GOAT Review: With a shallow plot and a brilliant performance, Vijay leads Venkat Prabhu’s film
By Pavethran Batmanathen
Thalapathy Vijay’s second-to-last film before his much-anticipated entry into politics is titled The Greatest of All Time, or simply GOAT. It’s easy to see why this title fits perfectly with Vijay’s legendary career, as those who’ve followed his journey would understand. Under the direction of Venkat Prabhu, this spy thriller cements Vijay’s reputation as one of the greatest icons of all time.
In GOAT, the Special Anti-Terrorism Squad (SATS), led by Nasser (played by Jayaram), comprises an elite team that includes Gandhi (Vijay), Sunil (Prashanth), Kalyan (Prabhudheva), and Ajay (Ajmal Ameer). Together, they form a dynamic and highly effective unit that excels in completing missions with precision and speed. However, after a devastating personal loss, Gandhi makes the life-changing decision to leave this dangerous line of work. He embarks on a journey to Thailand with his son, Jeevan, and his pregnant wife, Sneha, in search of a safer and more peaceful life.
But an unexpected emotional twist hits him during a work trip to Moscow. Just when he thinks he’s settled into his new, happy life, he comes face-to-face with his old enemy. As things unfold, Gandhi ends up back with the SATS team to take on the villain once more.
Director Venkat Prabhu’s tribute to Vijay is filled with standout moments that honor the actor rather than the superstar. Known for his unique storytelling style and spot-on comedic timing, Prabhu tackles a classic two-hero storyline in this film. However, this may be one of the weaker scripts in his repertoire, as it brings little innovation to the table. While the film is packed with surprises, twists, and turns, the predictability dampens its impact.
Take the Metro fight sequence as an example. The older Vijay faces a new antagonist, but even with the villain hidden behind a mask, their identity is easy to guess long before the reveal. Some twists are effective, while others fall flat. Whenever Venkat Prabhu taps into Vijay’s comedic timing, the movie shines, but these moments are short-lived.
The end credit scene significantly weakens the overall plot and story. After delivering such an explosive and satisfying climax, this kind of ending was unexpected from Venkat Prabhu. The post-credits scene feels disconnected and doesn’t work for the majority of the audience, as it fails to provide proper justification or closure to the narrative.
The storyline of GOAT is pretty thin, relying more on references than on a strong plot, and its three-hour length can definitely try your patience. However, the last 30 minutes are where the film really picks up. With twist after twist and cameo after cameo, Venkat Prabhu manages to inject some excitement into the otherwise dragging script. It’s this final stretch that lifts the movie and leaves the audience grinning as they leave.
Vijay really shines in his dual roles on screen. As the younger version of himself, he revives his character from Azhagiya Tamizh Magan, making it a real treat to watch. The film also serves as a poignant reminder that Vijay, one of Tamil cinema’s biggest stars, is stepping away from the limelight while still at the height of his career.
Venkat Prabhu’s screenplay incorporates nods to Vijay’s upcoming political career and his previous films, bringing all his signature scenes to life. Despite his huge fame, Vijay has embraced some intriguing script choices that lead to a few standout moments. For instance, there’s a memorable scene where he hands over a key role to another cameo actor, and their exchange of lines creates a fantastic theatrical moment.
The supporting cast, including Prashanth, Prabhudheva, Sneha, Mohan, Jayaram, and Meenakshi Chaudhary, all contribute well to the film. The presence of these veteran actors adds a nostalgic touch, and it’s fun to watch them playfully spar with each other. However, Mohan’s portrayal of Menon, one of the villains, could have been better.
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