After a dismal attempt at the fantasy genre, Vijay returns to his patented land of commercial potboilers. He was near perfect in pulling off the cop roles and brought oodles of comedy to all his outings. This time with Theri / Police he catapults the narrative by juggling between avatars in a gritty tale of revenge. All this is ably handled by the master of flashbacks, Atlee. Though the storyline is wafer-thin, the adrenaline rushing moments and theri-fic performance of Vijay makes you glued to your seats in this long-ish rendition of redemption.
Vijay sports three makeovers during different phases of the film. He shines all through the film as a doting father, caring husband and fearsome cop. After few minutes into the film, you expect one whiste-poddu moment and there it comes with a bang. The real hero erupts in a Baasha-esque moment. The fast cuts in the opening stunt sequence call for a thundering applause. Can fans ask anything more?
No matter how many layers of intrigue and emotion you pile on the film’s narrative, the predictability factor sets in quite soon and it never leaves you. It’s not difficult to guess the flashback part and how the repercussions are felt all over. As I have already bestowed the title ‘Master of flashbacks’ on Atlee, what makes it interesting is how he plugs in those back stories at crucial junctures of the film. And not to say the trailer reveals more of it and dampens your thrills.
Albeit the emotional scenes are handled well, few of them look overstretched and out of place. Even couple of songs acts as speed breakers on your fun ride. A well-conceived interval block couldn’t sustain the steam in the second half and you are left watching few finely choreographed fight sequences.
Of the other actors, legendary director Mahendran takes the cake with his killer antics and stylish rendition of lines. Samantha gets her career best role and outshines as a doctor. Amy’s role is partly convincing and she pops out as an odd one at few places. Nainika, the cute pie, is adorable to the core. She makes more fans and stands second to get more whistles.
As G V Prakash builds the emotional quotient with his punctuating background score, cinematographer George Williams makes his lens breathe more dynamism and bolsters the film’s structure. The visual grandeur is all over the place, esp. in songs and stunts.
To sum it up, Theri / Police has bits and pieces of everything that celebrates commercial cinema. Though predictable and overtly emotional, it covers up the dull second half with top-class performances and technical brilliance to die for.