The setting is in the year 2020, when the world is driven by the hunger for money and more money, mostly through illegal means. The story is about three men who assemble for a drug delivery assignment given by a feared gangster (Deivanayagam). The interesting part of their task is associated with the pink car which they are supposed to travel in and deliver to the Chinese mafia. During the course of their journey, they get into trouble and earn the wrath of a couple of other gangsters (Rolex Rawther and Albert). How they come out of the mess and outfox these gangsters is the story of Jil Jung Juk, which traverses genres like stoner, dark comedy and gangster.
The film is heavily dialogue driven and the key for such films is the lines, which are supposed to be funny more often than not, to engage the viewer. That's why Soodhu Kavvum went on to become a cult phenomenon. But in JJJ, the fun quotient isn't consistent and hence it is an on-off experience for the viewer.
The 'Harahara Mahadevaki' style voice for the fat bald sidekick 'Pai', the Ugandan language scene with Albert and the other adult humor moments are the enjoyable parts of the film. The film could have been shorter, and at close to 2 hrs 15 mins, it feels like a stretch, more so when the dialogues aren't as funny as intended.
Avinash Raghudevan as Jung is a revelation with his dialog delivery and uninhibited Madras slang. Siddharth's makeover and blue hair ooze style and swag, and he has given his best shot to play a madcap youngster, who is a smart mouth and talks his way out of situations. Sananth Reddy is the stupid man who is in charge of the wheels, and gets into a mess thanks to his uninformed ways and untimely acts. His antics test our patience, beyond a point.
Radha Ravi's role is far removed from the ones that he has done so far, though it is again a negative shade. RJ Balaji and Nasser appear in cameos in the interesting initial part of the film which pushes our curiosity up. Jasmin, who was seen in Vaanam, is among the countable few female characters in the film and she comes as a North Indian actress who has a crazy fan following.
Since the film falls partly in the fantasy space, the color tones employed by DoP Shreyaas Krishna are over-the-top and flashy. We get a warm and vibrant feeling seeing the film due to the visual treatment. The eccentric treatment also spills over to the production design of the film. Animation has been interestingly employed to convey the idea across at times and it is a cost-effective way to present ambitious scenes. The VFX work is tacky and the team's budget constraints show on screen.
Vishal Chandrashekhar's peppy songs haven't been given much space on screen, and except 'Red Roadu', the other songs just pass by in a flash. But the 'Red Roadu' sequence is extended and doesn't grip the viewer. The phenomenal 'Shoot the Kuruvi' and 'Shoot the Kili' could have been given pride of place. The 'Casanova' track comes along with the super-trippy title credits roll which makes us sit up in attention. Vishal's BGM work suits the wacky nature of the film and he has put on his innovative hat to surprise us at quite a few instances with his re-recording, particularly with the usage of carnatic classical music.
Jil Jung Juk is catered to the elite multiplex audience base, more so the youngsters. It is a different attempt by producer Siddharth, director Deeraj Vaidy and the fresh team. Had the film been crisper and had it been even in the entertainment it offers, the experience would have been way more enjoyable. Still, an experimental outing considering Tamil cinema's overall conservative scene.
Coming to Vadivelu's definitions of Jil (Super), Jung (Average) and Juk (Dull), we can slot the film somewhere between Jung and Jil.