Chakra begins with a lengthy sequence of a series of robberies that take place on Independence Day. The modus operandi of the robbers seems simple - target the unguarded homes of the elderly. The cops are perplexed by the sheer number of homes robbed - 50. Gayathri (Shraddha Srinath), a rather trigger-happy cop is handed the case, and she realises that the house of her army major boyfriend Chandru (Vishal, in his usual action hero mode) is also among the houses robbed. Chandru returns home to find that the robbers have also taken his late father's Paramvir Chakra medal in addition to attacking his grandmother (KR Vijaya). He vows to nab the robbers who seem to have done a good job of hiding their tracks. Will he be able to outwit the criminal mastermind behind these robberies?
At least at the conceptual level, Chakra comes across as a spiritual sequel to Vishal’s Irumbu Thirai, which was also about the battle between a brilliant robber using the anonymity of the cyber world to commit crimes and an army man who is personally affected by his crime. But in terms of treatment, Chakra is hardly comparable to that one. In place of writing that used research to backup the storytelling, here, Anandan's writing is so broad with the research coming across as information dump. Right from the casual manner in which Chandru takes over the police investigation to the manner in which he tracks down the criminals, everything happens too conveniently. The broad strokes approach also is the reason why the personal stakes of the protagonist do not come across effectively, as the director fails to establish the emotional attachment that the medal has to him. All that we get are a few lines where the hero says why it is close to him.
Even the crime itself is rather straightforward in nature compared, and the mastermind's actions do not reflect the intelligence that the film says this character has. In contrast, Irumbuthirai managed to put across the threat in very real terms. The writing of the antagonist is quite weak. We repeatedly see this character committing the silliest of errors and at no point does this character comes across as a formidable threat to the protagonist, who is built up into a larger-than-life character at every moment. This is also why Regina Cassandra's performance doesn't feel punchy.
The writing of the female lead is worse. She gets a grand introduction only to be reduced to a sidekick who is repeatedly mansplained by the male lead. That Shraddha Srinath manages to lend this character some dignity and avoids making her another 'loosu ponnu' heroine is a minor relief.
Chakra is more focused on momentary thrills. Like the cat-and-mouse stretch in the second half when the hero has to save the incapacitated heroine from the antagonist despite being miles away and battling a hundred goons. Or the well-choreographed stunt sequence (choreographed by Anbariv) in a prison cell when two criminals let loose and attack a cavalry of cops. Beyond such a handful of moments, the film feels rather tame.
At least at the conceptual level, Chakra comes across as a spiritual sequel to Vishal’s Irumbu Thirai, which was also about the battle between a brilliant robber using the anonymity of the cyber world to commit crimes and an army man who is personally affected by his crime. But in terms of treatment, Chakra is hardly comparable to that one. In place of writing that used research to backup the storytelling, here, Anandan's writing is so broad with the research coming across as information dump. Right from the casual manner in which Chandru takes over the police investigation to the manner in which he tracks down the criminals, everything happens too conveniently. The broad strokes approach also is the reason why the personal stakes of the protagonist do not come across effectively, as the director fails to establish the emotional attachment that the medal has to him. All that we get are a few lines where the hero says why it is close to him.
Even the crime itself is rather straightforward in nature compared, and the mastermind's actions do not reflect the intelligence that the film says this character has. In contrast, Irumbuthirai managed to put across the threat in very real terms. The writing of the antagonist is quite weak. We repeatedly see this character committing the silliest of errors and at no point does this character comes across as a formidable threat to the protagonist, who is built up into a larger-than-life character at every moment. This is also why Regina Cassandra's performance doesn't feel punchy.
The writing of the female lead is worse. She gets a grand introduction only to be reduced to a sidekick who is repeatedly mansplained by the male lead. That Shraddha Srinath manages to lend this character some dignity and avoids making her another 'loosu ponnu' heroine is a minor relief.
Chakra is more focused on momentary thrills. Like the cat-and-mouse stretch in the second half when the hero has to save the incapacitated heroine from the antagonist despite being miles away and battling a hundred goons. Or the well-choreographed stunt sequence (choreographed by Anbariv) in a prison cell when two criminals let loose and attack a cavalry of cops. Beyond such a handful of moments, the film feels rather tame.
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