Ayogya Movie Review: Vishal steals the show from the start

For those who were wondering why a third version of the same story of rape and retaliation that had already been filmed in Telugu (Temper) and Hindi (Simmba), here is the answer.
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Ayogya is improving by leaps and bounds. That's what the remakes are supposed to be. Strong, adventurous, badertive and muscular. Venkat Mohan (with, I suspect, the main help of the main man of the film), as directed by the first cop, tells the story of a demonic cop who turns the page after a rape incident and turns into a a triumph of transformative cinema.
Ayogya is powerful in his persuasive tempo and is almost an unrestrained attempt to prevent our attention from being misguided.

What Vishal does, in a superb athletic form, is to change the punctuation marks of the previous films, to play with dramatic episodes in order to film the theme of the search for consciousness and acquire a life and vigor unpublished.

As played by Vishal, the Karnan cop is a spoiled kid who can not help but ask for attention, all the time. He falls in love with an animal in love with Raashi Khanna (nice, because when we see her surrounded by innocent canines, her unfaithfulness shows through).

The parade scenes were interrupted with caution and strangely, the breaks are not welcome. In the song with Sana Khan (that our hero maliciously wears "Sunny Leone"), Vishal intervenes with his dance steps that will bring the house down.

Indeed, Vishal focuses on the jump of his character from corruption to redemption. , with the redemptive elements of the conspiracy rightfully dominating the proceedings.

Even wiser, the rape crime that marks a turning point in history has been given here much more space in the Tamil version than in the Hindi or Telugu versions. There are glaring references to the Nirbhaya episode. While drawing attention to the crimes of crime, Ayogya never seems to exploit. It is exaggerated in his zeal to communicate his just indignation (and a pre-climatic brawl "Drunken Monk" would make dizzy even to the most fervent Vishal fans). But the film never loses its momentum.

What is most significant is the change of climax that tells the story of the conversion of the police hero into the field of instant iconization. I would say that the unexpected end of the movie is one of the most fabulous hurricanes of any memory.

This larger-than-life tale is told with enough badurance. The initial search strategies of the arrogant policeman are rigorously specified by Vishal. He is a stage thief until the end and he is much better at creating a grimace graph for the character of the cop than in his previous films.

Vishal literally kills him in this striking adaptation of a story where the policeman is childish. Attention-grabbing gadgets attract the attention of the most honest and the most incorruptible character in the movie.

Vishal receives this salute from the just veteran cop (KS Ravikumar). And we support that.

Rating: 4/5

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