Thug Life Review

Nayagan is widely regarded as one of the greatest films in Tamil cinema. So when Mani Ratnam and Kamal Haasan reunited after 38 years, expectations were sky-high. Given that Thug Life falls into the gangster genre, comparisons were inevitable. And while fans had long wished for this reunion, watching the result now, one can't help but feel—some doors are best left closed.

Thug Life is a story about power, betrayal, and the lengths people will go to get what they want. It shows how emotions like pride, revenge, suspicion, and fear can tear apart kinship and bonds. As rules break down and loyalty fades, the fight for control comes at a heavy cost. The film seems intent on highlighting the futility of violence in that pursuit. The dialogue where Kamal confides in Simbu, drawing a contrast between present-day Delhi and its past, is one of the film’s most thoughtful moments. It hints at a deeper layer the movie could have explored—making the city itself a character, much like how Bombay shaped the soul of Nayagan, even when most of it was filmed on a set in Chennai.

The casting choices in Thug Life feel mismatched and jaded, relying heavily on yesteryear stars, with leads struggling to carry the weight of their roles. The characterization often falls flat, offering little for the actors to build on. For instance, Saranya’s role in Nayagan was layered with nuance and emotional depth. In contrast, Trisha’s portrayal of a sugar baby in Thug Life feels shallow and confusing, lacking the complexity needed to make the character work. Simbu may have chiseled himself for the role, but the character comes across as lacking intelligence, constantly manipulated by those around him. Overall, the film offered no character—including Kamal, Simbu, or Trisha—compelling enough for the audience to truly connect with.

One of the film’s highlights is the black-and-white opening, where Kamal Haasan looks fantastic in the de-aged flashback. His character seems to flirt with death itself, forming a symbolic bond with Yaman, the god of death, through a series of near-death experiences. However, the second half veers off-course with an oddly inserted survival stretch reminiscent of The Revenant—a tonal and thematic detour that feels disconnected from the core narrative.

The tone and color grading lean toward muted palettes and low lighting, which, while intentional, lack the visual energy needed to elevate key moments. The background music, though occasionally effective, wasn’t enough to lift the film. Even the fight scenes, while competently executed, offer nothing particularly memorable.

Thug Life aspires to be a grand return but falls short of its potential. Despite moments of insight and ambition, the film feels emotionally distant and thematically scattered. It hints at depth but never fully commits, leaving behind a story that struggles to stay engaging or relatable.

Backed by heavy promotions, Thug Life talked the talk—but the film never walked the walk.