In Roshan Andrrews' Prathi Poovankozhi, the protagonist Madhuri (played by Manju Warrier), salesperson at a clothing store, becomes hell-bent on avenging Antappan (played by the director himself), a ruffian who violently gropes her in a moving bus. Though her surroundings (including her suitor) brushes it off as a minor contrivance, hell hath no fury like a woman scorned.

The narrative establishes Madhuri's character in a relatable way. She faces everyday issues like debt, commitments and conjuring up lies to leave work early. The core conflict kicks in much later. The film effectively demonizes Antappan's wrongdoing, something that is portrayed like a harmless act in most of our films and pop culture.

As a result, we see the making of an effective villain in Antappan. Madhuri learns that Antappan is not your normal pervert, he is much more dangerous than that. The moment was portrayed in a well-timed fight sequence. Madhuri's relentlessness to avenge (she just wants to hit him) leads her to many intriguing situations. By creating an underdog battle, the interval presents an engrossing standoff that leads to a bloody aftermath.

But post-interval, the film struggles to be consistently gripping like its first half. The narrative meanders due to the lack of a solid conflict that follows after the brief absence of Antappan. Adding to that is the distracting comedy scenes involving Rosamma (played by Anusree) and the presence of another leering man, this time, in the form of a sub-inspector (Saiju Kurup). But PPK still gives a satisfying closure to its characters. No, the protagonist still faces everyday problems, but the (poetic) justice is served.

The filmmaking is refreshingly restrained, and conveys a much-needed message without sounding preachy. The film introduces a few subplots and characters with motives that aren't convincingly explained (we still don't know why the sweeper in Madhuri's workplace is overtly interested in her revenge).

However, the issues are compensated by the powerful presence of Manju Warrier, who reflects the joy and agony of Madhuri in an effortless manner. PPK is aptly cast, with Roshan Andrrews delivering a surprisingly creepy performance while Alancier gives a warm presence. Unni R's screenplay delivers some ordinary characters rising up to the occasion. PPK is an overstretched, yet a focused and fairly engaging drama that stresses on important issues.