In a pivotal scene from GOAT (The Greatest of All Time), set in Thailand, Gandhi (played by Vijay) experiences a profound loss. The scene is simple—there are no flashy camera angles, emotional music, or excessive dramatics. Venkat Prabhu, the director, allows the scene to unfold naturally, giving Vijay the space to shine. In this moment, Vijay sheds his superstar persona and fully embodies a father in despair. His breakdown is raw, ending in tears and cries of anguish. Later, in front of his wife, Anu (Sneha), he endures another emotional breakdown, but this time it is subtler, internal, and more genuine. The way Vijay portrays vulnerability in these scenes is a testament to his ability as an actor, particularly when cornered or shaken. Throughout *GOAT*, Venkat Prabhu often taps into this non-starry side of Vijay, and the film finds its strength in these moments. However, the movie struggles to maintain this momentum due to its reliance on an outdated formula, centered around the gimmick of a de-aged Vijay acting alongside his present-day self. This idea, while interesting, only takes the film so far.
GOAT opens with a nod to the Mission: Impossible series, a clear inspiration for the filmmakers. The plot then shifts focus to a four-member Anti-Terrorism Squad led by Naseer (Jayaram). The team includes Sunil (Prashanth), Ajay (Ajmal), Kalyan (Prabhu Deva), and Gandhi. Their work of saving the world seems effortless, but it’s their personal lives that present the real challenges. Drawing inspiration from The Family Man, the film depicts the marital struggles between Anu and Gandhi, leading to comedic moments that feel natural, thanks to the seasoned actors. As viewers, we’ve seen countless espionage films and naturally expect betrayal, but Venkat Prabhu cleverly subverts these expectations. His smart writing manages to provide twists and turns that keep the audience engaged.
This film represents Venkat Prabhu’s boldest project since Mankatha, not only in terms of content but also in technical execution. The use of de-aging technology eliminates the need for the audience to suspend disbelief, relying instead on the effectiveness of visual effects. However, this is where the film falters. While the younger version of Vijay, Jeevan, is convincingly portrayed, other visual choices, particularly those showing Vijay in his teens, detract from the experience. The hurried action sequences, which feature zooming cars, skidding bikes, and ricocheting bullets, fail to generate the intended sense of urgency. Instead, the chaotic visuals overwhelm the viewer, detracting from the overall impact of the film.
Despite its shortcomings, GOAT finds its footing with the performances of its cast. Veterans like Prashanth, Sneha, Prabhu Deva, and Vijay himself, deliver standout performances. Even Meenakshi Chaudhary, a relatively new face, makes a mark, despite her character being somewhat underdeveloped. Each supporting character, though primarily there to serve the protagonist’s story, is given moments that add emotional depth to the narrative. However, these small details also crowd the plot, leading to a sense of fatigue as the story drags in the first half before picking up the pace later on.
Vijay appears to thoroughly enjoy playing the role of Jeevan. This younger version of his character allows him to shed his superstar image and embrace a more uninhibited performance. It’s a refreshing departure from the familiar roles he’s taken on for years. As Gandhi, he plays to his strengths, but as Jeevan, he shows what he’s truly capable of when freed from the constraints of his established persona. It’s a bold character choice, especially for someone nearing the end of his acting career. One can’t help but wonder what more he could have achieved had he explored this path earlier.
The film doesn’t shy away from referencing Vijay’s potential political ambitions, but these moments are inconsistent in their impact. Venkat Prabhu also taps into nostalgia, a strategy that often works to elicit cheers and applause from the audience. In today’s era of instant gratification, it’s understandable why a filmmaker would opt for this route, but it feels overused at times. There are plenty of nods to Vijay’s contemporaries, and some cameos serve more as metaphors than integral plot points. Yogi Babu’s obligatory appearance provides comic relief, but his role overstays its welcome. The climax, set against the backdrop of a Chennai Super Kings versus Mumbai Indians cricket match, is designed to thrill audiences. It’s in this final act that Venkat Prabhu truly comes into his own, combining intrigue, humor, sentiment, and mass appeal. Up until this point, the film feels understated, lacking the boldness that Prabhu is known for.
The meandering pace in the first half can be attributed to the simplicity of *GOAT’s* plot, which relies heavily on technology rather than a compelling story. While the de-aging effects provide novelty, they can’t carry the film on their own. This approach leaves Venkat Prabhu somewhat boxed in. The story itself lacks the complexity or engagement needed to match the innovative visuals. For instance, the character arc of Mohan, set up as a formidable rival to Gandhi, borrows heavily from the Mission: Impossible playbook. But his nefariousness is diluted by a hurried script that prioritizes flashy moments over character development. The writing often falls short of its potential, and the rushed conclusion leaves much to be desired.
The placement of songs in GOAT also feels off. While tracks like “Chinna Chinna” and “Whistle Podu” may please fans, they don’t serve the film’s narrative. This fan service, though effective, feels excessive in a film already saturated with such moments.
Ultimately, GOAT is a celebration of Vijay’s many talents—his dancing, action sequences, comic timing, vulnerability, and charm are all on full display. But there’s a bittersweet undertone, as this marks one of the final chapters in his illustrious career. Venkat Prabhu, weighed down by this burden of legacy, takes a cautious approach in *GOAT*, often holding back when he might have otherwise pushed boundaries. While the film falls short of being the “greatest of all time,” it still serves as a fitting tribute to one of Tamil cinema’s most beloved stars, who is nearing the end of his journey. As audiences prepare for Vijay’s final film, *GOAT* is a reminder of the incredible career that’s been and the anticipation for one last hurrah.
GOAT Movie Cast:Vijay, Prashanth, Sneha, Mohan, Prabhu Deva
GOAT Movie Director:Venkat Prabhu
GOAT Movie Rating: 2.5/5
