Thanal Review – Thrills Diluted by Flashbacks and Romance

Thanal Review – Thrills Diluted by Flashbacks and Romance

Thanal opens with a police encounter in 2016, where officers take down a group of bank robbers in the slums. A year later, vengeance strikes back when a mysterious stranger (Ashwin Kakamanu) hunts the same officers one by one. On his very first night as a recruit, a carefree youngster (Atharvaa Murali) gets caught in this spiral of violence. What begins as a routine patrol soon turns into a desperate fight for survival, where every step uncovers the bitter feud between the avenger and the law.

Atharvaa Murali brings charm and intensity, but it is Ashwin Kakamanu who steals the spotlight with his commanding screen presence. Lavanya Tripathi looks graceful but her role adds little value, and the romantic track slows down the film. Shah Ra’s comedy-laced portions in the first half feel unnecessary, though he redeems himself with a solid second-half performance. Cinematographer Sakthi Saravanan’s son also leaves a neat impression as Atharvaa’s fellow constable.

The film struggles with balance. Two flashbacks are inserted — one for the hero and one for the villain. Ironically, the villain’s backstory, which had real potential, is diluted by the odd use of 2D animation. Meanwhile, the hero’s romantic flashback feels irrelevant and stretches the runtime. These detours, nearly 15 minutes long, slow the 128-minute film and cut into its momentum.

Cinematography stands out with slick visuals, and the tunnel set design adds grit and realism. Editing, however, slips in places — the timeline claims to be 2017 but oddly shows the leads watching Vijay’s Varisu (a 2023 release). These continuity lapses distract from the otherwise solid technical work.

The first half meanders with forced humor and weak buildup, but the post-interval stretch builds real tension. The climax, along with the reveal about Ashwin’s character, is staged effectively. Unfortunately, the film’s impact is weakened by unnecessary romance, misplaced comedy, and poorly executed flashbacks.