If you are ready to overlook the logical blunders, the fat-less movie is sure to entertain.

Thani Oruvan marks the welcome of ‘version 2’ of director Raja. It is possibly the most rewarding experience you would have got from a mainstream Tamil actioner in the recent past.

‘Thani Oruvan’ is likely to be a turning point in Jayam Ravi and his brother director M Raja’s life as well. Don’t miss this film!

With ‘Thani Oruvan’ Raja has not only changed his name to Mohan Raja but has made a completely new and refreshing thriller which is on par with any international films of its genre. Probably he was dishing out remakes till now as preparation for delivering one of the best films in the past decade.

Verdict – A must watch for any true movie lover.

Thani Oruvan is a classified thriller which is new to Tamil cinema. The whole team deserves a pat on their back for pulling off a new age cinema while keeping all the commercial elements intact.

Technically, Ramji’s cinematography is top notch as he has used different colour tones according to the mood of the film. Colours like Brown, green and sea blue is used in each shot. Hip-Hop Aadhi’s background score is a major plus for the film and overall, Thani Oruvan is an engaging cinema that deserves your time.

Thani Oruvan is one of those rare Good vs Evil films that manages to toe the line between Commercial and Masala exceedingly well. Even if the taut script and the impactful dialogues do not impress you, it is guaranteed that Aravind Swamy’s superlative performance will bowl you over!

The film does revolve around the age-old conflict between good versus evil, but the contemporary twist to this slick and stylish racy thriller takes it to a whole new level.

Thani Oruvan isn’t all that it could have been. If you’ve wondered why we don’t make thrillers like the Bond films and the Mission: Impossible films, the reason is right here. In those films, a few minutes are devoted to detailing who the target is, what the mission is, and then we’re up and running. But Tamil films keep trying to transcend the basic thriller. They want to deliver enriching messages. The too-good-to-be-true hero wants to preach — he spouts four lines when he only needs one. All this becomes a lot of extra baggage. The film slows down from time to time.

A big flaw of Indian cinema is its tendency to stretch the script to a point where even suspension of disbelief becomes difficult. There are several such situations in Thani Oruvan which, however, gets glossed over by the life-and-death games which Mithran and Siddharth play, and till about the very end, the bad guy — hiding behind a veneer of sophistication — seems to get all his moves right. But then, India cinema has to follow the age-old mythological tradition of the good winning over the evil.