The life of the brilliant Jeeva was snuffed out prematurely. The film was completed in his inspiration. But whether it turned out as he had envisaged it, will be known only to Jeeva's spirit.

Jayam Ravi goes to Russia to medical conference.  He's happy that in 2 weeks time, he would be returning home to marry his girl friend but circumstances land him in a Russian jail. Embroiled on a murder charge, he gets no chance to prove his innocence, so he escapes from the cops. On one hand he is chased by Russian thugs, on the other by the ever widening police net. How he finally emerges into good times, forms the story.
  
If the illogical parts had been set right, the few blemishes would have been unapparent and made for a stronger screenplay. Wonder whose mistake it was to have lost that opportunity. Ravi shows better acting talent and looks more handsome than in his earlier films. Whether he's romancing with his lady love or fighting with his Russian opponents, Ravi has identified well with his character.

This is the first film for Kangana, who plays a village girl and her acting prowess is quite impressive for a newcomer. Whether she's playing pranks with the little kids or trying to win over Ravi in card games, Kangana's character will be enjoyed by viewers. She is wonderful when she yearns for her love by the river banks.

Lakshmi Rai as the lawyer from the Russian side, who comes to Jayam Ravi's help, does not have much of a role. For the first time, Jayaram plays the villain. Since some earlier incidents clearly indicate that he's the bad man, his character revelation falls flat. Only straight forward men will be appointed as ambassadors, so showing Jayaram hand in glove with the drug mafia, makes no sense. Switching between village and city scenes  'Roja' style, robs the film of its tempo and is rather tiresome.

All the songs by Harris Jayaraj are mesmerizing. The cinematography is fabulous.

The hero is dying to convey home this news, but after escaping from the police, how does he forget all about it? After being shot, to drive his bike with arms outstretched, mooning over his girl friend, robs the scene of realism.

Anybody could have easily written the dialogues for this film, so why writer S Ramakrishnan? If this question had not cropped up, the film could really have left a 'Dhaam Dhoom' impression upon the viewer.