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Amaran Movie Review : A worthy tribute to Major Mukund's legacy with slight glitches along the way

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Kannapran pas 5 hours ago

This the first time, Army warrior movie has been directed and taken in Tamil. Hope this movie will inspire many youths from Tamil Nadu to join Army or Defence forces.

Sedhu Nazi 6 hours ago

R maheshwari 7 hours ago.

Excellent casting and superb movie

K Rajesh 7 hours ago

It's going to be the movie of the year. A reel tribute to the real hero. Inspirational.

aaaa bbbb 9 hours ago

Super movie

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Amaran Movie Review: An emotional triumph, but some questions linger

Amaran ( 3.5 / 5).

The situation isn’t entirely new for a Tamil film: a Tamil man, Mukund (Sivakarthikeyan), enters a Malayali household to seek the hand of their daughter, Indhu (Sai Pallavi). In Tamil cinema lore, such scenes often signal trouble. In  Autograph , Cheran’s character faces a quick rejection, a violent ejection. In  Vinnaithaandi Varuvaayaa , Simbu’s character meets a similar fate. But in  Amaran , the hero cannot be quickly insulted or rejected, for Mukund arrives cloaked in the authority of an army uniform, a symbol that tempers resistance with respect. Where once Indhu’s father opposed the relationship, now he’s disarmed by the unspoken reverence for a man in uniform. This scene is restrained, absent of cinematic exaggeration; instead, director Rajkumar Periasamy allows these moments to revel in soft, unspoken gestures, where relationships get organically forged.

Director: Rajkumar Periasamy

Cast: Sivakarthikeyan , Sai Pallavi , Rahul Bose , Bhuvan Arora

Amaran , inspired by the life of Major Mukund Varadarajan, revels in these realistic spaces. We see evidence of this emotional richness repeatedly. Initially, for instance, Mukund’s mother resists, even trying to sabotage the romantic union by hinting at the dangers of her son’s army life. But soon enough, Indhu and his mother become thick as thieves, bound by love and the shared ache of separation from Mukund. It’s all so beautifully, understatedly done. In another film, Mukund’s mother and Indhu’s father might be reduced to mere caricatures, stepping in and out as needed by the film. But here, they stay, part of the film’s fabric, making the universe of  Amaran  fuller, more real, more detailed.

At the film’s heart beats the love between Indhu and Mukund. In a world growing more cynical, theirs feels like an idealised romance—one that doesn’t rely on proximity, that endures even in absence. Much like Mukund prioritises his duty, it seems to me that the Mukund-Indhu romance too thrives under the discipline of duty. Indhu isn’t just passively accepting of her role as an army man’s wife; she revels in it, as though she wouldn’t want it any other way. It’s a throwback to a simpler kind of love, a love that asks few questions and demands fewer reassurances.

Sai Pallavi and Sivakarthikeyan share effortless chemistry, a mutual affection that breathes through the screen, a relationship that allows each other to channelise the child within them—like when Mukund leans on Indhu, seeking rest, like when Indhu runs and leaps at him with the exuberance of a child. In a particularly tender scene, they fall asleep over a video call, a beautiful idea in the script that allows us—and them—to briefly forget the thousands of kilometres between them. The “I love you”s flow naturally between them, not as declarations, but as affirmations woven into daily life. Even when Mukund casually introduces Indhu as his girlfriend, it’s without cinematic fanfare—unpolished, and all the more endearing and lifelike for it.

Sai Pallavi’s performance is deliberately animated and lively. She’s Indhu, a woman who embraces her near-single parenthood with resilience, a cheerleader for a husband she cannot always reach, a mother to a daughter who tries to figure out why her father keeps disappearing. I enjoyed the ease of her Malayali-Tamil dialect (“Mukunthay!”) and how the film doesn’t resort to subtitles unless it’s absolutely needed. She shines in every scene, be it when she sees Mukund on the terrace, or when she’s on the phone with him and there’s mayhem on the other side, or when she’s breaking down at the end, remembering to control herself to respect his wishes, but realising that she’s unable to.

Sivakarthikeyan will no doubt secure many plaudits for his physical transformation, for owning the action scenes and the motivational speeches… but I caught myself being especially impressed with how he seemed to radiate an effortless sense of goodness and vulnerability, despite his job requiring him to be an alpha male at all times. Watch him tear up as he pleads for a teammate’s life. Watch the joy in his eyes during his OTA ceremony, with Indhu smiling softly in the background in a beautifully composed shot. Watch him hug Indhu and daughter and walk away, but change his mind to return to steal another embrace from them both. These are powerful, heartfelt moments.

If I’ve lingered as long on the romance in this film, it’s because that’s the soul of  Amaran . There’s pulse-pounding action, yes—gunfights seen from sweeping top angles which capture streaking bullets, close-combat choreography that pulls you in, with G.V. Prakash Kumar’s rhythmic percussions creating tension. I’ll remember that moment when Mukund’s companion leaps onto a grenade with only a wooden board as shield, or the dim, yellow-lit confines of the climax as Mukund hunts his target.

