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 quest, is given a tragic flashback in the manner of Shankar that explains his or her objectives. The other is an entertaining skit where the villains who have been taking advantage of a trusting audience are forced to make amends on live television while we learn about the wicked 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 conventional narrative that introduces the characters before delving into the plot. The first few sequences of this movie dig right into the plot, 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 inciting incident—a bank robbery—is the first thing we see.
Gangster Radha (Veera) and his crew plan to rob a bank; however, when they arrive there, they discover that a mystery man (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 way to apprehend the suspect. What is this man after, and who is he?
Thunivu's tempo is what you notice initially about it. 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, just 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 deposit in a bank. Given how quickly the movie moves, some of this even passes right over our heads. There are times when we fervently 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 scenes when Ajith, his star, gets loose and acts in a more anti-heroic manner. The actor simply 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 whether they are just romantically attached or not. The role doesn't provide her with much else but that, though.
Samuthirakani is still largely functional, as are the other actors. The adversary actors' performances are primarily 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 shoots.
It is difficult to empathise 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 that affects the average person. We start to doubt whether courage alone can bring glory when the movie devolves into an illogical sea pursuit.
