On January 22, 2026, Malayalam cinema welcomed a release that looked nothing like its recent contemporaries — an action‑comedy sports fable titled Chatha Pacha: The Ring of Rowdies. Directed by Adhvaith Nayar in his feature film debut and produced under the Reel World Entertainment banner, this film pitched itself as an electrifying ode to underground wrestling culture told through the lens of local flavour, brotherhood, masala humour, and unabashed spectacle.
Unspooling against the vibrant backdrop of Fort Kochi and Mattancherry’s streets, Chatha Pacha reinvents a community’s fight club — part subculture, part carnival — as a symbolic battleground where ego, ambition, identity, and kinship clash with gleeful abandon. Anchored by an ensemble cast led by Arjun Ashokan, Roshan Mathew, Vishak Nair, and Ishan Shoukath, and bolstered by the Malayalam debut of legendary music composers Shankar–Ehsaan–Loy, the film aspires to entertain, to invigorate, and to expand the genre language of regional cinematic action.
Yet its reception — from audiences, critics, and beyond — reflects Chatha Pacha’s bold ambitions as well as the challenges of merging local sensibility with globally inspired sports‑entertainment theatrics. The result is a film that feels as dynamic and rhythmic as its title track, yet occasionally uneven in narrative depth — much like an exciting wrestling bout that occasionally loses its rhythm between thrilling holds and dramatic near‑falls.
A World Built on Wrestling and Brotherhood
At its narrative core, Chatha Pacha: The Ring of Rowdies follows three brother‑figures — portrayed by Ashokan, Mathew, and Nair — who band together to establish an underground wrestling league in the alleys and open grounds of Fort Kochi. Their collective quest starts as a labor of love: a tribute to the WWE‑inspired wrestling spectacles they cherished in childhood, where elaborate costumes, bombastic personas, and theatrical rivalries defined global sports entertainment.
But this makeshift fight club soon blossoms into something much larger — a riotous spectacle that attracts crowd fervour, antagonists from rival crews, and the unwelcome attention of authorities determined to shut down the unofficial matches. As each conflict unfolds, Chatha Pacha interweaves personal egos, buried resentments, and the fragile dynamics of brotherhood into its action sequences, exploring how an idea born from nostalgia can morph simultaneously into a dream and a burden.
Rather than focusing exclusively on procedural storytelling or pure sports drama, the screenplay — penned by Sanoop Thykoodam — oscillates between high‑octane ring action and quieter emotional beats. This balance allows viewers to witness characters grapple with both external competition and internal dilemmas, all the while wrestling with the limits of their own aspirations and friendships.
A Rousing Ensemble and Dramatic Energy
Central to Chatha Pacha’s appeal are its performers. Arjun Ashokan, previously recognized for his range across comedy and character drama, steps into an energetic, larger‑than‑life realm here, leading the narrative with charisma that mirrors his character’s in‑ring bravado. Roshan Mathew anchors his role with intensity that melds physical presence and emotional nuance, particularly in sequences where the story’s humour and heart intersect. Vishak Nair and Ishan Shoukath complement the trio with performances that balance comic timing, athleticism, and reflective moments.
The cast extends beyond its leads, boasting memorable performances from Lakshmi Menon, Siddique, Carmen S Mathew, and young standout Vedhika Sreekumar, whose charming portrayal of Rosa — landed through a viral short reel — has drawn attention and appreciation since before the film’s release.
Veteran actor Mammootty also makes a special cameo, appearing as a wrestling coach named Walter. While the cameo was heavily marketed and anticipated, some viewers and critics felt it fell short of its hype — a sentiment echoed in a variety of audience reviews.
Music, Atmosphere, and the Malayalam Debut of Shankar–Ehsaan–Loy
One of the film’s most talked‑about elements leading up to its release was its music. Chatha Pacha marks the first Malayalam project for the legendary composer trio Shankar–Ehsaan–Loy, whose vibrant title track and soundtrack were unveiled with fanfare. Netizens compared the title number’s swagger and retro energy to iconic tunes like Bha.Bha.Ba’s “Azhinjattam”, highlighting its rollicking flavour and instant earworm quality.
Shankar–Ehsaan–Loy themselves have spoken about their excitement in joining Malayalam cinema through a project that allowed them to explore a new cultural soundscape while remaining rooted in the film’s pulse — an effort to marry the local narrative energy with a broad sonic appeal.
