Among two-hero subjects, which seem to be real popular today, love triangles are the easiest and simplest to bring to screen. While Minnale was an example of how the right treatment could still exploit the well-worn suject in an entertaining manner, newcomer Muralikrishna displays his inability to provide the same kind of treatment in Paarvai Ondre Pothumey. With the hero and heroine in love, the 'loser' in a love triangle is usually positioned to earn our sympathy. But the character here is given psychological overtones but the difference doesn't do much for elevating the quality of the movie.

Vinod(Kunal) and Manoj(Karan) are the best of friends. Manoj is an orphan who has risen to become a rich hotelier by dint of his hard work while Vinod is poor and lives with his mother and sister. Vinod owes a lot to Manoj as he makes makes Vinod a manager in his own hotel and provides him with several luxuries. Neetha(Monal) moves into their neighborhood and both Vinod and Manoj fall for her. But she reciprocates Vinod's love only and this naturally creates a fissure in the friendship. The situation is aggravated when it is revealed that Manoj has psychological problems.

The movie proceeds along predictable lines initially with the friendship between Karan and Kunal. Their 'Freeze' and 'Relax' routines seem rather childish for a game played between two grown-ups. It is also pretty clear that the game is going to be used at a key point in the story and we are not disappointed. Monal's introduction does nothing but increase the predictability quotient as the story develops into a cliched love triangle with Karan obsessing about Monal while she romances Kunal. There is neither passion nor cuteness in this romance with a couple of flimsy situations forming the basis. And these are situations where Kunal first lets Monal down with regard to her college seat and she later returns the favor by abandoning him in the middle of the road!

The way Monal expresses the way she feels towards Karan is shocking enough to make his extreme reaction believable. It is only from here that the movie shows signs of being different from the love triangles preceding it. Karan's psychological problems add a new dimension to the proceedings as he ignores Kunal and Monal after learning about their closeness. But the initial interest soon wanes as the movie is dragged for quite a while on the basis of this cold war between Karan and Kunal.

The encounter in the under-construction building is picturised well with Karan exhibiting the ferocity needed to make the scene quite tense. The ending too does the job with respect to glorifying friendship.

Kunal has had some time since Kaadhalar Dhinam but he hasn't spent the time honing his acting skills. His baby face struggles to display emotions, whether romantic or sentimental. Karan makes up for him with a good performance, though in his case the problem is going to the other extreme. This is Monal's first film but there's nothing in here to change the opinion I got of her in Badri. Dhamu and Vaiyapuri struggle to make us laugh but atleast the comedy is clean. Newcomer Bharani shows sign of promise with some catchy tunes.