Thug Life

Thug Life fails to live up to its hype, offering a predictable and disjointed narrative that lacks both emotional depth and originality. Despite Kamal Haasan's presence, the film suffers from weak writing, uninspired performances, and dialogues that feel forced rather than impactful. The pacing is uneven, dragging in places where it should thrill, and the action sequences, instead of adding excitement, come off as exaggerated and unconvincing. Visually underwhelming and poorly edited, the film lacks the grit and intensity one expects from a crime drama. Ultimately, Thug Life is a missed opportunity that leaves no lasting impression-neither entertaining nor meaningful.

Yep, this is the weakest storytelling I've ever seen in a Mani Ratnam film. Even Kadal and Kaatru Veliyidai come across as better (storytelling) efforts in comparison. What the heck happened to Kamal Haasan? Just because Vikram worked, he's decidedly gone the "action hero" route, playing roles with zero emotional depth or connect. Rangaraya Sakthivel is a cardboard cutout, and so is the entire bunch of characters that revolve around him. The actors (Simbu and Joju George, especially) try their best to rise above the wafer-thin script, offering mild hopes in the first half. But you're in for the most generic revenge-action-drama in the second.

The action blocks (choreographed by Anbariv) are not individually terrible -- in fact, there are a couple of standout attempts, such as a train station fight and a car chase that concludes at the Red Fort, which are quite exciting. ARR's score was really oscillating both ways -- solid as well as subpar (the whole snow sequence had me cringing like hell). Some of the songs are good too, like Jinguchaa, adding a little zing to the overall dull proceedings. Anju Vanna Poove is such a nice track, but the way the film incorporates bits and pieces of it in a scattered way didn't win me over.

Thug Life starts solidly, with a well-done flashback sequence presented in monochrome. The de-aging work is appreciable too; I'm almost sensing a pattern here. In films that get the de-aging process right, the rest of the VFX (like an avalanche sequence) is often so shoddy. The characterizations of Indrani (Trisha), Amar (Simbu), and Dr. Anna (Aishwarya Lekshmi) only look fascinating on the surface. Deep down, they're all one-note with a specific purpose to fulfill.

DoP Ravi K Chandran offers some spectacular frames, though sadly, the film's screenplay doesn't do justice. I'm really appalled by (National Award Winner) Sreekar Prasad's edit work in the film; there's hardly any connective tissue between scenes. Everything is simply stacked together, with no sense of emotional understanding. The larger blame definitely goes to the script (co-written by Ratnam and Haasan), but still. What was even that embarrassment of a climax? Gosh.

I recently watched *Thug Life*, the much-anticipated film by Kamal Haasan, and I must say it was a bold and visually rich experience that left a lasting impression. The movie, directed by Mani Ratnam, marks a significant collaboration between the two legends after decades, following their iconic film *Nayakan*. Naturally, expectations were sky-high, and while the film might not be flawless, it delivers in many important ways, particularly in terms of performances, music, and visual storytelling.

The story follows Rangaraya Sakthivel Nayakkar, played by Kamal Haasan, as he navigates through the dark and dangerous underworld. The plot carries a mix of political tension, emotional weight, and gangster drama. Although the storyline occasionally slows down and some scenes feel unnecessarily stretched, the core of the narrative remains gripping. What kept me engaged throughout the film was the depth of the characters and the layered storytelling. Mani Ratnam has a distinct way of blending personal struggle with broader societal issues, and that style is evident here too, although the emotional impact isn't as strong as some of his earlier works.

Kamal Haasan, as always, delivers a compelling performance. His portrayal of Sakthivel is nuanced and grounded, showing both vulnerability and strength. Watching him carry such a complex character with effortless grace reminded me why he's considered one of the finest actors in Indian cinema. However, I think the real standout of the film is Silambarasan TR. He brings a raw, energetic presence to the screen that perfectly balances Kamal Haasan's more composed and introspective character. It's been said that Silambarasan performed some of the major action sequences despite health challenges, which makes his performance even more commendable. Trisha Krishnan also plays her role well, adding a strong emotional element to the story, though I wish her character had been given more depth and screen time.

One of the strongest elements of *Thug Life* is its cinematography. The visuals are striking, with gritty streets, moody lighting, and well-framed action sequences that bring the gangster world to life. The cinematographer, Ravi K. Chandran, does an excellent job of creating a dark and immersive atmosphere that complements the film's tone. Each frame feels carefully crafted, which helped maintain my interest even during slower parts of the story. The production design is equally impressive, with every detail-from costumes to set design-contributing to the film's gritty realism.

A. R. Rahman's music is another major highlight. The background score adds emotional weight to critical scenes, and the songs, especially "Jinguchaa" and "Sugar Baby," stay with you even after the film ends. Rahman knows how to match his music to a film's tone perfectly, and in *Thug Life*, he creates a soundscape that is both haunting and powerful.

As for the reception, the film seems to have drawn mixed reactions. Some viewers were blown away by the performances and technical brilliance, while others felt that the narrative didn't quite live up to the hype. I can understand both perspectives. For me, while the screenplay could have been tighter and the emotional connection stronger, the overall experience was still memorable. The opening day collections were solid, reflecting the strong anticipation surrounding the film.

In conclusion, *Thug Life* may not be a perfect film, but it's a well-crafted, intense gangster drama with standout performances and rich visuals. Kamal Haasan and Silambarasan TR are both excellent, and Mani Ratnam's direction shines in many scenes, even if the pacing could have been improved. If you enjoy gritty crime dramas and appreciate strong acting and top-notch cinematography, this movie is definitely worth watching.

I read previous reviews and I have my own opinion.

Thug Life is a decent picture but it lacks rivalry and conflict of stars.

The role of Amaran should have been attributed to a known bollywood figure to attract the mass.

Kamal Hassan alone with Mani Ratnam and music A R Rahman are not enough to attract the mass public.

Look at Rajnikant , being a greater Superstar , he always ensured to bag Bollywood stars like Akshay Kumar , Suneil Shetty or Nana Patekar to enter the Bollywood circuit.

It's true that the movie lack the essence to entertain, music is quite flat and screenplay not only original but also predictable.

Really it's a waste of talent and time for the producers and makers.

Best luck for your future project.

Mani Ratnam and Kamal Haasan's much-awaited Thug Life tells the story of a gangster and the drama that unfolds around his empire, exploring themes of manipulation, greed, power politics, and betrayal. The film carries Mani Ratnam's signature frames, but the distinctive Mani touch in storytelling is noticeably absent. The first half delivers a good, though predictable, gangster narrative. However, it's the second half where the film begins to unravel, with a screenplay that feels scattered and incoherent. The execution starts to resemble Indian 2. The action sequences, which were grounded in the first half, suddenly become excessive and, to be honest, somewhat illogical. AR Rahman's music and score elevate the film, adding the right aura around Kamal Haasan's character. The cinematography is another technical standout.

Kamal Haasan shines as an actor, but the weak character writing in the second half dulls the overall impact of his performance. STR provides good support, but again, the second half fails to do justice to his role. Trisha is decent, though her scenes with Kamal feel awkward and out of place. The North Indian supporting cast is just passable, with mostly clichéd roles. Abhirami and Joju George stand out among the supporting actors, while Nassar's performance feels sub-par. Overall, the film derails in its second half and doesn't quite feel like a Mani Ratnam creation. The nuances are present, the sets are meticulously staged, but ultimately, it ends up as a below-average gangster drama.

OVERALL 2.15/10.