Sivaji (Vikram Prabhu), is a white collar class adolescent who drives a straightforward life like most of the youths. He confronts one specific circumstance, which requests a payoff sum. He tries to get the cash and gets caught into the arrangement of a cash mafia bunch. Did Sivaji get the cash he needed? Did he escape from the cash mafia amass? It would appear that a fascinating plot right?
Thala Thalapathy reference
In spite of the fact that the center plot of the film is fascinating, the way it is executed is disillusioning. There are such a large number of masala options to indicate the business esteem. One won’t miss seeing no less than one Thala – Thalapathy reference in movies nowadays. Veera Sivaji doesn’t pass up a great opportunity either. Inside the initial fifteen minutes, there are three Vijay references, and all through the film, you can see a great deal more.
From the main scene, a lead-in voice over for legend’s introduction, till the peak battle, everything falls on the layout business design. The primary portion of the film looks especially extended and is unsurprising at many spots. The charm of the infant in Thavazhndhidum Thangapoove number is delightfully caught, however different melodies don’t have an effect.
Vikram Prabhu’s execution is flawless, yet something prevents us from tolerating him as a mass legend. Shamili, the Anjali daddy, makes her introduction as a female lead in this film. It is a templated part for the excellence, where she needs to become hopelessly enamored with the legend and sing two part harmony melodies.
Robo Shankar and Yogi Babu’s science have worked out truly well and their characterisation is propelled from the popular chocolate notice siblings. John Vijay and Motta Rajendran are particularly idiosyncratic, while Vinodhini does equity to her part. Exceptional say to the young lady, who has played Vinodhini’s girl.
The specialized artfulness is great, with Sukumar’s visuals being a spine. Ruben’s cuts are jazzy of course, yet the screenplay slack would not have benefited from outside intervention by him either. Despite the fact that you get a sensation that this has happened before feel, D.Imman’s experience score is effective and massy.
Ganesh Vinayak has a fascinating story, which is not unmistakably woven into a drawing in film. Had the screenplay been all the more captivating, as opposed to adhering to the format, it would have worked a great deal better.