Unjustified cruelty When Lokesh Kanagaraj systematically gives hit after hit, it can only mean one thing - he knows how to make hits. Viewers do not really think about how a particular film is created, the main thing is that the movie gives them vivid emotions. Critics, on the contrary, notice all the nuances, up to searching for scenes with a magnifying glass, somehow reminiscent of someone’s previous work. Plagiarism is a serious and even a matter of jurisdiction. Therefore, walking on thin ice can be either completely fearless creators, who have everything captured everywhere, or extraordinary personalities capable of creating a masterpiece of “drilled” material, so much so that no one will have a desire to look into its behind the scenes. The same thing happens with Canagaraj films. While the audience looks at the screen with admiration, he and his representatives tirelessly fight off accusations of plagiarism of some scenes, events, etc. At the same time, they very deftly appeal to the need and feasibility of using allegedly copied techniques. And indeed, it is difficult to object, when here in one film each frame carves a spark, while in the films of other directors of such episodes - a few.
But the hour came when this approach came to Lokesh sideways. Although this did not affect the number of zeros at the box office, the quality of the new blockbuster leaves much to be desired. Everyone knows that the director cherishes an ambitious plan to create his own criminal universe and has successfully implemented it over the past few years. The scale it has set out to take requires a huge amount of resources, including an endless stream of ideas for subsequent scenarios. Lokesh this time did not wait for him to be scolded for imitating someone else’s plot, and directly stated that “Leo” was filmed based on the American “Justified Cruelty” (2005), which in turn became the adaptation of the comic book of the same name. Officially stated “based on” is very convenient for the inclusion of the film in the cinematic universe, while with the “remake” such a number will not pass. However, no matter what, “Leo” is a remake. The same storyline and the same ending, but only in the Indian interpretation.
For a master sci-fi writer like Lokesh, “OZH” could be a good basis, suitable for creating a decent atmospheric, twisted story. And the fact that he failed in the end to use the full potential of the picture is puzzling. From the very beginning of the film does not leave the feeling of absence of not only the corporate style of Lokesh, but also of him as the creator. Before that, he repeatedly proved his ability to work with a large number of characters, giving everyone so much attention that the viewer was emotionally involved in the lives of all the characters. This approach did not affect only the “Master” with the same Vijay in the title role, but at least the film that had nothing to do with the franchise. The success of the project can then be considered the merit of the undoubted talent of Kanagaraj as a screenwriter, and the genius of Sethupatha (parter Vijay and antagonist). Vijay himself remained a hero too superficial and not fully understood, although he was given the most attention. The same thing happens in Leo, only there are more than two characters. And that becomes the main problem.
Vijay is the king and master of the film. Out of three hours of total time, his character is given about 2.5 hours, what was the rest of the time to do? Episodes with them rush past, interrupted by unsaid dialogues or actions, some of them, who seemed to be emphasized in the beginning, then disappears without a trace from the screen. The logic of Leo’s actions is sometimes incomprehensible. Again, as in The Master, this man’s inner world remains a mystery. In the manner of behavior, he copies his prototype from OZH, but, unfortunately, Vijay does not have enough charisma for such roles. Perhaps he would look advantageous against the background of the antagonist, but, given that there are many people who come into conflict with him, the role of the main bad guy in this story is too blurred. Not even the invited Sanjay Dutt saves the situation. He was given some crazy story, unworthy of a mobster. However, none of the characters here came close to the level set by previous films of the Lokesh universe. It turned out to be some ruthless parody, a toy hyena will not let you lie.
The loss of logical connection between events is compounded by the inept staging of scenes. With the naked eye, it is noticeable that the actors perform each action mechanically. Artificial forcing of mystery (this is in a predictable plot) in the end does not justify itself, and even in the finale a little disappointing, because the main feature of Kanagaraj is to surprise an unexpected feint – and there is no mention. In terms of special effects, everything is also very weak, except for racing on the road, there is not much to remember. Perhaps it is worth mentioning a good scene of a fight in a cafe. In "OZH" all this action took a couple of seconds, and here it unfolded on a longer and more bloody. But that's too little for Lokesh's professional level. Now, if he threw out of the script unnecessary admiration of Vijay (perhaps the innumerable wealth of the actor does not allow you to commit such a criminal act) and focused on the conflict of brutal men (as he knows) and sharp bright characters, it would really be like a real criminal action movie, and not a kinzo for screaming girls-fans.
It is hard to believe that Leo will be able to fit organically into the cinematic universe, or it will become its weakest part. Somehow, Kanagaraj’s attempt to stick a couple of heroes (and one even behind the scenes) from other films looked forced. It wasn’t Napoleon from “The Prisoner.” After his heroic act and almost the main role in that project, here he looks like a miserable man, enjoying the fame of another person and receiving the appropriate attitude from the famous Leo. What disrespect to your hero, Lokesh? With such plot errors, the only hope for anything from this film was the music of Anirudha. However, what he gave out in "Prisoner" this year eclipsed that as well. Perhaps, you can single out only the soundtrack and a video with a lot of dancers, but everything else is lost in the nooks of a strange story. Of course, the interest was (and at the same time the desire to see to the end) in the expectation that at some point the things that Kanagaraj had already taught us to begin - the drive, real showdowns, real emotions, but none of these things, except perplexity from what he saw, was revealed. Whether this is the beginning of the decline of the director’s authority or just a negative public impact of a costly guest actor on the creative process of a genius, we can say after the release of the next film in the franchise. There is always hope for the best.