Some films begin with the kind of intensity that instantly convinces me I’m in capable hands, and Veera Dheera Sooran Part 2 opens exactly like that. Directed by S. U. Arun Kumar, the film promises a rugged world of crime, law enforcement, and moral dilemmas, and at first, I genuinely felt that the narrative knew where it wanted to go. But as the story unfolded, the film became a classic example of a strong foundation weakened by uneven storytelling choices and structural misfires.
A Story Built on Tension but Lacking a Strong Antagonist
The narrative begins in Madurai, where two notorious rowdies – a father and son – dominate the local underworld. They have lived by violence and intimidation for years, and the film wastes no time establishing them as men who have turned rowdyism into a profession. On the other side stands an SP, played by S. J. Suryah, who has been waiting for the right opportunity to bring these two down. He watches closely, gathers intelligence, and when the moment finally arrives, he decides these men must be eliminated for good.
Once the rowdies realise that the SP is preparing to take them out, they respond with the line that sets the plot in motion: “Before he kills us, we must kill that SP. Let’s set up a good man to do it.”
This leads them to Vikram as R. Kaali, who has stepped away from crime and embraced family life. When they approach him and say, “You must kill this SP,” he refuses immediately. But the situation becomes so desperate that the elder rowdy even falls at Vikram’s feet, and moved by this moment, Vikram reluctantly agrees. What follows is the central conflict of the film.
While this premise has tremendous potential, the narrative quickly loses strength due mainly to the absence of a compelling villain. The very men framed as antagonists flee early in the story, undermining the tension the plot tries to build. Their arc could have been shaped into something engaging – even their escape could have been dramatic – but the film chooses not to explore them meaningfully. As a result, I found myself constantly wondering who I’m supposed to fear or root against.
A Promising First Half That Doesn’t Deliver a Punch
The first half introduces every major character effectively. The world is crafted with clarity, and even when the pacing slows down, the atmosphere still holds. I stayed with it because it felt like something big was about to happen. Naturally, I expected a striking interval block that deepened the story or turned it in an unexpected direction.
Instead, the interval becomes one of the film’s biggest issues. Suddenly, the screenplay jumps into a flashback “10 years ago,” followed by extended hero–heroine romance sequences. It’s not that romance can’t enhance a film. I love emotional detours when they blend well. But here, the romantic track stands completely at odds with the serious tone the film had carefully built until then. The momentum drops instantly, and the tonal shift becomes a major distraction.
Misplaced Humour and Questionable Creative Choices
This mismatch in tonality continues into the climax. In what should have been a high-stakes, intense fight sequence, the film abruptly inserts the song “Singam Pola” from Dhool. In a spoof film, this could be hilarious. But in a gritty, serious moment, the song disrupts the mood and leaves the sequence feeling comical for the wrong reasons.
Another creative decision that bothered me deeply concerns the portrayal of the SP. Police hierarchy has a certain dignity attached to each rank, and films usually respect this. But here, the SP is treated in a manner that doesn’t align with his authority. Adding to that, the idea of rowdies burying landmines near a village to kill him felt completely illogical. Would only the SP walk through that area? What about villagers, animals, or children? I couldn’t help questioning the lack of logic behind such a setup.
Performances That Keep the Film Afloat
The pacing is undeniably slow, and there are stretches where I found myself waiting for the film to reach its point. Yet, I remained seated because the actors deliver genuinely strong performances.
S. J. Suryah is easily one of the film’s biggest strengths. His scenes where he thinks silently, planning how to conduct the encounter while instructing his officers, are executed with impressive control. He brings intensity and calculation to the role, elevating even the weaker moments.
Suraj also stands out in his scenes with Vikram, especially when he becomes suspicious and starts questioning him. The tension in these moments is well-handled and shows how good actors can lift even an unbalanced screenplay.
A Story That Needed More Sharpness
By the end, I was left wishing the screenplay had been polished more thoroughly. The core plot has potential, but the writing doesn’t dig deep enough. One particular scene – where two characters discuss a secret while someone overhears them from the bathroom – is proof of how engaging the film could have been if it had embraced more moments like this. If even ten sequences had such tension, the overall experience would have been far more gripping.
Instead, what we get is a film that starts strong, loses direction, and never quite recovers its initial promise. It’s not terrible, but it’s far from memorable.
Rating: 2.5/5
Veera Dheera Sooran Part 2 has the cast, the setup, and the potential, but it stumbles because of inconsistent storytelling, weak antagonistic presence, misplaced humour, and a screenplay that desperately needed refinement. The performances keep it from falling apart completely, but the film lands in the territory of average, leaving me wishing it had delivered the intensity it initially promised.
