Maadhu could be classified as a romantic film with no romance. Except for the dream sequences and songs, the lead pair share no chemistry. When the film ends on a tragic note, viewers will probably be relieved the trauma has ended.

Mercy (Priyamani) is a college student whose idea of shopping is buying a Bible. Maadhu (Ramesh), out to find a life partner, pulls a gun at a call girl, gives her some money and tells her to buzz off. He then looks at the camera and says he may look like a villain but isn't, adding that we will know more about him over the next few hours (It is another matter that we never do get to know anything more about him). Next, he grabs a girl and kisses her in public because she tries to tease him. The girl is Esther (Jahanvi), a friend of Mercy's and her roommate. Suddenly, Esther and her friends break into a jig with Maadhu.

When we think Esther and Maadhu are about to fall in love, the director shifts focus to Mercy. Maadhu sees Mercy coming out of a church with a Bible, mouthing-one liners like 'The church and temple are the same'. As he has never heard anything more profound in his life, he begins to stalk her. She then cuddles a stray dog and he is bowled over by the act. He comes to the hostel dining room and openly states, "I love you and you better love me." Mercy is shocked. Next, he lands up in her room and writes graffiti on her mirror. He then stabs himself when Mercy refuses to declare that she is in love with him.

To cut a long story short, Mercy has been ordained to be a nun. Maadhu doesn't let her though. This dilemma could have been handled excellently by a good director. Thenarasu, the debutant credited with having penned the story and screenplay, needs to undergo a crash course in filmmaking. As far as actor Ramesh is concerned, he cannot be blamed for acting like a zombie because the director makes him alternate from playing a madman to a typical lover.

Priyamani as Mercy looks listless and very pale, while Vivek's comedy fails to evoke any laughter. Ashish, as usual, overacts .The only feast for the eyes is Jhanavi. Adding to this is Illayaraja's music, a rehash of his music from the 70s (for such a subject, the maestro has given what it deserves). The cinematographer has nothing much to do other than follow the hero riding his bike across town.