Call it a cocktail of earlier movies of Hari, Venghai begins on a promising note and ends with a pulsating punch. But the things that happen in between make us tired, and also test our patience to certain extent.
For, there is nothing new about the story, screenplay, characterisation or picturisation, but for some interesting twists and few sharp dialogues. What makes Venghai work despite all these odds are the rocket-speed narration of Hari and the performance by Dhanush and Prakashraj.
Hari, banking heavily on his usual formula, presents us a story set in a village backdrop. There are family sentiments, romance, comedy, emotions and fights among other things you would normally expect from the filmmaker.
Veerapandian (Rajkiran) is respected next to God in Pandiapuram, a hamlet near Sivaganga. He has an active and energetic son Selvam (Dhanush), who believes firmly that his ‘house is a temple and his parents are Gods’.
Rajalingam (Prakashraj) wins the elections with the support of Veerapandian but fails to live up to his promise that he would do good to the people. When Veerapandian questions him, Rajalingam vows to put an end to his rival.
But the biggest obstacle he has to face is Selvam. What starts is a cat and mouse game between Rajalingam and Selvam and the story comes to an end on an expected note after traveling through predictable twists and turns in ‘Tata Sumos’.
Dhanush is the biggest asset of Venghai. He is literally like a village boy who is gold at heart. Tamannah is there to fill the gap and she performs well. Rajkiran and Prakashraj are veterans, and of course, they prove it with their performance.
Be it songs or background score, everything is loud about Devisri Prasad’s work. Cinematography and editing departments do what Hari would have expected. On the whole, Venghai roars big and runs little.
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Hari’s, hurries 
