Coolie Review: Rajinikanth Shines, But Lokesh’s Vision Stumbles Under Its Own Weight

The union of Rajinikanth — arguably the biggest mass icon in Indian cinema since Amitabh Bachchan — and Lokesh Kanagaraj — one of Tamil cinema’s sharpest modern mass storytellers — was always going to come with sky-high expectations. After giving Vijay and Kamal Haasan their biggest commercial successes, Lokesh seemed like the ideal director to bring ‘vintage Rajini’ back to life. The success of Jailer had already shown that the superstar still has the magic. But Coolie, weighed down by expectations and perhaps Lokesh’s own ambitious scale, ends up a confused and uneven film — held together mostly by Rajinikanth’s screen presence, Anirudh’s electric score, and slick action choreography.

The story follows Deva (Rajinikanth), who runs a hostel in an old mansion in Chennai. But beneath the surface lies a mysterious past that comes back to haunt him after his old friend Rajashekhar (Sathyaraj) is murdered. Deva sets out to protect his friend’s three daughters (although only Shruti Haasan’s character is really explored) and infiltrates the criminal network of Simon (Nagarjuna), who may be linked to the killing. He’s constantly pursued by Simon’s volatile henchman, Dayal (Soubin Shahir), forcing Deva to question whether he’s taken on more than he can handle.

Let’s address the obvious: this is Vikram all over again. An ageing hero with a violent past sets out to dismantle a crime empire, guided by personal loss, facing off against a charismatic villain — all while a bigger bad lurks in the shadows. The difference lies in execution. In Vikram, Lokesh was in complete control of the narrative. In Coolie, that control slips. The film drifts, sometimes dazzling, sometimes frustrating, and never quite finding a consistent rhythm. It feels like a diluted version of Vikram — missing its sharpness, focus, and emotional impact.

Still, Rajinikanth is Coolie’s beating heart. At 74, he commands the screen with the kind of effortless charm and authority only a handful of stars in world cinema possess. Whether it’s a simple glance, a cigarette flip, or a throwback line, he electrifies the screen. Even when the film falters, his presence keeps it engaging. The de-aged flashback sequences are particularly effective, striking a balance between nostalgia and mass appeal for fans who’ve missed seeing Rajini in his prime.

But if there’s one person who nearly steals the show, it’s composer Anirudh. While Coolie may lack a viral anthem like Hukum or Rolex Theme, his background score is the soul of the film. He consistently lifts scenes that could’ve easily fallen flat. And when paired with Anbariv’s stylized action choreography, Coolie often transforms into a visual and auditory treat — though there's a nagging sense that Lokesh is starting to rely on a formula that might be becoming more predictable than signature.

Nagarjuna, in a rare villainous role, puts in a solid performance, but the character never quite lands. He’s convincing, but not memorable — a problem in a genre where the hero's strength often mirrors the villain's menace. Soubin Shahir, on the other hand, is excellent as Dayal. He gets the meatier part, the better-written arc, and runs with it. His pre-release dance clip may have gone viral, but it's his intense performance that’s likely to be the real post-release highlight.

Shruti Haasan holds her own, even matching Rajinikanth in some emotional scenes. Rachita Ram makes an impression too, though with limited screen time. Among the cameos, Upendra’s role is pure fan service — and Lokesh knows how to do that well. His entry, action scenes, and chemistry with Rajini deliver a delightful, crowd-pleasing experience. But Aamir Khan’s appearance as the mysterious gangster Dahaa feels out of place. While Aamir performs well, the character lacks weight and feels like a forced attempt to make the film feel pan-Indian, unlike the far more impactful Rolex cameo in Vikram.

Coolie isn’t a bad film — far from it. It’s just not the film it could have been. With a director like Lokesh and a legend like Rajinikanth, the potential was massive. What we get instead is a film that feels like a missed opportunity — intermittently entertaining, occasionally brilliant, but never quite living up to its promise.