Synopsis:
MS Gandhi (Vijay), a former Special Anti-Terrorist Squad (SATS) officer, finds himself embroiled in a mission that threatens both his professional and personal life. As his past comes back to haunt him, Gandhi must navigate a dangerous path while dealing with family issues.
Review:
GOAT marks a notable return to form for Vijay and director Venkat Prabhu, reminiscent of their earlier collaborations but with a fresh twist. The film echoes the 2007 classic Azhagiya Tamil Magan, where Vijay faced off against his doppelgänger. Seventeen years later, the concept is revisited with Vijay portraying both the hero and the villain.
The narrative unfolds with MS Gandhi (Vijay) leading a double life as a covert SATS officer while concealing his dangerous occupation from his wife Sneha. The plot accelerates during a work-cation in Thailand, leading to a dramatic shift in Gandhi’s life. Fast forward 17 years, Gandhi has transitioned to an immigration officer, now dealing with a fractured family and a reconnection with his son, Jeevan (also played by Vijay).
The first half of the film builds anticipation with a compelling setup, although the interval block doesn’t deliver as strongly as expected. The second half, filled with twists and turns, concludes with a climax that, despite its fanfare during a CSK live match, feels somewhat prolonged. The storyline adheres to a familiar template, which may detract from the overall impact, making the film’s predictability a significant drawback.
The action sequences, while engaging, do not stand out significantly. However, the face-offs between the young and old Vijay are a highlight. Vijay’s dual role showcases his versatility and charm. His portrayal of both roles, enhanced by de-aging technology, is executed with skill, though his villainous persona does not entirely overshadow the dual Vijay dynamic.
Supporting performances are solid, with Kokila Mohan as Rajiv Menon delivering a notable performance. However, his role, despite being well-executed, gets overshadowed by the central focus on Vijay. Prashanth, Prabhudeva, Sneha, and Jayaram contribute positively, while Yogi Babu and Premji provide comic relief, particularly with Yogi Babu’s entertaining Gandhi-Nehru skit.
The film features numerous tributes to Vijay’s past works and includes several nostalgic elements, such as references to Ghilli, Beast, and Padayappa. Trisha’s cameo and the recreation of classic steps and dialogues provide fan service, yet the overall impact is diluted by the predictable storyline.
Musically, GOAT falls short, with Yuvan Shankar Raja’s score failing to elevate the film beyond the average. The soundtrack, including the special number with Trisha, is underwhelming. The cinematography is competent but unremarkable, with VFX taking precedence in several outdoor scenes.
Verdict:
GOAT delivers a mixed experience, providing ample fan service and showcasing Vijay’s strengths, but ultimately falls short of being a groundbreaking film. It’s a satisfying watch for devoted fans but may disappoint those seeking a more substantial cinematic experience.
Quote:
“GOAT is a solid tribute to Vijay’s legacy, offering a blend of action and nostalgia but falling short of being the Greatest Of All Times.”
