Two introduction sequences happen within minutes. One is an elaborate jail sequence – in which the inmates form a human chain for Madurai Michael (Simbu) to walk on and escape prison. The other is in flashback, in which he walks on, well, another human chain of hands to reach the top. And breaks into a loud song, only interrupted by a supposedly-stylish delivery of the word 'sirappu'.
From that moment on, AAA remains an unabashed star vehicle for not one, not two, but three Simbus who will hold screen space for the next 160 minutes. Unfortunately, it never goes anywhere else.
The story revolves around Madurai Michael, who is the sort of rowdy that everybody fears. Even his thalaivan , a goon named Senthamarai, heaps praises on him, extolling his strength and valour during a 'sambavam' (incident) that he accomplishes quite easily. With some fireworks in the background, and a camera that longingly dangles around the hero's feet, this star vehicle is that literal.
- Director: Adhik Ravichandran
- Cast: Simbu, Shriya, Tamanaaah, Mahath Raghavendra, VTV Ganesh, Rajendran
- Storyline: A rowdy wants to start life afresh as a different person
Madurai Michael is not content with just the fireworks, but wants to explore matters of the heart. And thus comes in Selvi (Shriya), who looks like she has arrived straight from the sets of Sivaji. The love track is mundane – Madurai actually gets Selvi to promise him that she'll love him, if he saves her father (Y Gee Mahendra) by giving him some mouth-to-mouth CPR. " Kaadhal vaaku marakaadha (Don't forget your love oath)," he tells her. It's supposed to be love.
Director Adhik isn't done with love yet. He follows this with another incredulously-awful scene involving a yawn. I'll avoid going into its finer details but it's a scene at a ration-shop queue with Madurai trying to get Selvi to yawn. AAA is that yawn-inducing.
There are few moments in which we can take AAA seriously. Michael's life-changing decision to start life afresh in Dubai is taken inside a theatre playing a loud T Rajendar film. We know nothing about his life in West Asia except for the cops stating that he's a 'don'.
And then suddenly he becomes Ashwin Thatha. Simbu does okay – he's now become a grandfather who can fight and try to woo Ramya (Tamannaah) – but there's nothing happening in Adhik's script to take it forward. The laughs are few and far between. Composer Yuvan Shankar Raja's effort here is not a patch on his earlier exciting musical collaborations with Simbu; except for a cute 'Ashwin Thatha' phrase, there are hardly any memorable musical moments.
But of course there are many girl-bashing moments. 'Aambala always crying, pombala always cheating ,' tells GV Prakash (he's in a cameo towards the end) in a scene advising Ashwin Thatha. More gyaan on love follows. There's supposed to be a revenge drama. There's supposed to be a part two. I'm certainly not looking forward to it.
