When a group attempts to rob a bank, they discover that a robbery is already in progress and is being directed by someone who appears to be insane. Who is this mysterious man, and what drives him?
This vigilante movie in the vein of H Vinoth is ruled by Ajith.
Critic’s Rating: 3.0/5
In the second part of Thunivu, there are a few episodes that, if they were seen independently, may lead someone to believe that the movie is from the Shankar studio. either from an AR Murugadoss or. The protagonist, who is on a mission, is given a tragic flashback in the manner of Shankar that explains his or her motivations. The other is an entertaining skit where the villains who have been taking advantage of a trusting public are forced to make amends on live television while we learn about the evil schemes of a well-known industry.
However, unlike Shankar or Murugadoss, H Vinoth doesn’t appear to believe in encapsulating the central theme of his picture into a broad, broader, and traditional narrative that introduces the characters before delving into the plot. The opening few sequences of this movie dig right into the story, keeping us on the edge of our seats as it shows us events as they are happening in real-time and introduces characters along the way. Thus, the film’s instigating incident—a bank robbery—is the first thing we see.
Gangster Radha (Veera) and his crew plan to rob a bank; however, when they go there, they discover that a mystery guy (Ajith Kumar) has already entered the building and is ready to take over the job. The Commissioner (Samuthirakani), who is in charge of the police, discovers that there is something else evil afoot as they work to find a means to apprehend the suspect. What is this man pursuing, and who is he?
Thunivu’s tempo is what you notice initially about it. The breakneck pace is used to transition between scenes, and occasionally we wonder if editor Vijay Velukutty is speeding up the action by 1.5x.
This requires some time to get used to, much as Ghibran’s constant background music does. Additionally, the production design is really cheesy for a big-budget movie.
Vinoth continues to cram the screenplay with all the details he must have discovered while composing the movie. He gives us a lot of information, covering everything from how financial frauds are carried out to what happens to the money that people put in a bank.
Given how quickly the movie moves, some of this even passes straight over our heads. There are times when we really wish the director would slow down so we could better understand the characters and the problem. The bad guys in this story include politicians, police, and the media in addition to banking. However, the quick speed prevents us from understanding how one influences the other.
The filmmaker decides to give the movie its high points by having moments when Ajith, his star, gets free and acts in a more anti-heroic manner.
The actor just takes over the scenes in the first half, putting on an entertaining over-the-top performance that draws out the whistles from the spectators, whether it is dancing like Michael Jackson or coming up with witty one-liners.
Manju Warrier, who portrays the protagonist’s companion and gets to perform some stunts and has a great mass moment in one scene, is never bothered to make it clear if they are just romantically attached or not. The position doesn’t provide her with much else but that, though.
Samuthirakani is still mostly functional, as are the other actors. The adversary actors’ performances are mostly to blame for the movie’s problems. None of them seem to pose even a slight danger to Ajith’s persona. The action choreography in Supreme Sundar also pushes implausibility quite a bit, particularly the frequent rifle shots.
It is difficult to empathize with the protagonist in the film despite the fact that it doesn’t illustrate how the protagonist was directly impacted by the way our financial institutions operate and how it affects the average person. We start to doubt whether courage alone can bring glory when the movie devolves into an illogical sea pursuit.
Making a movie for Ajith and Vijay must feel like balancing on a tightrope while wearing nothing but your shoes, don’t you think? In Thunivu, his third collaboration with Ajith Kumar, H Vinoth manages to walk a narrow line between letting Ajith do what he does best and telling a compelling tale about corruption in the manner that he is renowned for. It mostly succeeds.
The movie likewise dons a mask, much like its hero and the thieves do. In essence, Thunivu is a robbery movie that also serves as societal satire. Our location in the Sathuranga Vettai (Vinoth’s debut film) area appears out of nowhere. Vinoth is acerbic and street-smart in his criticism of the media, police, politicians, and even the general population.
The portrayal of the dishonest journalist and his interactions with a similarly dishonest police officer is both amusing and unsettling. Although everything in the movie takes place in broad daylight, they are all rather gloomy. Every comment the veteran journalist and the policeman make about the college girl is troublesome. The way they communicate in such a casual manner is more concerning.
The movie’s goal is to depict actual crimes that take place nearby, and that is exactly what it does.
However, occasionally all of this critique comes at the expense of the movie becoming dull and trite. Following the intermission, the film’s style and mystery swiftly fade, and it begins narrating one sob story after another, which is inconsistent with the film’s chilly and menacing tone. One cannot be expected to chuckle at the protagonist’s dark jokes one second and then shed blood for helpless victims the next. Additionally, it is unnerving to realize that the protagonist, who is essentially a contract thief, is the source of all of this criticism. Dark Devil’s character development is a little hazy and ambiguous. Because you don’t understand his perspective, it’s difficult to fully support him.