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.