to achieve, and he does, at least visually.
From the beginning, Patriot’s visual language exudes an international quality. There are no unnecessarily dimly lit shots or slow motion to give Daniel a spotlight. Nor are there any artificial or superficial colour grading tricks to give any particular area a monotonous tone. Mahesh doesn’t force-feed him whistle-worthy massy dialogues or make him perform theatrics typical of heroes in conventional Indian espionage thrillers. Daniel isn’t a superhuman, and the writer-director seldom treats him as such.

While this is a commendable approach, Mahesh’s script ultimately falls flat, with mediocre writing throughout that fails to elevate Patriot to its true potential. As much as he has tried to stick to the genre, he has inadvertently focused too much on the specifics and details, rendering the script lifeless. He should really have entrusted the writing to someone else and focused solely on filmmaking. At the very least, he should have collaborated with a co-writer who has a knack for creating drama and writing sharp dialogues. Patriot’s biggest drawback, even with its impressive visuals, is the sheer lack of soul and depth in the narrative.
Although he establishes the characters well, giving them distinct identities and building strong dynamics among them, he fails to anchor many of them, leaving them floating. For instance, Ayesha Iqbal (a superb Zarin Shihab), a cyber expert settled in the UK who later becomes Daniel’s wife, shows immense potential as a character at the outset. However, after a point, she starts simply existing. The same is true for Daniel’s ex-wife and friend, Adv Lathika (Nayanthara). While her initial scenes suggest that she would become instrumental to the narrative, she, too, is relegated to just a spectre.

While Mahesh has put in ample effort to build the character of Michael Devassy (Kunchacko Boban) — an employee at Shakthi’s firm who becomes a turncoat, eventually causing the latter’s downfall — giving him a strong backstory and motive, the overall drama’s lack of sturdiness affects him as well.
Nonetheless, Mahesh deserves credit for the detailing he has brought to the narrative, fusing high-concept themes with very real scenarios. Even the way the Morse code has been utilised is impressive. Also, considering the ongoing debate around privacy and the unlawful use of people’s sensitive information, a movie like Patriot is indeed the need of the hour to spark further discussion. However, its inability to connect with one on an emotional level might diminish its impact.

It’s also appalling that the movie had to begin with a statutory warning that it “is not against the digitalisation of India,” especially when there have been ample instances of data breaches in the country over the years, allegedly including breaches from the Aadhaar database.
Another major shortcoming of the movie is its inability to decide whether it is a socio-drama or an espionage thriller, which makes it appear confused instead. In the final act, Patriot’s narrative is all over the place, and the movie ends far too conveniently amid too much noise and chaos, almost the exact opposite of the tone Mahesh had maintained until then.
Although Patriot isn’t visually groundbreaking for Malayalam cinema, there are quite a few moments where cinematographer Manush Nandan and editors Mahesh (the director himself) and Rahul Radhakrishnan shine. Particularly impressive are the scenes set in confined spaces, especially Mohanlal’s fight in an elevator. Without giving the viewer a claustrophobic feeling, the team has executed these scenes well.

However, there’s another scene inside a cruising car where the camera appears to move within the interior to capture the conversations between Daniel, Rahim, and Michael. While this achievement is commendable, it almost feels like a show-off, as it doesn’t add to the gravity of the moment in any way.
Amid its few technical achievements, the sync sound is a bit of a disappointment at times, with some dialogues coming across as incomprehensible.

Patriot’s judicious use of background score — employing it only when necessary and embracing ambient noise and silence otherwise — also deserves praise. And whenever it’s his time to shine, composer Sushin Shyam does so brilliantly well.

