Veera Dheera Sooran: Part 2

Veera Dheera Sooran (2025)

Finally a serious Thriller from Tamil cinema, without any of those commercial Tamil cinema aesthetics, starring one of the great actors of this generation, Vikram.

Set within the events of single night, the story follows a retired henchman Kaali, who was forced to save his former crime boss's son from a police encounter.

Written and directed by S U ArunKumar under the banner of HR Pictures, helmed by Malayalam producer Riya, "Veera Dheera Sooran" is grounded in gritty reality, adopting a slow-burn tone reminiscent of Rajeev Ravi's films.

Without the typical commercial Tamil cinema elements, no songs, no intro, no slow motions, no theme music, no stylish edits, this is the closest a commercial Tamil film comes to pushing the boundaries of the thriller genre.

With great camera works, unsettling background score, and edgy screenplay, this is thriller Tamil cinema at it's finest.

Negatives - Suraj, a Tamil actor would have shinned in that role. Suraj was totally uncomfortable giving that authentic Tamil body language as well as dialogue delivery, that was a failed attempt. And the Female lead, totally a miscast and totally annoying portrayal.

Postives - Direction, Tone of the movie, G V Prakash's haunting score, and the whole technical crew for pulling off this grounded thriller. And also, Vikram Sir, what a performance, as a family man and as the loyal henchman. Hats off to him, for maintaining such a 35 year old looking physique at this age of 58.

In action scenes and emotional scenes, this man is legend. Seen many Swag moments from number of Heroes doing police station scenes. But this particular movie drools everything, never seen such a high impact police station scene in my life.

On top of it, during the climax portion, when the movie was going in the tone of a Rajiv Ravi thriller, suddenly we get a surprise nostalgic throw in the third act. Literally cried hearing "Madurai Veeran" song from 'Dhool', wow what a trip. Clapped, whistled, made my day.

Even such a high moment, the director didn't shoot it slow motion, he didn't even the blow off the air to heroes face to creat that iconic look. Without putting commercial elements even in action sequence, the director grounded the movie in such extreme levels.

I must say, this is seriously revamping of that old Tamil Village Hero movies.

Glad this movie happened, and it was produced with such charm. Vikram should do more of these Village Heroes movies like this.

I would give this movie a deserving 7/10.

This is Tamil Cinema at it's best.

The film boasts a captivating screenplay filled with intense, gripping scenes and powerful dialogues that leave a lasting impact. The stellar performances of actors like Vikram, SJ Surya, Sukumaran, and Prudhvirajan add depth and authenticity to their respective roles, showcasing their versatility and talent. Balaji's portrayal of the character Venkat stands out for its natural and effortless execution, making the character relatable and believable. The background score plays a crucial role in enhancing the emotional weight of the film, seamlessly complementing the narrative and taking the cinematic experience to a whole new level. Director Arunkumar deserves special recognition for crafting a compelling story, skillfully directing the cast, and ensuring that every character is portrayed with precision and without any flaws, resulting in a truly remarkable film.

Ven though the story itself is not anything new, the screenplay brilliantly makes it feel fresh. The way, the film shows the events of one night slowly giving the audience information piece by piece and letting us solve the puzzle for the most part while keeping the tension alive was so fun. The rawness of everything around was elevated by the great performances, obviously expected from Vikram but also most of the other cast. The flashback portion in the middle felt a little bit unnecessary and slowed down the film but the way it ended was satisfactory. The drama and the rawness were strong points of the film but the action itself was mostly just okay when everything surrounding it was really great. The action scene near the end was a bit of a mess. Narratively, it makes sense because how even at that point the characters are revealing their intents and character by their actions but it was shot in a weird way. The way a lot of small, small things are connected to the main story, a reveal at the very end which shows how everything happened because of coincidences that were meant to be and connected to each other way more than we thought was very interesting as well as giving a bit of levity after all the brutality.

The decision to call this Part 2 still feels a bit gimmicky and just a promotion tactic. There's not really much need for a part 1 but if they make it, they better make it worthy of this.

I am happy to finally watch a Vikram film from the theater and be satisfied. The screenplay was brilliant but there were a few compromises without which this could've been truly great.

This marks the first occasion in my life where I have encountered a film that deliberately defies chronological order; I cannot remember any prior instances where the creators opted to unveil 'Part 2' of a series before presenting the first instalment.

Now, many may mistakenly believe that such an unconventional approach would lead to narrative inconsistencies and possibly make the storytelling disjointed, but I assure you, that was far from the reality here.

The plot unfolds with clarity, allowing audiences to clearly grasp the events on screen while simultaneously igniting curiosity about the characters, just as intended, leaving one eager for further revelations.

