Every so often, a movie comes along that blends horror, fantasy, and drama into something new, bold, and unforgettable. Gu also attempts that, but mostly ends up blending them the way a toddler blends three flavors of ice cream: into one brown, drippy, indistinguishable mess.
Manu Radhakrishnan’s Gu promises a “psycho emotional drama” centered on folklore, ancestral dread, and childhood fear. What we actually get is two hours of children wandering around a dimly lit house like they’re searching for an exit from the script.
The Story: Sometimes Myth, Sometimes Mess, Always Meh
This cinematic soup stars Appu, an eight-year-old who spends most of the film wandering into rooms he should not be in — much like the movie itself.
His cousin Minna visits the family’s ancestral house, instantly falling in love with the legend of Gulikan, the divine spirit who is basically:
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part deity,
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part local ghost story,
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and part overworked plot device dragged out of retirement for this film.
Minna is obsessed. Appu is skeptical. Mithran believes everything he hears because someone needed to in order for the movie to continue. And Paru, poor Paru, begins showing signs of possession — which in this movie means:
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sitting very still,
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making creepy faces,
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and occasionally looking like she’s trying to remember a line she forgot.
Is it a curse? A ghost? A myth? A hallucination?
The script itself can’t commit, so it chooses yes to all of the above.
The Ancestral House: A Mood Lighting Victim
The movie takes place in a massive old house filled with:
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shadows,
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whispery sound effects,
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and enough dust to trigger asthma attacks through the screen.
Every corridor looks like it was shot through a fog machine on its lunch break. The cinematography is 90% darkness and 10% children staring at the darkness saying ominous things like:
“What was that sound?”
“Did you see that?”
“Why is this movie so long?”
The house is the star of the film. Which says a lot about how little the human characters matter.
Minna: Folk-Horror Fangirl of the Year
Minna, played by Deva Nandha, treats folklore like it’s free Wi-Fi. She instantly connects, sucks in every byte of myth, and drags the cousins down a rabbit hole faster than you can say “maybe don’t anger ancient deities while vacationing.”
She becomes so devoted to Gulikan that by the mid-movie mark she’s basically the unofficial PR manager for the spirit realm.
If Gulikan needed brand ambassadors, Minna would already have a TikTok account for him.
Appu: The Skeptic Who Has Better Things To Do
Appu is the reluctant protagonist, constantly oscillating between:
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fear,
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annoyance,
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and wanting to go outside and play something that isn’t “haunted house bingo.”
He’s the only character with functioning instincts:
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“Maybe we shouldn’t enter the creepy room.”
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“Maybe the whispers are not friendly.”
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“Maybe my cousin needs therapy, not folklore.”
Which means the movie has to ignore everything he says so the plot can happen.
The Adults: Useless, Confused, or Both
Shout-out to the adults in this film, who fulfill the traditional ghost-story functions of:
1. Not believing anything
Minna’s father, Sai, is a man of SCIENCE. He dismisses everything supernatural, which means he exists purely to be wrong.
2. Being in denial
Appu’s father immediately regrets buying the house but still stays, because apparently in this universe, horror is cheaper than real estate.
3. Standing in the background looking worried
Most scenes with adults involve them muttering:
“What is happening to this family?”
Sir, WE would like an answer too.
Paru: The “Possession” That Needed More Possessing
The possession storyline tries to be chilling but ends up looking like Paru has:
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stomach pain,
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mild fever,
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and an intense desire not to act today.
The film treats possession as if it’s a slow Wi-Fi connection: sometimes it works, sometimes it doesn’t, and sometimes it just freezes.
The Mystery: Myth or Mental Illness or Movie Confusion?
The film desperately tries to be ambiguous. Sadly, it ends up being ambiguous by accident.
Is Gulikan real?
Is it an ancient curse?
Is it a psychological breakdown?
Is it the house settling?
Is it the audience’s hope dying slowly?
No answers.
Only vibes.
Horror movies can be “slow-burn,” yes — but Gu is more “slow-simmer-until-everyone-dozes-off.”
The Fear Factor: Jump Scares Were the Real Missing Person
The film’s horror is entirely dependent on:
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long pauses,
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children staring blankly into corners,
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creepy folklore monologues,
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and sudden loud noises.
Unfortunately, jump scares only work when something actually jumps. Gu mostly thumps.
There’s no creature reveal, no memorable ghost, no shocking twist — unless you count the twist that the movie suddenly ends before explaining anything.
The Climax: The Build-Up to Nothing
As prophecy dictates in Southeast Asian horror films, the house’s dark past returns to haunt the family. But instead of a terrifying spirit, curse, or physical manifestation…
We get a vague sense of unease and a family reunion where everyone is crying or confused or both.
The “final battle” is basically:
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kids running,
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shadows flickering,
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someone screaming “Gulikan!”
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and the audience squinting, trying to see what is happening.
If tension were measured in voltage, Gu barely powers a toaster.
Performances: Bless the Kids, Because the Script Didn’t
The child actors try their best, especially Minna, who gives the performance of someone trapped in a horror film she emotionally committed to.
Appu mostly looks tired of everyone’s nonsense, which is relatable.
The adults look spiritually exhausted — also relatable.
Final Verdict: A Horror Film That Really Needed More Horror
Gu tries to be:
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deep
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emotional
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mythic
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atmospheric
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symbolic
But it ends up being:
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vague
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slow
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repetitive
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dimly lit
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and accidentally funny.
If you want folklore horror, there are better movies.
If you want emotional family drama, there are MUCH better movies.
If you want a horror film where nothing happens but the soundtrack insists something is happening — Gu is your masterpiece.
Rating: 2/10
One point for Minna’s folklore enthusiasm.
One point because the house looked cool.
Everything else? Gulikan probably wants his name removed from the credits.