Shouldering the movie, Mammootty delivers an anchored performance that’s expected from him. He doesn’t try to outdo the narrative or steal the spotlight; instead, he plays his part within the boundaries, giving Daniel authenticity. However, there are a few instances where his dialogue delivery lacks the punch it desperately needs.
Written by: Anandu Suresh
10 min readUpdated: May 1, 2026 05:25 PM IST
Patriot movie review: and Mohanlal's spy action thriller is now running in theatres.Patriot movie review: Director Mahesh Narayanan's espionage thriller stars Mammootty and Mohanlal in the lead roles.
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Patriot Movie Review & Rating: We all grew up listening to the apocryphal tale about Alfred Nobel donating a lion’s share of his wealth to establish the Nobel Prizes out of regret for being cited solely as the inventor of dynamite, which was widely used to make military explosives, right? While this anecdote has often been debated, with some even dismissing it, there’s no doubt that human beings have created quite a few Frankensteins. In director Mahesh Narayanan’s Patriot, we meet one such creation — Periscope, which un/surprisingly sounds and appears a lot like Pegasus — and we follow one of its key minds’ efforts to save millions of innocent people from falling prey to its misuse by those in power.

Dr Daniel James (Mammootty) works at the DRW under the National Defence Ministry as a scientific advisor. One day, he is summoned by Minister Nalini Ramakrishnan (Revathy) to warn him that Periscope, which they masterminded for national security, is being misused by political heavyweight JP Sundaram (an impressive Rajiv Menon). Worse still, JPS has also made moves to license it to a private company owned by his son, Shakthi Sundaram (Fahadh Faasil). A spyware that can remotely access cameras, microphones, and data on people’s gadgets, they fear that Shakthi will use Periscope for his selfish gains. As Daniel begins his battle against this, JPS brands him a “national traitor,” forcing him to go on the run. But Daniel is determined to expose the father-son duo, and there’s “someone” to help him.

Check out | Patriot Movie Review and Release Live Updates: Mammootty-Mohanlal, Fahadh film divides audience; overtakes L2 Empuraan box office record

As Mammootty kept reiterating in promotional interviews, the plot is indeed the hero in Patriot. Despite the movie featuring some of the biggest names in the industry, Mahesh never loses sight of his material from start to finish. About three hours long, the movie begins slowly, taking its time to establish the world, the characters, the impending threat, and the conflicts it creates.

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Even with one superstar (Mammootty) already introduced and another (Mohanlal) awaiting his cue for entry, Mahesh doesn’t rush or fall victim to the screenplay formats established by mainstream Indian cinema. He doesn’t unnecessarily crank up the tension or insert high-octane bloodbaths at constant intervals. He demonstrates absolute clarity in what he wishes to achieve, and he does, at least v

In C U Soon, Mahesh Narayanan makes Fahadh Faasil's character use technology and surveillance in a positive manner to find a missing girl.

In Patriot, the director flips that lens, using Fahadh's character in an antagonistic manner to show how the same online surveillance can be weaponised against civilians for far more nefarious purposes.

That is quite an arc within a filmmaker's body of work.

 
What's Patriot About?
Patriot is a spy thriller centred on the rise of digital surveillance and the targeting of whistleblowers, often branded as traitors.

Daniel (Mammootty) works as a scientific adviser for the government body DRW and shares close ties with Prime Minister Nalini (Revathy). Nalini is wary of her Cabinet colleague J P Sundaram (Rajeev Menon) and his entrepreneur son Shakti (Faasil), who are misusing a defence intelligence programme meant for national security to spy on civilians. She seeks Daniel's help to stop them.

Before he can act, Nalini dies under mysterious circumstances.

Daniel, who uncovers Sundaram's use of spyware against her, is forced to flee and is branded a dissident. Escaping to the UK, he adopts a pseudonym and begins posting vlogs to expose Shakti's operations.

When Michael (Kunchacko Boban), a close associate of Shakti, reaches out with potentially damning evidence, Daniel is drawn back into the conflict, seeking justice for those affected by the corporation's malpractice.

Bringing Together Mammootty and Mohanlal
Patriot generated considerable buzz for bringing Mammootty and Mohanlal together after more than a decade.