The only moment it falters is shortly after the intermission, when it briefly revisits a flashback scene, this segment, aside from one standout scene in the police station, felt inferior compared to the rest.

And I guess this wouldn't really come off as a surprise but Chiyaan Vikram, as 'Kaali', overshadowed nearly everyone else, with the sole exception of SJ Suryah, who once again proved his mettle and held his own ground on his own merit.

The technical crew behind cinematography and sound designing deserves commendation as well, for they had crafted a film that is both visually and aurally sumptuous. Some of the visuals were simply breathtaking, and the background score by G. V. Prakash Kumar infused the necessary vigour and energy into the mix.

Synopsis With tense scenes that offer thrills and mas moments, SU Arun Kumar's Veera Dheera Sooran - Part 2 soars in its first half but comes crashing to the ground with a routine third act

Veera Dheera Sooran - Part 2 Movie Review: A solid action thriller undone by a conventional, weakly written third act.

Veera Dheera Sooran - Part 2 Movie Synopsis: A gangster who has given up his violent ways agrees to take up one last hit job to save his former boss' son, who is the target of a police officer seeking to settle an old score. With all three using his family as a threat to bend him to their will, can he outsmart them all and remain the last man standing?

Veera Dheera Sooran - Part 2 Movie Review: SU Arun Kumar's Veera Dheera Sooran begins in a most intriguing manner. The filmmaker drops us in the middle of a developing situation with hardly any setup to give us an idea of why things are happening. This instantly makes us get involved with the film - even though we hardly know anything about its plot or character. A woman lands up at the door of Periyavar/Ravi (Prudhvi Raj, cast against type in a serious role), a local big shot with criminal links, of doing away with her husband. Her husband, meanwhile, complains to SP Arunagiri (SJ Suryah, fine balancing the greyness of the character to keep us guessing) that his wife and daughter are missing. This provides the cop with the ammo that he's been looking for to take down Periyavar and his son Kannan (Suraj Venjaramoodu, making an impressive debut in Tamil), who had played dirty with him a decade ago. Arunagiri plots an encounter killing prompting Periyavar to reach out to his erstwhile viswasi Kaali (a robust Vikram who offers a peek into the mass avatar of his Dhool and Saamy days), who has given up his violent ways and is now leading a peaceful life with his wife Kalai (a competent Dushara Vijayan even makes us overlook the huge age gap between her and the male lead) and their two children. Arun Kumar keeps the tension alive by making Kaali vulnerable as he pits him against three individuals who he cannot trust and yet do their bidding as they slyly use his family as a threat in their own ways. At least until the intermission, the director holds back from giving us any peek into their shared history. All we get are mere mentions of events and names from their past - especially an incident that they refer to as 'Sudhakar sambavam' - which has led them all to this powder keg of a situation. This actually forces us, the audience, to individually imagine what might have happened, and pick characters to root for as well as hate.

And tense action keeps unfolding as there are cat-and-mouse-game-like scenarios and near-miss episodes that keep us hooked. One particular scene, involving landmines (or "kezhangu", as the characters call it) delivers edge-of-the-seat thrill, and another, which marks the meeting of Kaali and Arunagiri gives us a whistle-worthy mass masala moment. The film would have remained unique and engaging (and also justifying the Part 2 in the title) if Arun Kumar had trusted his audience and chosen to show us only the events that unfold during this one night. Perhaps he felt breaking the convention of providing a flashback would be too risky a move, but the director decides to give us the back story (at least the portions that matter), including the 'Sudhakar sambavam'. This is where the film begins to lose its individuality as the back story that we eventually get doesn't match with what we have all built up in our heads all through the first half; rather, it just feels so routine!

The film does recover from this minor setback when it gets back to the present with an ambitious one-shot set piece (shot with dynamism by Theni Eswar, whose night-time cinematography is one of the film's strong points) that begins with a group of characters discussing who among them could be the black sheep and moves on to a shootout between cops and gangsters, and then to a heroic moment. But then, just when we expect it to soar higher, it helplessly remains stuck on the ground. Like someone painstakingly building a house of cards and finally making a move that brings most of the structure down, Arun Kumar undoes all the earlier good work with a weakly written third act (despite its title, this is not the film where we can willingly suspend disbelief when its hero gets back up after being thrashed and even shot at by over a dozen men) that leaves us with a slightly bitter aftertaste. And the director himself seems to have realised this and decides to bank on nostalgia (yes, with THAT Vikram song!) to inject some energy into his limp climax.

Verdict: Super Hit.