Yet, in its quest to glorify Mukund’s heroism,  Amaran  stumbles into uncomfortable territory, romanticising kills and eager to echo the cadence of a ‘mass’ action film. When Mukund exclaims “Avana podanum!” it rings familiar, straight from the mass-hero playbook, and his desire to boost the “kill count” made me shift uncomfortably. Also, the film’s excitement over each kill feels at odds with its somber premise; it’s one thing to honour a man’s bravery, but quite another to revel in the taking of lives, no matter which side you represent. Note that sequence where the kills are juxtaposed with shots of the soldiers celebrating by throwing colours at each other.

The Kashmir conflict, in  Amaran , is starkly binary, reducing a decades-long upheaval to simple good-versus-evil tropes. Stone-pelting, for instance, is interpreted solely as terrorism, overlooking its symbolic role in global contexts as a form of protest by the powerless.  Amaran  misses these nuanced shades, painting a compelling portrait of valour but without the richness of complexity. In its focus on Mukund’s bravery, it also glosses over the silent struggles of the civilian (even if it briefly contrasts the portrait of Kashmir children with Mukund’s own daughter, comfortably sleeping in her bed).

There’s a cycle of violence here, where one death leads to another, where justice seems to become justification. The film, in its passion, risks suggesting that certain forces, certain actions, are beyond question. But there’s room to love a soldier’s dedication without succumbing to bloodlust, to honour bravery without idolising brutality. This, after all, is why the greatest war films stand as silent testaments against war itself. And so,  Amaran  gives us a romance that touches the heart, an action film that stirs the pulse. As a political piece though, it raises questions. It’s uplifting, yet uneasy, stirring, yet simple. Ultimately, Amaran ’s true legacy may be as a love story—one that lingers after the echoes of battle have faded. It’s its own sort of lesson on this premise.

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GOAT movie review: This Thalapathy Vijay-Venkat Prabhu film is an action-packed, wholesome entertainer

Goat movie review: director venkat prabhu blends humor, tributes, and high-octane sequences, making it a refreshing experience for thalapathy vijay fans..

GOAT review: It's Ilayathalapathy versus Thalapathy . One is a good guy and the other is bad one. A young man vs an older one, bringing double the fun and double the action. Director Venkat Prabhu tries to show the audience why this film and Vijay is GOAT to his fans and the audience. (Also read: Vijay will become the Tamil Nadu chief minister in 2026: GOAT actor Premgi )

GOAT takes off in Kenya in 2008 where we see a special anti-terrorist squad (SATS) team recover stolen uranium from a group of terrorists led by Omar and Rajiv Menon (Mohan). Gandhi (Vijay) and his team members-cum-friends Kalyan (Prabhu Deva), Sunil (Prashanth), Shaaam (Ajay) come back victorious to India but create havoc in the mission and receive flak from their chief Nazeer (Jayaram) for this. The group of men are thick as thieves and like to party and this is what gets Gandhi into trouble with his pregnant wife Anu (Sneha), who is quite suspicious of his activities.

Chaos unfurls

To keep Anu and his son Jeevan happy, Gandhi decides to take them to Thailand when he is assigned a mission. And this is where things go terribly wrong. Gandhi and his family are attacked by a gang and Anu ends up in hospital while Jeevan ends up kidnapped and killed. Cut to years later and we see things have changed - Gandhi is on a desk job and he is separated from Anu. But terror strikes again in the form of Sanjay. What does Gandhi do? Who is Sanjay? How does the SATS team save the day? Does Gandhi reunite with his family? Is it a happy-ever-after?

Director Venkat Prabhu must first be lauded for writing a story that travels the world and has family sentiment, action, humour and drama interlaced with twists and plenty of tributes. He has given Thalapathy Vijay a story that is quite different from the Tamil star’s last few outings and it’s refreshing. Vijay is seen in two roles and the two characters are radically quite different and that’s what makes it interesting. Venkat Prabhu has loaded the film with a lot of tributes starting from Captain Vijayanath, SPB and Ajith’s Mankatha hook step to his late cousin, Bhavatharini, and numerous Vijay films.

A Vijay fan tribute

The first half of GOAT is extremely engaging with the director setting up the stage for superb interval block that takes you by surprise. There is a lot of family drama and high-octane action in various missions around the world before the film hits the interval. Post interval, the film takes off with a face off between the Gandhi and Sanjay and the director tries to keep it fast-paced. Through the film, Venkat Prabhu shows he is a fanboy of Vijay, the Kollywood (references to Ghilli, Thirumalai, etc) and the climax of the film definitely proves this. This is not to say that there are no lags in the film but the superb performance of Vijay and the large ensemble cast makes you forgive this. The director capitalises totally on Vijay’s trademark charm, sentiment, action, dance and humour and this is sure to appeal to his fans and the audience.

Venkat Prabhu has always worked with his friends and family and his cousin, Yuvan Shankar Raja, has scored the music for GOAT like his previous films. Yuvan has done a good job with the BGM and the remixing of the an old Ilaiyarajaa song is foot tapping. But the Bhavathirini song (made with the use of AI), Chinna Chinna Kangal, is quite touching and soulful.

GOAT is a Venkat Prabhu treat for Thalapathy Vijay fans and the audience. This Vijay film is an action-packed, fun, wholesome entertainer!

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