It is important to note that this is a Mahesh Narayanan film, which means it consciously sidesteps conventional star-driven expectations.

The film firmly belongs to Mammootty, while Mohanlal, who enters in the second half as Colonel Rahim Naik, has an extended but controlled presence that never overshadows the central narrative. Narayanan is a filmmaker who prioritises the integrity of the subject over tailoring sequences to appease fanbases.

That is not to say Patriot is devoid of such moments; there are a few once Mohanlal makes his entry, with the highway chase standing out as an entertaining highlight. But if one expects goosebump-inducing slow-motion shots and lengthy monologues, there is a fair chance of disappointment.

Both characters are presented as battle-scarred warhorses. Daniel is an ageing alcoholic, while Mohanlal's Colonel Rahim Naik is a physically-impaired officer with a black mark in his career record.

Their conversations about mortality carry an added poignancy, particularly when viewed in the context of Mammootty's health during the shoot.

Patriot, then, is less about feeding front-bench expectations and more about grounding its stars within the emotional and thematic weight of the story. In fact, I felt Mahesh Narayanan's grip on the narration wavered slightly whenever he indulged in 'superstar' presentation.

The pre-interval mid-air sequence is a case in point. Mammootty gets a mass entry moment, but the fight that follows undercuts the grounded realism the film otherwise strives to maintain. There is a slight lack of conviction in seeing an ageing man with health issues take on trained officers. The reliance on rapid cuts and shaky camera work further feels like a conscious attempt to make the action appear more convincing than it actually is.

Tackling The Plot's Political Elements
Look past these 'indulgences', and Patriot aligns itself with cerebral Hollywood spy thrillers such as The Insider, Snowden and Body of Lies in the way it structures its chain of events around a high-profile political scandal in a a grounded manner.

There is a considerable amount of stuff happening from the very first scene, yet the narrative unfolds with enough dynamism to keep you engaged.

The themes are clearly drawn from real-world controversies, with the central spyware plot echoing the Pegasus spyware scandal.


Unlike L2: Empuraan, the film packages its political commentary with restraint, avoiding overt ideological markers while still delivering pointed observations.

A telling moment comes when Daniel remarks that his time in London has made him healthier, not because of the country he left, but because of the people running it.

While online surveillance is not a new subject, even within Indian cinema, the scale of this film and the presence of major stars give the narrative a wider reach.

Importantly, Patriot is not anti-technology. Daniel himself uses vlogs to connect with his audience and is comfortable with digital tools.

The film's intent is to highlight the unsettling implications of compromising personal privacy in the name of safety, and it largely succeeds in conveying that cautionary message within the conventions of the genre.

The screenplay, within its spy-thriller framework, occasionally leans on convenient leaps of logic. For instance, it is unclear why the antagonists assume Daniel would willingly attend a summit they organise, especially when he only shows up after being contacted by Michael. It is equally puzzling that such a summit would not vet what a participant, particularly someone openly critical of the organisers, intends to present.

In the second half, there are further moments where Daniel moves around far too freely for a fugitive, and even the health risks attached to his character are brushed aside in favour of maintaining narrative pace.

Apart from these contrivances, Mahesh Narayanan presents the events in a thrilling manner, and even injects suspense where needed. The airport kidnapping sequence was one such moment, with more such moments in the second half.

The Technical Execution
For a three hour film, Patriot inevitably carries the weight of its runtime. There are stretches where the pacing slackens, particularly when characters resort to exposition to spell out developments, and one does feel that a more economical approach could have conveyed the same information.

That said, there are also moments that initially seem superfluous but gain relevance later. An early flashback involving a MiG-21, which initially feels indulgent, later proves integral in shaping character motivations.

Technically, the film boasts a grand visual texture without slipping into pure showmanship.

Manush Nandan's camerawork is striking in several places, particularly the sequence where Kunchacko Boban stands at a railway station as the camera executes a smooth 180-degree movement around him.

