The assassinations that Vikram's Madhiazhagan, a brilliant mathematician, starts to commit have the potential to shake the globe. He kills the Prince of Scotland despite having been under heavy security. He removes the Odisha Chief Minister, shocking India's security forces (actually, it may not be that baffled, considering how the CBI behaves). Both the assassin and Interpol decide to go after him, but it appears like a mystery hacker—whose identity isn't revealed until the intermission—is one step ahead of them both.

In the early parts of the first half, somewhere in a developed country (it's hard to keep track of the globe-trotting this movie does), we see university students from the Department of Criminology discussing subjects that an average person would learn from reading a newspaper report on a well-known murder. The grandiose staging of the scene perfectly portrays "Cobra's" meandering and somewhat hollow tone, whose story is never fully revealed. Even before the credits have finished, an important character is saying something that, if we have the patience to care, can help us better understand the protagonist and his complex existence.

This brings us to the emotional beats in "Cobra," which are rarely constructed in a way that may move the spectator. The acceptable writing does little to enhance Chiyaan Vikram's excellent portrayal of a mentally ill person. If the recollections, which are told in portions, had been described well, the present may have appeared dynamic.

Beyond that, the Hollywood tropes—such as portraying the protagonist as a flawed genius or setting the story in several countries—don't actually offer much value. Without it, the dramatisation would be inconsistent because the assassin is a master of disguise.

There are a few standout sequences in the romance plotline with Madhiazhagan (Madhi in the Telugu version of the movie) and his lover, Srinidhi Shetty of "KGF" fame (Hint: it has the hero looking indifferent even as she pours her heart out). But the music loses its drive very fast. At best, the one song with Vikram and the neighbourhood kids is corny. In fact, practically every song is used as a meaningless interlude in a three-hour film.

While the proceedings still lack rhythm, the background music by AR Rahman foreshadows high-strung drama and style. After the extraordinary adrenaline rush wears off, allusions to the hero as "a star" and "a genius" are made in an effort to raise the drama.

In the second half, an action sequence takes place when it is pouring heavily. It provides as an example of how a strong storyline and competent execution may complement one another. It is hard to discuss the scenario in any detail without revealing the biggest spoiler of all. This brings us to the film's main problem. The interval twist involving Sita may be explored without greatly detracting from the audience's attention because to the way the story develops in the second half of the most recent Telugu film, "Sita Ramam." With "Cobra," that isn't the case because the bloated proceedings give the impression that things are far more difficult than they actually are.

                                         That's All Folks,Gratitude For Reading………