Banner: Team Work Productions
Production: Ameer Direction: Subramaniam Siva
Music: Yuvan Shankar Raja
Firstly, ‘Yogi’ is a remake of ‘Tsotsi’, a world cinema that’s making high waves in various arenas till the moment. The film is about a ruffian, who comes across a child and how is a life change from then on.
The story was perfect on all terms – say from narration, duration, technical treatment and performances as well. With Subramaniam Siva and Ameer joining hands together, the duo has landed up for a different treatment of this film attempting to suit the taste of Tamil audiences.
Unfortunately, Ameer has failed to recognize himself of giving best things and falls into the pit of what other masala filmmakers do after watching DVDs.

Sorry to say! The film lacks solidity from the beginning till the end. Sparing few honky-dory of its kind of exceptional shots of Ameer playing with snake and rats, there’s nothing much that invigorates your senses.
Unwanted build-ups for Ameer with top-angle and rap background score spoils out his image badly…
Yogi & his gang – the most threatening gangsters find themselves as powerful entities. Nothing stops them from looting the money and wealth. On the run of being chased by police, Yogi barges into a car and drives on to elope from the clutches of cops. And then he finds a baby child, which changes his entire course of life.
Let’s analyze the film on positive and negative aspects:
The pluses are Ameer’s performance. The filmmaker has done his part well. Especially, we have to appreciate him for maintaining a good physique. But he should’ve pretty well focused on trimming certain unwanted parts.
For illustration, the introduction part of the film is so lengthy and so are the flashback sequences. The father’s role is so cruel and overdosed violence and awkwardness. Those shots should’ve been just narrated within a matter of song.
Madhumitha excels with her performance. It would have been better if her skin was yet more tanned. Swathi doesn’t get more footage while Vincent Ashokan has a new-dimensioned characterization. Lyric writer Snegan overreacts on many occasions and tries to vocalize as gangsters in Gowtham Menon movies.
Only solace is through Yuvan Shankar Raja. He makes a commendable effort on both songs and background score. Cinematography is perfect and editing is sleek.
If Ameer had avoided the unwanted elements and presented the film with a short duration, the film would’ve been a sure winner across all centres.
But now the results remains contrastive as there are no probabilities of film succeeding.