Commercial police dramas frequently feature a lot of ostentatious display. The hero exudes confidence every time he steps out of the squad car and is able to shoot without turning to face the target. There is no Newton's Law of Gravity, for obvious reasons. Vettaiyan, TJ Gnanavel's most recent film starring Rajinikanth, meets all of these requirements. However, there's more. The film makes a strong case for discussion on encounter killings, emphasising that the wealthy are never the victims of gunfire; instead, the impoverished are the only ones targeted. He raises concerns about the gaps in the educational system. Gnanavel's most recent film, Jai Bheem, dealt with a serious subject and struck a chord with everyone. Gnanavel has a compelling social drama tale to tell in Vettaiyan, but it gets stuck by Rajinikanth’s stardom.
The encounter expert SP Athiyan (Rajinikanth), like most commercial heroes, feels that "justice denied is justice delayed." Human rights advocate Judge Satyadev (Amitabh Bachchan) opposes encounter killings and holds the view that "justice hurried is justice buried." Vettaiyan is situated in between the two extreme schools of thinking. Athiyan, giving in to political, media, and public pressure, kills an innocent man in the rush to bring justice to the rape and murder case involving government school teacher Sandhya (Dushara Vijayan). Athiyan is devastated and opens a Pandora's box when Satyadev tells him the truth. He then sets out to identify Sandhya's real killer. Will Athiyan pick up his firearms once more, or has he come to understand the opposing viewpoint?
The movie dedicates its opening thirty minutes to Rajini and his fans
It quickly develops into a riveting detective story as Rajini goes all out in terms of both substance and style. The first half is kept tight with an opening battle, a dance performance, and a predictable yet captivating plot with fast-paced narration. The first half even ends on a powerful note. However, the film becomes more sanctimonious and feels longer in the second half, which detracts from the first half. The final showdown between Rana Daggubati and Rajinikanth is overdone. What is purportedly intended to examine the moral quandary faced by Rajinkanth's character turns into a typical commercial caper featuring a haves vs. have-nots narrative. The action choreography is mediocre at best, but the bouts are designed for whistling.
In spite of this, the movie legitimately raises a number of concerns around the ethics of police interactions and howFalse information, altered footage, media trials, and public pressure can force people to make poor choices. It describes how, despite their stated impartiality, police officers are easily led astray by preconceived notions when it comes to looking into the backgrounds of both blue-collar and white-collar workers. It describes how the wealthy take advantage of the educational system, mostly targeting middle-class and impoverished kids who have big goals.
The heavy lifting is done, as usual, by Rajinikanth, yet because of his superstar status, all other roles feel like extended cameos. Despite this, Fahadh Fasil excels in his role as Patrick, sometimes known as Battery, a streetwise burglar that Athiyan hires to assist him with "tech things." As a chatterbox who devours Horlicks, Fahadh brings fun and vibrancy to multiple sequences. Amitabhhas a commanding presence, yet the moments in which Amitabh and Rajini interact are not very intense. Their conversations may have been more fruitful. Rajinkanth's wife, Manju Warrier, is a YouTube channel owner. Although her only part in the movie is to be Rajinkanth's support system, she gets a perfect score in a big sequence at the conclusion. Only in the very end does astute businessman Rana Daggubati, who wants to encroach on the educational system, make an appearance. The background music by Anirudh keeps the film moving. Manasilayo and Hunter Vantaar are the two standout tracks out of the four; the other two are more subdued. Scenes with strong emotions needed a bit more nuance.
Another social play, this one covered in commercial paper, is directed by Gnanavel. He possessed an intriguingstory in the hand as well, but it appears that the star-vehicle bug prevented him from going to some fascinating locations throughout the narration. All in all, the film is an expected blend of social drama and investigative thriller, with enough of memorable "Rajini moments" for viewers to savour.
