It's a treat watching Arvind Swami as villain and he pulls it off with effortless charm and swagger. He's undeniably cool in a pre-interval interrogation scene and you root for him.
Although borrowed from John Woo's Face/Off, Lakshman handles the film's premise of soul-swapping very well and he proves he's a filmmaker with some taste. But like most promising filmmakers, he also gets swept away by the commercial wave, one that forces him to end the film on a very predictable note.
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Amidst all this, he shifts the focus on a tedious love track which features Hansika in a yet another poorly etched character. In her introduction scene, she's seen buying liquor and for some reason, director Lakshman believes that this is his definition of a bold and contemporary woman.
With each film, she ends up playing roles that are even sillier than the previous ones and she holds a special record in this category.
Bogan, despite its disappointing second half, works solely for its novel attempt. Imman's music and Soundar Rajan's visuals serve as the film's biggest assets apart from Arvind Swami's cracker of a performance.