In a terrific sequence in his cafe — also featuring Loki’s signature love for 90s tunes in the background — Parthi’s patience is put to test. Two deranged killers (Sandy and Mysskin) walk into his restaurant during closing time to look for quick cash and yet another specific request – a chocolate coffee. A playful scenario between a father and his daughter materialises in real life, and Parthi has to make tough decisions. Is he going to pick up the gun or run? We know exactly how this is going to play out and yet the way Lokesh handles the hero’s turning point is incredible. Bullets are fired, yes. But also helpless wails moaning the end of a person’s protected world are let out. Lokesh takes his time developing not just his characters, but also the set up. So, when a man kills for self defence, we actually see the wait behind bars and take a minute to understand the complexities of the legal system before we get to celebrate the birth of a hero.
Leo is in no way a new premise. Loosely based on body-horror legend David Cronenberg’s masterful A History Of Violence (2005), Leo owns this template and makes it its own in the first half. Like Maria Bello’s Edie in the original, Trisha gets a role she can almost dig into in Leo. Apart from being a loving wife, she’s a fierce protector who will go to any lengths to make sure her children are safe. This also leads to a tender scene between Vijay and Trisha, instantly filling us up with nostalgia. But somewhere along the way, we also realise that Trisha isn’t entirely given the chance to be Maria, because obviously Vijay isn’t Viggo, and this isn’t a small, introspective action film.