At the same time, there are instances where the stylistic flourishes felt a tad excessive. The car conversation between Daniel, Rahim and Michael, for instance, might have benefited from a more straightforward setup that allowed the performances to take centre stage, rather than relying on a revolving camera to grab the attention. Sushin Shyam's score may not be his best work, but I didn't have much to complain either.

A Mixed Bag Approach in Handling The Ensemble
Another challenge for Patriot is balancing its sizeable ensemble while keeping the focus firmly on Mammootty, followed by Mohanlal, Fahadh Faasil and Kunchacko Boban. As a result, the rest of the cast is left with limited screen time. Some make strong impressions within those confines, notably Zarin Shihab and Darshana Rajendran, while others, particularly Nayanthara and Grace Antony, feel extremely underutilised.

This may not be a one-man show, but it is undeniably a Mammootty-led film. The actor is, as always, excellent in the effortless restraint he brings to the role, never tipping into excess. Mohanlal's arrival lifts the film in the second half, and despite his character's physical limitations, he is given a couple of well-staged action moments. The hospital lift sequence, in particular, is tense and effectively executed.

It is always a pleasure to see these two legends share screen space, and the film finds a quiet poignancy in their interactions towards the end, a placement that once again reflects Mahesh Narayanan's thoughtful handling.

Fahadh Faasil stands out as the principal antagonist, especially in the climactic stretches, while Kunchacko Boban delivers a decent performance in a role that operates between two sides.

When two legends of Malayalam cinema come back together on screen after 13 years, it's not just a celebration for fans but an opportunity to watch some superb acting as well.

Mammootty and Mohanlal join hands in director Mahesh Narayanan's Patriot, a cyber thriller which is about power, politics and the people.

Mammootty essays the role of Daniel James, a former scientific adviser-turned-vlogger who goes by the name Vimathan (dissident).

Vimathan's aim in life is to expose corrupt politician JP Sundaram (Rajiv Menon) and his son Shakti Sundaram (Fahadh Faasil), the founder of Shakti Group which is involved in cyber security.

But Vimathan ends up being framed and is forced to flee India to London to escape his killers.

Even while a recluse in London, he continues his quest to reveal all that JPS and his son are upto in the name of goodwill and service to the nation.
Suddenly, he decides to attend a YouTubers meet in another country but when he lands up there, he simply vanishes into thin air. Meanwhile, Lt Rahim Malik (Mohanlal), who is Daniel James's friend, gets roped into this issue and this is when we see the two acting legends really shine on screen together. What happens to Vimathan? Does he expose JPS and Shakti? Does he ensure justice for all affected parties?
There's a line in the film that Mammootty's character delivers where he says this is not a dystopian animal farm, it's an actual human farm while at the YouTubers meet. 

That statement is extremely poignant given the world of influencers and bloggers we live in and the voracious need for instant gratification, likes and shares every single minute.

The need for validation from virtual strangers has taken over the conscience of the youth while the real world is in turmoil being manipulated by those in power and the poor becoming scapegoats. This is a very thought-provoking theme that director Mahesh Narayanan has touched upon.

Mahesh Narayanan definitely had the tough task of ensuring that both Malayalam superstars Mohanlal and Mammootty had roles that would befit their stature.

In many ways, he has managed to fulfil the expectations of fans of both stars though one wishes that Mohanlal had more elevation scenes in the film and a more intense role.

However, as far the story is concerned it does lag in parts - the first half is slow and takes time to build up and the tension/ conflict is not strong enough.

The second half suffers as the narrative loses momentum - perhaps it would have benefitted from concise ideas and several mass moments.

Even the antagonists are not powerful and the theme of corrupt politician versus do-gooder is not novel either.

The film stands on the powerful performances of Mohanlal and Mammootty rather than the storyline - and this is slightly disappointing given it is a Mahesh Narayanan film.

