Vedalam opens with a police operation taking place in Italy. The officers are attempting to apprehend Rahul (Rahul Dev), an international criminal, but during the mission, one of the officers realizes he’s been tricked. As he faces death, he predicts that someone even better will eventually bring him down. Rahul responds by saying it would require a truly terrible person to get close to his level. The story then shifts to Kolkata, where Ganesh (Ajith) and his sister Tamizh (Lakshmi Menon) have arrived for her studies. Ganesh becomes a taxi driver and quickly gains the affection of those around him due to his gentle nature. He also provides information about a suspect to the police, which prompts Aniket (Aniket Chouhan), Rahul’s brother, to want him captured. Following his arrest, Ganesh is taken to Aniket's yacht, where he unexpectedly reveals his true abilities, decimating everyone present and setting a trap for Rahul and Abhinay (Kabir Singh). The question remains: who exactly is Ganesh, and what is the source of his conflict with these criminals? Those familiar with Siva’s previous films, Siruthai and Veeram, will likely have an idea of what to anticipate from Vedalam. He seems to be building a career on movies that are excessively loud and filled with unnecessary elements. His filmmaking style involves exaggerated camera movements, rapid editing, over-the-top acting, and a very loud soundtrack. It’s similar to a student who manages to pass despite having messy handwriting. Siva remains consistent with this approach in Vedalam, which surprisingly works...to some degree! The film's strength lies primarily in a flashback sequence that feels familiar but still resonates emotionally. The idea of compassion changing the heart of a hardened criminal is a well-worn theme, yet Siva presents it convincingly by avoiding excessive emotional displays within that segment. He also utilizes the brother-sister bond effectively, and the scenes featuring Ajith and Lakshmi Menon stand out as understated melodrama compared to the rest of the film's tone. The romantic subplot is thankfully minimal, while the comedy track, led by Soori’s attempts at humor—which largely fall flat—feels immature. It’s noticeable that Santhanam isn’t present, whose contributions made those scenes enjoyable in Siva’s earlier films. However, other characters, including the heroine and villains, seem to exist primarily to glorify the hero. The director employs a formula reminiscent of MGR and Rajinikanth films. Ganesh embodies the qualities of a do-gooder like the former, with supporting characters praising his virtues ("Even those who don't want to admire him will have no choice but to respect him"). Drawing inspiration from the latter, the hero projects an image of being tough and intimidating ("You see me coming; I’ll see you falling”). Ajith effectively utilizes his signature quick-changing expressions, a tactic he has used in previous films, to excite fans, even when forced to laugh during action sequences. There's a slight resemblance to Baasha (a seemingly harmless man with a violent past), but fans of that Rajinikanth film can relax knowing this isn’t a complete remake, as rumors suggested. At least for that, one can be grateful to Siva.

Source on TMDB