The GOAT movie is undeniably a tribute to all things Vijay. His dancing, action, comedy timing, vulnerability, and effortless charm as a romantic lead are showcased in full force.
In a pivotal scene set in Thailand in The Greatest of All Time (GOAT), Gandhi (Vijay) confronts a significant personal loss. The scene’s simplicity is its strength, with no extravagant camerawork or emotional manipulation through music. Instead, director Venkat Prabhu lets Vijay take control, shedding his superstar persona to portray a father overwhelmed by grief.
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In this moment, Vijay’s performance is raw and emotional, his breakdown palpable. Later, another emotional confrontation with his wife Anu (Sneha) reveals a more internalized pain, and Vijay’s portrayal is even more compelling. Prabhu effectively brings out a vulnerable side of Vijay, showcasing a non-starry version of the actor, which works well for the film.
However, GOAT falters under the weight of its conventional one-liner plot, heavily leaning on the intriguing concept of a de-aged Vijay sharing the screen with the present-day version of himself. While the gimmick is interesting, it can only take the film so far.
The movie begins with clear influences from the Mission: Impossible franchise, and the inspiration is unabashedly visible. We are introduced to a four-member Anti-Terrorism Squad consisting of Sunil (Prashanth), Ajay (Ajmal), Kalyan (Prabhu Deva), and Gandhi, led by Naseer (Jayaram). They effortlessly save the world, but it’s their personal lives that pose greater challenges.
Drawing from The Family Man series, GOAT humorously explores the marital troubles between Gandhi and Anu. Thanks to the seasoned actors, these scenes come across as believable and add depth to the narrative. Just when you expect a typical espionage twist, Venkat Prabhu subverts expectations with smart writing, delivering surprising turns.
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Technically, this film is perhaps Venkat Prabhu’s most ambitious since Mankatha. The de-aging technology used to present a younger Vijay (as Jeevan) works well, but other visual effects choices are less effective. For instance, a teenage version of Vijay doesn’t quite blend seamlessly, creating a disconnect for the audience. The action sequences, though fast-paced, often feel too chaotic, lacking the intensity and immersion one would expect.
The strength of GOAT lies in its experienced cast. Veterans like Prashanth, Sneha, Prabhu Deva, and Vijay bring their best to the table. Even newcomer Meenakshi Chaudhary shines in her role, despite it being largely decorative.
Supporting characters are given enough emotional depth to avoid being overshadowed by the star-studded cast, although this attention to detail sometimes slows the narrative, especially in the first half.
Vijay has a blast playing the character of Jeevan, and it’s refreshing to see him step away from his usual larger-than-life roles. As Gandhi, he does what he’s known for, but as Jeevan, he embraces a more uninhibited character. This bold choice of role is notable as Vijay nears the end of his acting career. It leaves fans wondering what could have been had he taken on such roles earlier.
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References to Vijay’s political aspirations are scattered throughout GOAT, but they don’t always hit the mark. Venkat Prabhu also uses nostalgia to elicit cheers from the audience, which works at times but can feel excessive. Cameos and references to Vijay’s contemporaries serve more as metaphors than essential plot points. Yogi Babu’s cameo brings comic relief, but his extended presence becomes a bit overdone.
The final act, set during a CSK vs. MI cricket match, is packed with crowd-pleasing moments. In this section, Venkat Prabhu truly finds his rhythm, mixing suspense, intrigue, humor, sentiment, and mass appeal. Until this point, the film’s pacing feels restrained, with scenes meandering in a departure from Prabhu’s usual fast-paced style.
The main issue with GOAT is its reliance on technology as the primary novelty rather than its storytelling. Unlike Prabhu’s earlier hit Maanaadu, GOAT has a more simplistic narrative, weighed down by visual effects rather than a strong plot.
Characters like Mohan, meant to serve as worthy adversaries to Gandhi, are underdeveloped. Borrowing from the Mission: Impossible playbook, Mohan’s character loses impact as the film rushes to resolve plotlines and elevate the stars. These choices ultimately dilute the film’s potential. Even the song placements, apart from “Chinna Chinna” and “Whistle Podu,” feel poorly timed, serving fans rather than the film itself.
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Despite its flaws, GOAT is undeniably a tribute to all things Vijay. His dancing, action, comedic timing, vulnerability, and effortless charm as a romantic lead are showcased in full force. It’s clear that GOAT is part of a larger farewell to one of Indian cinema’s biggest stars, and while the film may fall short of being the “greatest of all time,” it is a fitting tribute as fans prepare for Vijay’s final performance.