Vijayakanth is probably the tamil actor who has played the policeman in the most number of movies. The success of last year's Vallarasu proved that he is still a star to reckon with and that viewers still welcome movies where he plays an honest police officer. So we now get another version of him playing a supercop, this time helmed by Malayalam hit director Shaji Kailas.

Vanchinathan(Vijayakanth) is naturally the supercop who has been transferred from Gujarat. He is someone who is not averse to using the law in his own ways by killing someone and picking a suitable alibi, as long as the person is evil and will not be punished by the law. Chidambaram(Prakashraj) is a newspaper magnate who thrives on chaos and confusion which will help him boost sales of his paper. Their enmity becomes personal when Chidambaram challenges Vanchinathan to arrest him when he cleverly commits a murder in broad daylight in front of Vanchi's own eyes.

While we have been exposed to several movies(Naan Sigappu Manidhan, to name one) where the protagonist takes the law into his own hands to avenge something, this, I think, is the first movie where the policeman resorts to dubious means to eliminate anti-social elements. While this offers something new to the same old tale of an honest policeman and seems interesting in the beginning, it soon starts to get silly. We get to see policemen who report to Vijayakanth competing for who gets to shoot somebody and the person who comes up with the best false description for that happened gets to fire the shot! I'm not sure what kind of a message this sends out to policemen and also the common man.

The movie manages to be quite timely with several references to recent incidents around the country. With those happenings still fresh in our minds, it helps us identify with Vijayakanth and the causes he supports. The horrific burning of the bus in TamilNadu, the infiltration at the Red Fort, the kidnapping of a politician - all these are touched upon at various points as events or dialogs. The depiction of these and other general affairs(like the propagation of caste-based parties) re aided by the sharp dialogs(Liakhat Ali Khan).

While we have been used to seeing the heroine being sidelined in such movies, the plight of Ramya Krishnan and Sakshi here is really sad. Both make their appearance only when a duet becomes necessary and then vanish for long periods of time. While the director can be commended for not introducing unnecessary romance which would have slowed down the pace of the movie, the total elimination of duets would have been even better and saved these two heroines the embarassment. But lack of romance doesn't mean lack of sentiments. The twist towards the end is an obvious ploy to introduce unnecessary sentiments.

Vijayakanth has played the role of the angry cop several times and it fits him like a glove. Ramya Krishnan and Sakshi, as mentioned before, appear in a total of five scenes and are criminally underuseds. But its the actors playing the film's memorably evil characters who make a mark. 'Pyramid' Natrajan(he played Madhavan's wisecracking dad in Alaipayuthey) is a surprise as the leader starting a caste based party. His reaction to his own daughter's romance with a boy from a different caste makes him as stone-hearted as one can be. Prakashraj plays the suave newspaper baron very well. Kalabhavan Mani, who went real close to winning a National award last year for his role as a blind man in a Malayalam movie, displays his versatility by appearing as a rowdy-for-hire. Karthik Raja has some catchy tunes but the fast beats seem too much for Vijayakanth to handle. Some nice camera angles and innovative techniques have been used but the slow motion shots seems overused.