The story of a young man getting trapped in a life of violence is a popular one in Tamil cinema and has been tackled in a variety of ways from getting the masala treatment to being dealt with in a realistic fashion. Veerasekharan falls somewhere between the two, leaning towards the latter. The film shows a few sparks that could've helped it rise above the generic story but the poor screenplay prevents that.

Veerasekharan(Veerasamar), a college student who also drives an auto in the nights, lives in a cemetery with the undertaker as his only friend. A minister Ulaganathan(Prathap Pothen), whose son Adhavan is Sekhar's classmate, sees potential in some of the students including Sekhar and 'adopts' them, taking responsibility for their expenditures. But Sekhar soon learns that there is a big price to pay for the minister's generosity. Meanwhile, Sekhar falls for Suganthi(Amala) and becomes a friend to her family when he returns a piece of jewellery she leaves in the auto.

Many recent films like Renigunta and Maathi Yosi dealt with the theme of 'crime doesn't pay' via similar storylines of a group of friends getting pulled into a life of crime. Veerasekharan tackles the same theme but with a couple of differences. For one, the protagonist here is alone in his journey. So he takes all the decisions by himself and he has to face the consequences of his acts on his own. In those other films, there was a point where the protagonists seemed to become used to the violence. But Veerasamar here is an unwilling participant upto the end. His actions are always to help out someone else and that makes him a more sympathetic character.

Veerasamar's journey into a world of violence is charted in a believable manner. Even as he is pushed to commit the acts for his family and then his lover, we can see he has no other option. The same believability is not seen in his character though as he goes through varying emotions rather fast(like for instance his visit to the temple after a job when guilt gives way to romance effortlessly). His last job is brought up in rather unbelievable fashion but it does trap him in a tough situation from where there's no easy escape. And the way it is resolved comes as a surprise but is also logical. The end makes the movie illustrate the 'circle of life' philosophy but it is forced and drawn out for a long time and that makes it lose most of its impact.

But the film's screenplay ensures that the story never has the intended impact. This is felt the most right after Veerasamar's first act of violence. It is a good surprise but once that wears off, the lack of a proper reason makes us feel lost. So the flashback, when it is finally presented, feels misplaced. There are some eye-catching shots(the one where a politician is felled even as a huge cut-out of his is raised in tbe background, is terrific) that point to some nice ideas but the screenplay illustrates the inexperience of the director.

Veerasamar initially seems OK compared to the other new faces debuting as heroes. But he struggles once the going gets heavy and comes up short in the emotional sequences. Amala barely has a role to play and so makes no impression. Pratap Pothen essays the politician's role with his distinctive style. Its a good choice initially since one isn't sure of his character but once his true colors are revealed, he doesn't do anything special. M.S.Bhaskar's character seems forcefully introduced and so raises more irritation than laughs.