The movie initially unfolds like a puzzle: when Kombaiya Pandian, the powerful figure of Sattur, turns up stabbed, we’re shown a series of individuals who might be responsible. Could Bombay Selvam and Kadakkarai be seeking payback for Pandian's murder of Market Singaraj? Perhaps Pulikuthi Pandian, a relative with a knack for words, is involved, given that Pandian seized control of his businesses? What about Loganayagi and Gandhimathi Nathan, whose son died due to Pandian’s decisions? Or Mappillai Vinayagam, the politician who desires dominance? Even Pandian's own son, Udayanambi, becomes a suspect; he feels like an outsider and resents his father's close relationship with Kidaari. Director Prasath Murugesan employs a storytelling style reminiscent of a novel, introducing these suspects and then detailing past events that fueled their animosity toward Pandian in separate segments. He effectively presents the reasons behind each character’s actions as the story progresses. The characters feel authentic; it's just that some, like Loganayagi, who begins an affair with Udayanambi at her husband's suggestion as part of a revenge plan, would have benefited from more screen time. The casting is well done overall. However, Kidaari feels out of place. While everyone else seems to be scheming in some way, he’s portrayed simply as a loyal follower. He confronts Pandian’s enemies without hesitation, quietly pursues the woman in the house, and remains unwaveringly devoted—essentially fulfilling all the expected hero tropes. There's a sense of familiarity with *Gangs Of Wasseypur* throughout the film: the use of narration to recount past violent events, the numerous conflicts, the stark visuals (courtesy of SR Kathir), the gritty music (by Darbuka Siva), and even Aatukaara Sandhu, Kombaiya Pandian's street, resembles the alleyway where the protagonists in that film lived—surrounded by homes belonging to Pandian’s associates and off-limits to outsiders. The movie remains fairly captivating, with Murugesan skillfully weaving humor into the violent scenes; one boasting old man is particularly memorable. The ending, however, falls into predictable territory. The backstory involving Kombaiya Pandian and Kidaari's father, Kottur Durai (Napoleon’s return to acting), feels overly familiar and protracted, resulting in a disappointing conclusion.

Source on TMDB