Thomudu review: Wild ambitions but Nithin’s Juty Life Thriller execution
‘Thommudu’ movie review: Despite a complicated base and a blind -rich setting, ‘Thommudu’ struggles with consistent, emotional depth and narrative effect. What can happen that the survival thriller of one-time turns to a long, luxurious ride with a long, luxurious ride.
In short
- ‘Thommudu’ is a blind attractive survival thriller that stumbles in emotional depth and execution
- The film stars Nithin, Varsha Bolmma, Sapthami Gowda, Swasika and Lea in the lead roles.
- Directed by Venu Shriram, the film released in theaters on 4 July 2025
A run-raising thriller was set against the backdrop of a green forest, ‘Thmmudu’ taps in popular style with films like ‘Kathy’ and ‘Managaram’ by director Lokesh Kanagaraja. It belongs to the place, a commercial action drama that is filled with urgency, emotion and environment. On paper, it checks the box. The scale is visible, the world is immersive, and the characters are all. But somewhere between the setup and the payment, ‘Thmmudu’ gradually distinguishes himself from the emotional thread he promises to catch, turning into a stretch-out chain of fighting scenes with deep feelings below the same forest.
The ‘game changer’ is coming after the failure and the amazing success of ‘Sankranthiki Vastunam’, producer Dil Raju supported Nithin in an experimental change from his normal place. That effort is visible. The film opens with a promising setup: a tragic factory explosion in Vizag, an honest IAS officer Jhansi (LAYA) who refuses to bend for pressure, and is an attractive threat to the villain Azarwal (Saurabh Sachdeva). The journey to Ambargodugu for Pagdalamma Thali Jathara takes Jhansi into the wild, where the danger is rapidly revealed.
Enter Jai (Nithin), an archer with a mysterious past and connection that becomes a shield and protects Jhansi and his family. The bets are clear, the location is alive, and the story appears determined for the story of a high-way existence. But that spark does not remain.
Visually, ‘Thommudu’ shines in its natural terrain. Forest landscapes, raw settings, and grounded textures feel immersive, but only when the film clings to its real world places. CG-thunder parts never mix, weakening the authenticity and tries to create a story. In the first half, action choreography adds some speed, but as the film moves forward, this energy is dipped. And emotionally, there is barely anything. A tight, character-powered story begins to wander.
The new subplots are introduced randomly, even before some climax, while some scenes are far beyond their emotional value. There is a point where Jai asks his niece to keep his identity secret, only to spread some scenes for him later. Then we get an forgiveness scene that barely registers. These views exist to add emotional colors, but they are not earned. The beating is not land.
The film loses its core and enters random action scenes, its biggest issue. It seems that you are constantly looking at a climax. One big battle goes to another, and then the other. You reach the forest fight sequence and hope that it will end. But no, there are still ten and minutes in the city with Azarwal. Structurally, it drugs. Emotionally, it remains flat.
Between the demonstrations, Varsha Bolmma emerges with the most layered arc. As Figure, she is just more than a love interest, she plays the role of a friend who adds heat, appearance and relevance to Jai’s journey. The owner also brings a spark in the form of a gutry, which is a character inspired by existence and wealth and the character remains grounded in personality, does not try to move the arc. His face with Chitra is one of the few high points of the film.
Despite a composed and dignified performance, Lea has been written as a monot, introduced as a powerful, but left with a very few agency. Sapthami Gowda is capable, but her role in ‘Kantara’ felt like what we saw. There is no reinforcement. Nithin tries to anchor himself with restraint, but his character’s emotional graph is not clear from the beginning. Why does he remember his sister only after an accident? If it was so easy to trace him, why did he not do it in all these years? Such questions make the character’s decisions emotionally convenient.
Even the villain, Ajarwal, feels out of place. Their quirks are interesting, but their arc is poorly developed. An understanding is that writing wants to say something deep, about family lesions, memory, power, but none of it takes the appropriate size. Weight that should take weight is given with such a low emotional preparation that they go through no attention. Sometimes, a simple normal moment is overblown. On others, a collective moment is reduced by flat execution.
Ajnesh Lokeath’s background score does not do much to elevate the film. The credentials credited to KV Guhan, Sameer Reddy, and Setu do the best when it is grounded in natural light and texture. CG parts and set-beats break the sequence rhythm. Editing of Pravin Pudi leaves many scenes, especially in the second half.
‘Thomamudu’ is no less on ambition, it clearly wants to move away from the formula. But in its attempt to give a layered action drama, it forgets to build layers. It plays like a walk through a wild forest, but instead of feeling the danger and urgency of nature, you think you are in a stylized zoo. You are watching action, but never felt bets.
