Despite not delivering a great tribute to Vijaykanth, the usage of AI in the film was below par. The movie kickstarts well with an action-packed episode, but when it shifts to the Gandhi family’s life, it begins to lag significantly. The Thailand episodes could have easily been trimmed to lessen the burden on the audience. The film regains momentum when another Vijay enters the screenplay. The action and bike sequences work well, but aside from the grandeur, there’s little to engage the audience throughout the extended runtime, with no compelling scenes to keep us invested as we wait for the main plot to unfold.
The interval scene is pure fan service, one of the best in recent times, and is well-executed.
Yuvan’s background score is decent, but the songs are dull and almost lull us to sleep, especially during the family scenes. Sneha delivers a decent performance.
The problem here is not with the de-aging looks but with the character itself. It becomes increasingly irritating once the main plot is revealed after the long wait. Venkat Prabhu has played a horrible game with us. The last 30 minutes, set during an extended climax at Chepauk Stadium, is cringeworthy. You never get the feeling that you’re watching a star hero film – it’s that bad.
Meenakshi Chaudhary, once again, finds herself in a meaningless role. At least in Guntur Kaaram, she had the opportunity to serve alongside Mahesh Babu, and by doing so, she was somewhat visible. But accepting this role is even worse than her previous film.
“A Venkat Prabhu’s Hero Sacrifices It All for an Aimless Story”
First of all, what does GOAT mean? Just because an actor can portray two roles with different mindsets doesn’t automatically make him a great actor, even though we know he’s capable. However, when a performance is overshadowed by irritating characterizations, it doesn’t make sense. It’s as if Venkat Prabhu assumes we’re the “goats” being fooled all along.
There is no meaningful narrative for the de-aging character of Vijay that shapes the film’s outcome. The concept feels illogical, especially when he turns against his own biological father, clouding the child’s mindset with unnecessary drama. How can fear erase all the good memories? On the other hand, Gandhi, despite being a skilled STATS agent, fails to sense something fishy in his first encounter with his relative. This concept is completely wasted and handled carelessly by the makers. It would have been better if there were no relation at all—at least Vijay’s performance would have stood out.
There’s no blame on Yuvan Shankar Raja here, who was criticized before the film’s release. What could he have done when the script itself had nothing to offer?
I really don’t understand why the director wasted 30 minutes of runtime on a climax that could have been easily resolved in a shorter span. When there’s no story to tell, filmmakers often rely on sentiment and religious overtones in the hope of connecting with the audience.
Honestly, I enjoyed the interval scene before the main twist was revealed. If Jeevan had remained Sanjay from the beginning, it could have been a completely different and better film.
Overall Verdict: “Greatest…Of…Assam…Trains.” Just ignore.
