Coolie (2025) Movie Review: Rajinikanth’s Style Outshines the Story

Coolie was one of the most hyped films of the year, with Rajinikanth teaming up with Lokesh Kanagaraj in a project that promised to be a mass entertainer. The trailers had fans eager to see how Lokesh’s style would blend with Rajinikanth’s presence. Expectations were sky high, but once the film hit the screens, the final product didn’t fully match the buzz.

The film follows Rajinikanth’s character who sets out to track down his friend’s killer. His journey begins on a revenge path, but along the way he meets Shruti Haasan’s character and the two of them get tangled in solving what initially looks like a simple case. The problem is the way this story unfolds. Rather than moving straight from point A to point B, the film drags us through Z, then X, then C, then N, and only eventually reaches B. A story that’s actually straightforward gets overcomplicated to the point of confusion.

Lokesh Kanagaraj’s trademark style is all over the film. The background score is thunderous, the lighting and color grading make every frame look sharp, and the camera work during the action is a treat. One sequence in particular stands out: Rajinikanth and Upendra appear side by side in a brilliantly choreographed scene. Rajinikanth barely moves, calmly holding his ground and countering attacks, while Upendra does all the heavy fighting around him. The entire fight is shot in circular motion with slow-motion inserts at just the right beats. It’s easily one of the most stunning moments in the film. Upendra’s superhero-like entry also gets the crowd roaring, but sadly his character is never given the same justice after that.

But outside of these highlights, the movie suffers from weak writing. The first 30 minutes are spent verbally explaining who is dangerous, what they’ve done, and then showing the exact same thing, which kills momentum. Certain sequences even test patience. Like when Shruti Haasan is being kidnapped, and instead of rushing to save her, Rajinikanth casually eats biryani while the villains struggle to secure someone whose hands are literally tied. Or the scene where Sobin’s character is buried alive in a shallow grave, only to be pulled out effortlessly because the pit is barely knee-deep.

Sobin, though, is the film’s saving grace. His performance is layered, switching from threatening and unhinged to pathetically pleading for his life (“I have small kids, please let me go”) in a way that feels frighteningly real. He reminded me a lot of Vijay Sethupathi’s Sandhanam from Vikram. Messy, dangerous, and unpredictable, but unforgettable.

Other characters, however, fall flat. Nagarjuna’s Simon is introduced with menace, but he’s sidelined for most of the story and never lives up to the buildup. Shruti Haasan is written as though she’ll be a crucial partner in Rajinikanth’s mission, but in key scenes like the warehouse fight and courtroom sequence, she ends up reduced to a damsel needing rescue. And Aamir Khan’s Dahaa, which I was personally looking forward to, was another disappointment. His cameo is set up to be impactful, but his smoking Cigarette moments and his “dangerous” aura unintentionally come off as comical, feeling like a weaker replay of the Rolex cameo in Vikram.

To make things worse, Lokesh overloads the film with subplots that never truly connect. The central mystery, Rajinikanth’s friend being murdered, gets buried under convoluted twists and an Abbas-Mustan style climax where every character smugly claims, “I knew this all along.” What Vikram achieved so organically with layered reveals, Coolie tries too hard to replicate, and the effort shows.

On the technical side, Anirudh’s background score carries much of the film, often giving goosebumps during Rajinikanth’s mass moments. But the songs are unnecessary, with party numbers and item tracks like “Monica” feeling like marketing gimmicks rather than story elements.

At the surface level, Coolie is filled with style. Rajinikanth looks larger than life, the set pieces are beautifully shot, and the action is consistently inventive. But dig deeper, and there’s no real substance. Lokesh seems so focused on glorifying Rajinikanth that he forgets to tell a coherent story or give weight to the other big actors he cast.

⭐ Final Verdict:

In the end, Coolie felt like a wasted opportunity. Some scenes are brilliant, like the Rajinikanth-Upendra fight, Sobin’s character moments, and the spectacular visuals, but the overall story, the underwhelming antagonists, and the sidelined characters drag it down.Coolie had the potential to be something memorable, but it never quite gets there.

🔥 Coolie may not have lived up to its sky-high expectations, but it’s definitely a film that will keep fans debating for a while.
If you enjoyed this review, stay tuned—I’ll be sharing more thoughts on upcoming Indian blockbusters soon. Your support means a lot and helps me keep bringing honest, independent reviews your way.

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