Love Insurance Kompany (2026), a film without a soul

Love Insurance Kompany has an identity crisis. Is it a science fiction film or a romantic comedy? As a science fiction film, director Vignesh Shivan‘s attention to detail was visible in many frames and enjoyable. As a romantic comedy, it failed to connect with the audience. On top of that, the film was preachy and dull. Mangoidiots gives it a Rotten.

Suriyan, played by S J Suryah, is a brilliant inventor who shuns human connection and sets out to build an app that ensures, that is, safeguards, intimate relationships. The premise was brilliant, and the visuals of Chennai in 2040 were dazzling. Just as we settle in to expect a high-energy comedy, the film shifts into something closer to Endhiran 2, and the story grows dull.

After the promising start, the film drifts into a familiar love story between an unlikely couple. How they fall in love, fall out, and whether they find their way back is supposed to be the story.

Pradeep Ranganathan, the icon of youth after two back-to-back successful love films, finds himself in a film with little to do. He shares no chemistry with his pair, Krithi Shetty, and the two look oddly mismatched in every frame.

The songs by Anirudh Ravichander, though familiar, were already hit numbers and did help us stay seated. S J Suryah has done his best to bring out the villain in his character, but there is a limit to what any actor can do when the writing gives him little to work with. Seeman, as the hero’s father, was a pleasant sight, and he played his role well.

The characters played by Shah Ra, Gouri G Kishan, and Yogi Babu left me puzzled. None of them added any value to the screenplay.

There were moments where Vignesh Shivan‘s brilliance came through, in subtle backdrops, background posters, and a few well-chosen lines of dialogue. Unfortunately, without emotional grounding, these moments never got to shine. The humour never took off either.

As the film moves toward its climax, it starts to feel like a documentary on the evils of mobile phone addiction and social media. That, ultimately, was the failure of the screenplay.