There is no question that there is a tremendous vacuum in Tamil satire since Vadivelu took a holiday of sorts. While there were numerous wannabes to the lofty position that once had Vadivelu rambling on, obviously nobody could truly occupy that space. Until, chief Suraaj, known for portraying quite possibly of Vadivelu’s most vital person Naai Sekar, chose to take the entertainer back to the big screen following five years. Be that as it may, with Naai Sekar Returns, Suraaj takes the path of least resistance and simply exploits wistfulness as opposed to doling out something paramount.
The film begins with a practically legendary story of a ‘otherworldly’ canine, which can carry fortune to its proprietors. Before long, we are tossed into the current where we meet Naai Sekar (Vadivelu) and Dass (Anandraj). While Dass hijacks individuals and holds them recover, Naai Sekar grabs canines and holds them emancipate. At a certain point, their universes meet, and it is outright pandemonium after that. Yet, when we arrive at that point, we are dependent upon silly scenes that simply depends on the unsatisfying draining of the legend’s collection of looks and exchange conveyance. It is practically similar to the producers failed to remember that these aspects of Vadivelu just complemented the composition of his parody. Be it the casualness of Kaipullai from Victor or the implied earnestness of a Worker for hire Nesamani from Companions, the composing was well honed and it was raised by Vadivelu’s propensity for the ridiculous and droll. In Naai Sekar Returns, extended lengths of parody scenes are so inadequately composed that even the now-renowned worked English and facial reshapings that kept us in parts quite a long time ago aren’t enough any longer.
The canine seizing scenes required much more resourcefulness and moxie than what we have in Naai Sekar Returns. Our brains nearly long for another thing to happen onscreen to move away from the potential trainwreck. What fills in as an interruption from the horrifying tricks of Naai Sekar and his group (Redin Kingsley, Prashanth, and Shivangi), is the presence of Dass and his group. As a matter of fact, Anandraj and Co get the better parody set-pieces and humorous adjustments.
Naai Sekar Returns is likewise an exemplary instance of two parts, as post-span, the film winds an up in a firm yet natural area when it moves to Hyderabad to acquaint us with another miscreant, Max (Rao Ramesh). The association with the tale ish canine from the preamble is conveniently united, and Naai Sekar Returns really arouses our interest. While the film generally had a particular soundtrack and caricaturish creation plan, it is just in the last venture that these components gel well together. It is likewise in these most recent 30 minutes that the creators at last track down the technique in the frenzy, yet figure out how to find the humor as well. While the snickers continue to come, we are additionally helped to remember the lost open doors in the previous two demonstrations that complimented to misdirect.
Naai Sekar Returns starts with a ‘Note to say thanks’ to the image makers who kept the tradition of Vadivelu alive in any event, when he burned through such a long time away from the spotlight. Notwithstanding, sentimentality is something entertaining. We couldn’t want anything more than to contemplate the past, however would favor the present to offer something new and better. At the pinnacle of his vocation, Vadivelu effectively eclipsed probably the greatest stars in films that featured him as a humorist. Be that as it may, with Naai Sekar Returns, featuring him ahead of the pack, we witness something similar to him. Watching Vadivelu cartoon himself is an extraordinary insult to the one who made us giggle during a portion of our hardest times. However, to reword his own discourse, “Avarukku end-e kidaiyaadhu,” and that high position is as yet sitting tight for him to return and spread on top of it.