The background score, composed by Mujeeb Majeed, complements this with rhythmic textures that underscore both in‑ring drama and quieter off‑stage moments, crafting an overall soundscape that amplifies Chatha Pacha’s emotional and kinetic beats.
Visuals, Choreography, and Collider‑Style Action
Technically, Chatha Pacha delivers on spectacle. The film’s cinematography — led by Anend C. Chandran with additional contributions from seasoned shooters Jomon T John and Sudeep Elamon — captures the gritty energy of street wrestling clubs as well as the vivid chaos of staged bouts. Elaborately constructed rings, roaring crowds, and playful costume design all contribute to a sense of scale rarely seen in Malayalam sports films.
Action choreography by Kalai Kingson leans toward theatrical, WWE‑inspired movements rather than traditional cinematic fight sequences, an intentional choice that aligns the film with its sports‑entertainment ethos. Actors reportedly trained intensively — sometimes up to three workouts daily over several months — to prepare for these physical demands, ensuring authenticity in their movement and a convincing portrayal of wrestling action.
This emphasis on spectacle does not come without trade‑offs. Some viewers felt the heavy cutting and occasional slow‑motion editing diluted the impact of certain wrestling sequences, suggesting that the exuberant technical flair sometimes distracted from narrative momentum.
Critical and Audience Reception — A Mixed but Passionate Response
Following its theatrical launch, Chatha Pacha: The Ring of Rowdies has sparked lively conversation across social media, news outlets, and review aggregators. On the box office front, the film recorded a decent opening, earning around ₹3.30 crore on its first day and surpassing ₹5 crore by its second theatrical outing — clear indicators that audiences were drawn by the film’s concept, star power, and promotional buzz.
Audience reactions, while broadly enthusiastic about technical execution and action set pieces, have been more varied on narrative and emotional terms. Many viewers praised the kinetic energy, fresh visual style, and fun, crowd‑pleasing moments, with fan responses describing the film as “twice the dose of this madness” — a sentiment that captures its chaotic charm.
Yet the discussions also reflect constructive criticism. Some reviewers and Reddit commenters felt the emotional arc, character development, and screenplay depth were uneven, resulting in a story that occasionally stalls between set‑piece bouts without building fully satisfying stakes or connections. Several fans noted that Chatha Pacha was “mid” or “fun for a one‑time watch” rather than a deeply resonant drama, especially when compared with other critically acclaimed Malayalam films.
A recurring thread in audience debate concerned Mammootty’s cameo: despite heavy pre‑release marketing hype, many viewers felt the sequence lacked real impact — a perspective that highlights the difficulties inherent in managing audience expectations around high‑profile guest appearances.
Despite such critique, there’s ample praise for the world‑building and innovative premise, with Chatha Pacha’s celebration of wrestling nostalgia often singled out as its most compelling aspect. For fans of the sport and of high‑energy cinema, the film delivers joyful moments that justify the spectacle, even if its structural depth is debated.
Cultural Impact and Broader Significance
While rooted in the specific locales of Fort Kochi and Mattancherry, Chatha Pacha represents a bolder trend within Malayalam cinema — one that embraces genre hybridity, broad audience engagement, and pan‑Indian collaboration. Support from distribution partners including Shemaroo Entertainment, Dharma Productions, Mythri Movie Makers, and PVR Inox Pictures underscores the growing belief that regional films can transcend linguistic boundaries without diluting their cultural essence.
This film — complete with a soundtrack by nationally renowned composers, colourful action choreography, and a storyline influenced by global sports entertainment culture — illustrates Malayalam cinema’s readiness to experiment with formats traditionally associated with larger‑budget industries while preserving its distinctive narrative voice.
In doing so, Chatha Pacha not only entertains but signals a willingness to broaden cinematic horizons, offering a template for sports‑inspired stories that engage on multiple emotional and aesthetic levels.
Conclusion: A Riotous, Ambitious Ride Through Sport and Storytelling
Chatha Pacha: The Ring of Rowdies stands as one of 2026’s most energetic cinematic statements — a film that simultaneously celebrates the spectacle of performance wrestling, probes the tensions of brotherhood and identity, and demonstrates Malayalam cinema’s growing scope. While not without its narrative foibles, its blend of action, humour, music, and visceral spectacle gives audiences something rare: a film that feels boldly different in its ambition and unapologetically fun in its execution.
In an age where cinema increasingly blends sport, storytelling, and spectacle, Chatha Pacha carves its own niche — challenging filmmakers and audiences alike to imagine what regional action‑comedy can be when it steps into the ring with heart, humour, and just a bit of madness.