The plot of Tharkappu has scope for a decent action thriller, but the writing is uneven and so, the film isn’t able to generate the tension that this tale needs. Also, the characters that RP Ravi comes up with are quite generic.

This is Udhayabhanu Maheswaran’s big break and as Feelings Ravi, he is a riot. And despite the lack of speaking lines, Munishkanth (aka Ramdas) manages to be funny. But it is Shiva, who keeps the laughs coming with his terrific comebacks and one-liners. His segments are so ridiculous that we notice the humour quotient dipping whenever he is not in the scene.

The standout is Doubt Senthil, as a naive assistant director who keeps using the wrong similar-sounding English word — bald for bold, impotent for important, Akila Kurosawa for Akira Kurosawa and so on. In the end, despite the considerable failings, it is these touches that ensure that we leave the theatre with a smile on our face.

…even though the film doesn’t come together as effectively as it should have, there are moments that keep us glued.

If you have seen Siva’s previous films — Siruthai and Veeram — you will have a fair idea of what to expect in Vedalam. He is beginning to make a career out of films that are extremely loud and incredibly gratuitous, and his filmmaking style mainly involves ramped up camera moves, frenzied cuts, and over-the-top acting with an ear-splittingly loud background score for company.

The slapstick portions involving Uttaman should have been crisper and given that by know we are familiar with Kamal’s tics, his performance as Uttaman doesn’t hold any surprise. But the actor more than makes up for it with Manoranjan; he doesn’t strain to make the role more empathetic and it is a remarkably restrained, heart-tugging performance from an actor who, at times, has a tendency to overplay his roles. We come to care so much for this character that by the time the film ends, we realize our eyes have become misty.

As we exit, we realize that maybe there is some truth in what all these three films suggest — to succeed in the film industry, one must not just have talent but lot of ingenuity as well.

There are no thrilling cat-and-mouse games and in their place all we get are predictable situations, a mood-killing love track between Nandha and Madhu, a local girl and a tame climax that is utterly disappointing.

At one point in the film, we are shown that the villain uses a mathematical formula in his operation. It is only in the end, we realize that it is not just the villain but the film’s director as well who has succumbed to formula.

The entire film is low on whistle-worthy moments. Given that this is a Rajini film, we expect punch (and punch dialogues) in the scenes but strangely, the film lacks energy.