Thread by @sudhirsrinivasn

So, #Vikram. Hmm.

First things first. It’s encouraging to see so many top actors unite for a director’s vision that spans across films and tries to unite them in enterprising, novel ways. On first glance, the vision doesn't seem as diluted here, as in, say, Master.

I enjoyed the mystery surrounding Kamal’s character and liked the audacity to hold off on revealing him for so long as they do. These portions allow Fahadh Faasil to shine, and it helps that the brief forays into his relationship with Gayathri feel well-written too.

It’s even more heartening to see Kamal having quite a bit of fun (even if the English and the Chennai Thamizh feel, hmm, rather over-emphasised). It’s much credit to him that I bought the very many stunt sequences he's part of, and these are when the film's at its strongest.

There’s some brief justification offered for all the violence and vigilantism--something about ideology which feels more like lip-service, and comes through as hurried and problematic. Catchy one-liners are dispensed, but there's barely any exploration.

Which means there's quite a bit of emptiness at its centre, even if Lokesh, the tasteful filmmaker that he is, almost manages to cover it all up with eye-catching visual ideas, centred on Vikram's killing sprees. It looks great, but it doesn't feel as great.

There seems some Dark Knight flavouring, or perhaps it's just the unshakeable influence of that film that makes us see it? Vigilantes in make-up, dutiful guy turning over to the dark side following the death of his partner, a dialogue about needing a mask to do good...

I hope you won't ask me, "Vikram nalla padama ketta padama?" Both Velu Naicker and Vikram refuse to provide a binary answer to a similar question, and so will I.
Just like their morality, it's perhaps somewhere in between, tilting, I think, more towards the good.

Okie, will get back with the long review in a few hours. See you.