It wasn't too long ago that style and visual appeal seemed to be non-existent in Tamil cinema. That is no longer the case and filmmakers today are paying a lot of attention to the technical aspects of their films. While a few films like Eeram have managed to contain both substance and style, many films are now focusing solely on the visual aspects. Ajith's latest film Asal, with its flimsy story and weak characterization packaged with exotic locales and a glossy look, is one more addition to this list and is another case of old wine in an expensive, stylish bottle.

Jeevanandham(Ajith) is the head of the Eurasian Trading Company, which is located in France and supplies arms to countries. He is particularly fond of his youngest son Shiva(Ajith) but this makes his two older sons Sam(Sampath) and Vicky(Rajeev Krishna) rather unhappy since Shiva was born out of wedlock. Sara(Sameera), a cultural attache at the Indian embassy, loves Shiva though Vicky wishes to marry her. After Jeevanandham dies, Sam and Vicky, egged on by their uncle Kalivardhan(Pradeep Rawat) and helped by a French cop Danny(Suresh), get involved in arms and drug trafficking done by another company. Shetty(Kelly Dorjee), the company's contact in Mumbai, isn't too happy about this and kidnaps Vicky. So Shiva travels to Mumbai to save him where, Sulabha(Bhavana), who works in his family friend Mirasi's(Prabhu) office, falls for him.

Asal's simplistic story of a man being betrayed by his brothers and taking revenge on them was seen recently in Rajadhi Raja and Saran makes no effort to add anything new to it. Even the surprising twist that he usually manages to spring on us in his movies is missing in the by-the-numbers plot, with the two happenings that could be considered surprises (since they are revealed during flashbacks) being very weak and unsurprising.

The characters in the film have no depth and this is a problem since the film's story is at heart an emotional one about warring brothers. And the problem begins right at the top i.e. with Ajith. The older Ajith has a wonderful song written about him but we learn nothing about him to understand why. All we know is that he is the head of a company and listens to his son even to reject a deal that involves illegal activities! The younger Ajith fares a little better but the one scene where Sampath and Rajeev insult him at the dining table is barely enough to convey the pain and torture of being treated as an outcast by his own brothers throughout his life. There is a fleeting reference to him bottling up his own emotions but there is no payoff - a scene he finally lets his emotions out - and so he never connects with the viewer.

With such weak characters, its no surprise that the lack of depth permeates the relationships between them also. A couple of lines and forlorn looks are all that are used to illustrate the strong bond between Ajith and his dad and Sampath and Rajeev aren't very different from regular villains who make their dislike of Ajith very clear. Though Ajith and Sameera have known each other for 15 years their romance seems half-baked since it isn't even clear how Ajith feels about her and Bhavana's love too is of the first-sight variety. But considering the weak romances, the small game of one-upmanship that Sameera and Bhavana indulge in over Ajith is charming.

The movie has a lot of action and it had been picturized efficiently. But there is hardly any dramatic tension as Ajith swats his enemies off as though they were flies and elaborate setups are not exploited(like Dorjee's heavily-guarded fortress, which Ajith enters through an official invitation).

Ajith, after having some fun in Aegan, is back to playing the taciturn, brooding character who barely utters a few words. He has enough screen presence to carry off the role and does look stylish. But age is definitely catching up on him and this is particularly clear during the chase sequence at the docks. He has discarded the 'Ultimate Star' title and his name is shown in the credits without the usual letter-by-letter introduction we've been accustomed to but that doesn't mean there's no boosting his ego. There are enough 'thala' references and slo-mo shots to keep his fans happy. Sameera's role as a cultural attache takes a hit when she shows up at a party singing Kaatrai Niruthi.... She looks rather plastic and shows no hint of the charm she showed in Vaaranam Aayiram. Bhavana looks cute though. Suresh makes a comeback as a bald French cop but along with Sampath, Rajeev Krishna and Pradeep Rawat, makes up a group of regular Tamil cinema villains. Yuhi Sethu, who shares writing credits, raises a few laughs as a don who ends up taking the fall for Ajith but his entrance does damage the seriousness of the film.

Following a recent trend, most of the songs play only partially(1 stanza or less) giving people a lot less time for cigarette breaks. Tottadoing... is the only number that plays fully and while the costumes, sets and steps are cool and fun, one can't help wishing the song had been picturized on an actor with better dancing skills than Ajith. Kudhiraikku Therium... features some atrociously bad steps in the brief time it is played while Hey Dushyantha..., inspite of some half-hearted efforts with Bhavana's hairstyle and dresses, doesn't utilize the Paartha Nyabagam Illayo... connection. Tha fabulous Yem Thandhai... plays in the background while the pathos number Enge Enge... doesn't figure in the movie. Most of the movie is set in Paris, giving it a rich look. But most of the proceedings take place indoors and the set design makes us take notice.