The reunion of two legends, Superstar Kamal Haasan and ace filmmaker Mani Ratnam, has arrived, 38 years after the release of Nayakan in 1987. Despite certain controversies surrounding the film, it has been released with towering expectations due to the Kamal Haasan-Mani Ratnam combo backed by its ensemble cast and with promotions happening in full swing. How well does reunion serve for the fans who have been waiting long for this?
The story kicks off with a shootout during a shady deal involving Rangaraaya Sakthivel (Kamal Haasan) and Sadanand (Mahesh Manjrekar). In the crossfire, a newspaperman is killed, and his children, young Amaran (Silambarsan) and Chandra (Aishwarya Lekshmi), are separated. This incident sets the stage for what could have been a gritty and emotional crime saga. Unfortunately, the first half of the film is sluggish and underwhelming, marred by uninspired dialogues and a lack of narrative urgency. It takes far too long to fully immerse viewers in the world of Rangaraaya Sakthivel and Amaran, and while the setup has potential, it never fully takes off. As the story transitions into the second half, things go from slow to chaotic. The screenplay descends into a laughable mix of predictable twists, conveniently timed developments, and outdated tropes. Characters are introduced without depth, emotional moments feel forced, and the overall flow of the film becomes increasingly disjointed. Rather than evolving into an intense action-drama, the film collapses under the weight of its incoherent storytelling.
Mani Ratnam’s direction does little to salvage the experience. Thug Life feels like a film frozen in time, with an execution that may have worked a decade ago but now feels sorely outdated. Emotional scenes land with a thud, and several sequences are outright cringe-inducing. Instead of being engaged, many viewers will likely find themselves reaching for their phones or contemplating walking out altogether.
On the acting front, Kamal Haasan delivers what’s expected of him, reminding us of his presence on screen even in the most poorly written scenes. Simbu is a firecracker too, matching Kamal’s presence with a performance that shows maturity and explosive energy. Among the supporting cast, Abhirami, Joju George, Ashok Selvan, Aishwarya Lekshmi, Nasser, and Ali Fazal provide decent support, but are let down by one-note writing. The weakest link in the cast, however, is Trisha. Her role feels completely unnecessary, her lip-syncing in the “Sugar Baby” song is off-putting, and her acting is noticeably subpar.
The only true strength of Thug Life lies in its technical aspects. Ravi K. Chandran’s cinematography is a visual treat, especially in the flashback sequences set in the 1990s. The colour grading is period-appropriate, and the de-ageing effects are top-notch. Unfortunately, even this visual brilliance isn’t enough to keep the film afloat as it falls flat on its base, which is the script.
Shockingly, A.R. Rahman’s music, usually a highlight in any Mani Ratnam movie, is one of the biggest disappointments. The songs, while decent on their own, are either misplaced or cut from the film. “Muththa Mazhai” doesn’t make it into the final cut, and the much-hyped “Vinveli Nayaga” only plays at the end. The background score fails to lift any scene and often feels disjointed from the onscreen emotion.
Thug Life is a colossal missed opportunity. What should have been a powerful, nostalgic return for two legends of Indian cinema ends up being a forgettable and frustrating experience. With a lazy script, poorly handled emotions, cringeworthy romantic tracks, and surprisingly dull music, the film does little justice to its legacy or its talent. Skip this one.
Rating: 1.5/5