When I recently watched Kollywood’s two major releases, Leo and GOAT, I couldn’t help but reflect on the current state of Tamil cinema, especially in the action genre. Both films, led by prominent stars and backed by considerable budgets, have sparked a lot of conversation, not just for their content but also for what they represent in the broader landscape of Indian cinema. Leo has grossed ₹610 crore, while GOAT stands at ₹285 crore and continues to climb.
Leo came with high expectations. Directed by Lokesh Kanagaraj, who has a reputation for crafting intense, gripping narratives, the film promised a lot. With a screenplay co-written by Lokesh himself, the film aimed to be a high-octane thriller. The producer, S. S. Lalit Kumar, backed the film with a significant budget, and it showed, particularly in the visual effects and CGI. The hyena fight scene, in particular, has been widely discussed, showcasing Kollywood’s potential on a global scale. However, as the film progressed, I found myself feeling that it didn’t quite live up to its promise. The first half was intense and engaging, setting up a story that felt like it could introduce Kollywood to an international audience in the way Korean thrillers have. But the second half lost that momentum, and the plot became more formulaic, focusing too much on star power and less on the narrative itself.
Leo vs GOAT: Soundtrack Review
Anirudh Ravichander’s music for Leo was another talking point. While the soundtrack added to the film’s high-energy atmosphere, it sometimes felt like the music was trying to compensate for the film’s structural weaknesses. Despite the mixed reviews, Leo managed to pull in substantial numbers at the box office, thanks in large part to its star-studded cast and pre-release buzz.
On the other hand, GOAT, directed by Karthik Subbaraj, took a different approach. Subbaraj, known for his unique storytelling style, delivered a film that, while not as technically ambitious as Leo, remained consistent from start to finish. The screenplay, co-written by Subbaraj and backed by producer Kalanithi Maran, kept the audience engaged without trying to be something it’s not. The film didn’t rely on grand set pieces or over-the-top action sequences but instead focused on delivering a cohesive narrative.
Santhosh Narayanan’s music for GOAT was more understated compared to Leo but perfectly matched the film’s tone. The soundtrack played a crucial role in maintaining the film’s steady pace and mood. Despite not having the same visual spectacle as Leo, GOAT found favor with audiences who appreciated its consistency and solid storytelling. The box office numbers reflected this, with GOAT performing steadily, though not as explosively as Leo.
Leo vs GOAT: Kollywood Takes Different Paths
In comparing these two films, I couldn’t help but notice the different paths Kollywood is exploring. Leo aims for grandeur and spectacle but stumbles in its execution, while GOAT opts for a grounded, steady approach, delivering a more cohesive viewing experience. Both films have their merits, but they also highlight the challenges Tamil cinema faces as it strives to balance star-driven narratives with the kind of international-quality filmmaking that can put it on the global stage.
While both films have fared well at the box office thanks to the star power of Thalapathy Vijay, Leo did better in numbers than GOAT. GOAT, which released this Friday, has been able to mint over Rs 68 crores in its first two days. Whereas Leo opened to Rs 140 crores worldwide and earned around Rs 620 crores by the end of its run against a Rs 300 crore budget.
As a fan of Tamil cinema, I find myself hoping that the industry will continue to push beyond conventional genres and embrace more innovative storytelling. Both Leo and GOAT have shown us what Kollywood can do, but they’ve also made it clear that there’s a lot of potential yet to be realized.
