Employing tried and tested tropes is not a bad thing in and of itself. However, solely relying on the trope—like an assembly-line worker who goes into 'autopilot mode' and trusts the machine to do most of the work—might not be the ideal way to make a film. Director EK Murugan has done exactly the same with the wronged-soul-returning-for-revenge trope by letting the screenplay and characters operate in a set, predetermined motion. As an audience, it becomes immensely difficult to stay engaged with a film, where the director shows little to no attention.

Park begins on a lighter note in Tiruvannamalai with Mithran (Thamankumar) trying to woo his employer, Yaazhini (Swetha Dorathy), who owns a recharge shop that also provides set-top box installation facilities. The director doesn't maintain an economy of scenes to convey Mithran's routine. Thamankumar and Pandi's characters then take us through a series of dull, set-top box installation scenes, that were intended to evoke laughter. Next in line are hackneyed romantic scenes with occasional peeks into the antagonist's villainy and a haunted recreational park that curiously has a banyan tree. How these unrelated elements meet and what happens after that is what the film is about. We struggle hard to remember a single scene, a moment, a dialogue, or a song that made us smile. Right from the first scene, we are told, in a rather emphatic manner, that nothing is going to be out of the ordinary.

More often than not, we expect the hero to unite with the heroine. Why not stage such a romantic track in a less painful way? Yaazhini sends Mithran to do a background check on a potential groom, meaning she had no interest in the latter till then. Then how does she fall for him in the very next scene? The technical front, too, is so lifeless, making it unbearable to sit through the film. The second half is not any better. The lack of detailing keeps haunting the film and the audience. The possession scene is easily one of the strangest scenes in Tamil cinema. Right when we are told that a yet-to-be-married couple has died and has possessed Mithran and Yaazhini, with the former minister's son involved, we pretty much know what would have been the crime and why they have taken the agency of the hero and heroine's bodies. 

Director: EK Murugan 
Cast: Thamankumar, Swetha Dorathy, Pandi, Yogi Ram

The film is ineffective in almost every aspect that the logical loopholes stopped being bothersome after a point. Terms like DGP and DSP are used loosely without a basic understanding of their roles. There is an interrogation scene that looks like a parent-teacher meeting, where you see the parents of the accused inside the prison. Scenes for sending across messages like 'don't fall for fake godmen' and 'don't get divided on the religious line', feel very functional, which made the experience all the more unpalatable. Though there are some useful messages, you won't have the patience to appreciate those in a film that deals with it so casually.
 
We could appreciate the director for at least touching upon the subject of sexual assault. When the post-credit rolls, we are told that to ward off ghosts, it's enough to fulfil their wishes rather than using magical spells, all while a serious music score is played in the background. It was as though exorcisms and ghosts were such a big issue that the director felt the need to give special attention to it.