Mammootty as Vimathan doesn't come on screen with his usual swag but is more restrained, raw and the social consciousness he displays really connects with the audience.

Vimathan or Dissident makes use of the social media world to take down those in the real world - this is where Mahesh Narayanan connects the dots.

And Mammukka (Mammootty) effortlessly recalibrates his acting to be the ageing dissident.

As for Mohanlal, he is intense and his eyes speak volumes as always.

He commands the screen and effectively conveys his acting chops in numerous  scenes merely by movements rather than dialogues.

The combination scenes of both these actors are a cracker and the intensity with which they have portrayed their respective roles says a lot about their talent.

Fahadh Faasil as Shakti plays his role to perfection given that he has essayed some similar roles in the past.

Kunchacko Bobban has an important but small role in the film.

As for the female characters in the film, none of them make much impact as they appear just for a few scenes each through the film.

Nayanthara appears as Lathika, Daniel James's wife, and flits in and out of a few scenes as does Zahrin Shahib. As for Revathi, she is just seen in one scene like Indrans.

When it comes to the technical aspects of Patriot, no aspect has been spared as far as production values go. The camera work by Manush Nandan is compelling but the editing by Mahesh Narayanan and Rahul Ramakrishna could have been much tighter given the lags and the length of the film. Sushil Shyam, who has delivered blockbusters earlier, gives a BGM that serves the film but not necessarily elevate it.

Ultimately, Mahesh Narayanan's Patriot, starring Mohanlal and Mammootty, serves as an acting masterclass by the legends with a strong social theme.

The biggest asset of Patriot is undeniably the acting expertise of both Mohanlal and Mammootty. The superstars do not carry their usual on-screen stardom; instead, they focus on fully immersing themselves in their characters.

Whether it is Mammukka as Daniel or Lalettan as Rahim, the audience does not see them reminiscing about their old roles or dropping Easter eggs. The film treats them as the accomplished performers they are, and without a doubt, they deliver what is required.
While the concept of survival in the film is familiar to the audience, the execution is top-notch and creates a space where entertainment blends seamlessly with strong storytelling. Unlike contemporary films that use nostalgia and brain-rot gimmicks to sell tickets, this film places its confidence in its narrative.

With the first half serving as the anchor for world-building and character development, the writing shines at key moments. On the technical front, Patriot benefits greatly as well. From the action choreography to the production value and stylish visuals, the film stands out for its technical finesse.
Mammootty dominates the first half, driving the narrative with a grounded and compelling performance. His portrayal makes the character relatable and engaging without relying on gimmicks.

Mohanlal, however, emerges as a scene-stealer. Like his co-star, he keeps his performance subtle and effortless, reinforcing why both actors continue to remain relevant across generations.

Fahadh Faasil handles a relatively straightforward role with ease, while Kunchacko Boban showcases his versatility beyond his earlier romantic-hero image. Nayanthara also delivers a solid performance within the scope of her role.
Patriot was never meant to be a commercial entertainer, and it doesn’t try to be one. It is a content-driven film where stars transform into characters rather than dominate the narrative.Despite inconsistencies in pacing and emotional depth, the film remains an engaging watch, especially for those eager to see Mammootty and Mohanlal share the screen again after years.

Disclaimer: The views and opinions expressed in this article are those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.

Patriot Tamil Teaser | Mammootty | Mohanlal | Mahesh Narayanan | Anto Joseph

Patriot Hindi Teaser | Mammootty | Mohanlal | Mahesh Narayanan | Anto Joseph

Patriot Telugu Teaser | Mammootty | Mohanlal | Mahesh Narayanan | Anto Joseph

Patriot Malayalam Teaser | Mammootty | Mohanlal | Mahesh Narayanan | Anto Joseph

Patriot Malayalam Trailer | Mammootty | Mohanlal | Mahesh Narayanan | Anto Joseph