Reviewers’s Rating: 2.5/5
Story Analysis: Seemaraja stamps third joint effort with chief Ponram, and contrasted with their past movies, it demonstrates some desire – regarding scale, visuals and for the most part vitally, in transforming its star into a mass saint. We get the opportunity to see Sivakarthikeyan getting a ‘mass’ presentation, where he crashes open the entryways, and kicks up a tempest while beating the trouble makers, talking punch exchanges sprucing up like Rama, supporting agriculturists, and conjuring apparently unobtrusive correlations with Rajinikanth, Vijay and Ajith. We even get a line disclosing to him that he ought to next arrangement his political section.
The on-screen character plays Seemaraja, the beneficiary of imperial group of Singampatti. Be that as it may, the character is basically the same as what we have seen him play so far – a capricious adolescent whose just exercises are developing his picture with sidekick Kanakku (Soori, who gets to grandstand his well defined abs) and individuals and charming Sundhanthira Selvi (Samantha), an instructor. Selvi has a place with Puliyampatti, an adversary town, where Kaathadi Kannan (Lal, pigeonhole) and his significant other and sly accomplice Kaaleeswari (Simran, whose named voice feels odd) hold fortress. Their usual way of doing things includes compelling the villagers to surrender their property for windmill ventures. How Seemaraja foils their arrangement and spares his territory and individuals – while additionally finding out about the celebrated past of his family – is the thing that structures the plot.
Where Seemaraja inspires is in a concise flashback divide that educates us concerning the valor of Kadambaveera Raja (Sivakarthikeyan), a progenitor of Seemaraja, who battled against Allaudin Khilji’s armed force headed by Malik Kafur. There is a feeling of display in these scenes and the film likewise astutely weaves in an explanation that holds contemporary pertinence – about how If we permit an anniyan (read north Indian) to run our Tamil land, hewill drive us to overlook our dialect and culture.
In any case, generally, the film resembles the greater part of Sivakarthikeyan’s different movies – the sentimental bits have that component of stalking, for which the star has come in for feedback significantly prior, and comic bits with Soori, which feel like an augmentation of what the pair has given us in their past movies. A stretch where they endeavor to go off a puppy (named Tiger) as a panther is interesting.
In a self-referential minute in the film, we have Sivakarthikeyan singing in his opening melody, “Aracha maava arachaalum adhukkum venum oru therama”. Concurred, it takes some ability to rehash a similar thing and once more. Be that as it may, for a minute, how about we think from the perspective of the purchaser of this “aracha maavu”. At a certain point, he/she will get tired. What’s more, Seemaraja feels like that edge minute for Sivakarthikeyan’s movies. No big surprise you have a craving for presenting a countering