 Saran, a product of KB school of cinema, has come a long way since then. After coming out, Saran has tasted commercial success with masala entertainers. He knows the value of both the styles. He understands the intricacies of the both. He knows how to make them. Naturally, he likes to combine the virtues of both.
In Vattaram, the kind of redeems himself with a slick show on arms and political wheeling dealing. To be sure, the arms world is about violence. But it actually sees very little of them. Similarly, Vattaram too is about the dark underworld without the gore and cheesy glitz.
Saran goes for a stylish show and manages to pull it off. Nepoleon as a suave operator of the arms world is an inspired choice. The tall actor repays the faith in a sterling manner.
 The story is about Gurupadam (Nepoleon) is an Adnam Khashogi kind of operator, whose venal tentacles reach far and wide. He never misses a trick. Then there is Burma (Arya). He is from the mean streets of the city. He is a smart gun-runner. If the likes of Gurupadam set the ground rules, it is those like Burma who know how to make it work. There is an intriguing world of power plays. Burma saves Guru’s life. But it is an unconvincing relationship. And then there is his daughter (Kirat), who falls for the Adonis charm of Burma. She chases him for one reason while his father chases him for another. The story takes some interesting twists. It all leads up dome inspired action shows and a good climax.
Arya as Burma is good. Kirat is yet another typical beauty that Saran is so capable of unearthing. She looks good, but has limited scope to perform.
But it is Nepoleon who has made this film all his. So far seen in aruval-wielding rustic roles, Nepoleon kind of re-invent himself in a new matrix. He is very composed and comes up with an assuring performance.
The Bharadwaj-Saran combination is part of modern film folklore. But here the magic goes awry. Yaar Kodupar Indha Ariyasanam is the only hummable number.
The camera and other technical effects certainly pass muster. The shots in the beaches of Goa and the train sequences have been well captured.
Saran has packaged the action story well and has mercifully avoided the flow of blood.
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