Tamil cinema has entered a new age.

With Vikram serving as the foundational step, Lokesh Kanagaraj, a four-film veteran, has unlocked the doors to a brand-new Cinematic Universe that raises intriguing possibilities.

Before Lokesh, there had never been a filmmaker who could properly drive the conversation about providing a genuine cinematic experience.

Before Lokesh, a cinematic experience meant lofty concepts and pointless gimmicks to appeal to a star's male audience.

However, this director is dedicated to providing you with a specific level of experience.

The way he writes and directs has a distinct taste, visual flavour, and flair.

In the excellent pure-genre thriller Kaithi, which had the feel of a classic Hollywood thriller, he easily achieved this cinematic experience.

akin to Speed when high.

In Master, he gave us a little peek at this brand-new Cinematic Universe.

I had stated in the review of the Vijay-starring movie that the theory behind combining two distinct movies from two different eras was intriguing.

And if Master is what Lokesh could do to a Vijay movie, one can only imagine what he could do for Vikram's vaathi.

Unfortunately, this tantalising prospect is still only a theory.

An action-thriller needs to run like a well-oiled machine in order to succeed.

That machine is Vikram.

It is a battalion of personalities and a thrill-a-minute journey from the very beginning.

You may already be aware that Kamal's concept for a protagonist gave rise to the movie's screenplay.

It is for the search of a protagonist that the first half's sluggish pace and dense packing of several layers are used.

In his capacity as a writer and director, Lokesh does a nice job at world-building and maintaining the mystery.

Given what happens in that frightening yet courageous opening sequence, the movie does leave you perplexed after a while, and you struggle to make sense of the events.

A subgenre of movies has developed around stories of RAW agents and the sacrifices they make.

We have seen it a thousand times.

But something about it keeps drawing us in.

In this instance, Vikram, Kamal's quasi-Bond persona, is reprising himself.

Similar to Kaithi, Vikram has a tight tone and mood.

Like the latter, there are a lot of whistle-worthy moments involving minor people that pleasantly surprise and pleasure you.

In the second half, there is a specific scenario that none of us anticipated.

There are undoubtedly references to older Tamil songs.

My favourite features Vijay Sethupathi waving his hand mockingly during the Saraswati Sabatham song "Kalviya Selvama Veerama."