
‘Promo has better story than whole film', say fans as Kamal Haasan, Simbu face off in Thug Life OTT release announcement
The video shows Kamal Haasan and Simbu sitting in front of a bunch of journalists as part of a media interaction. One of them says that the Jinguchaa dance was absolutely amazing, to which it is Simbu who says thank you, irking Kamal. A second journalist asks that the actor started off as a child artist and has been doing it so successfully for so many years. How was the experience? To this, again, it is Simbu who replies, 'It's an incredible experience.' Kamal looks at him again, faking a smile.
When a third question is thrown at them asking who is the real 'thug' in real life, the two of them pause for a while. Then Simbu answers, 'I am the Thug.' Then he adds, to everyone's surprise: 'But the hero of all thugs is Sir!' Simbu asks him to strike a pose, which he agrees to do, and the promo ends with a montage of clips from the Mani Ratnam film. User reactions
Reacting to the clip, a user commented: 'Promo was so better than the whole movie.' A second user said, 'this promo > the movie.' Another said, 'Vinveli Nayaga looks better here.' A comment read, 'This promo watching 10+ times, but watching this movie… umm I am not sure.' 'So much effort for the promo, why wasn't the same in the film?' asked a second user.
Thug Life is Mani and Kamal's first film together after the 1987 cult classic Nayakan. The gangster drama revolves around him and his adopted son, Amaran, played by Silambarasan. Trisha Krishnan, Ashok Selvan, Joju George, Ali Fazal, Abhirami, and others also star in it. The film was released amid huge controversy over Kamal's remarks on the Kannada language and was not released in Karnataka. The film also received mixed reviews from critics and fans.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Time of India
40 minutes ago
- Time of India
'Detective Ujjwalan' OTT release: Dhyan Sreenivasan starrer to stream on THIS platform
(Picture Courtesy: Facebook) After a decent theatrical run since its release on May 23, 2025, 'Detective Ujjwalan', starring Dhyan Sreenivasan , has kept fans guessing about its digital debut. Now, reports suggest that the wait might be over soon. The film is reportedly heading to Netflix for its OTT release — though no official date has been confirmed yet. According to film industry buzz, including a social media post by AB George, Netflix is believed to have picked up the digital rights. This move comes as a surprise to many, as the streaming giant hasn't often backed Malayalam films in recent months. So why Detective Ujjwalan? The 'Minnal Murali' connection Industry insiders speculate that the decision is largely due to the film's ties with Minnal Murali, the Tovino Thomas superhero hit. Detective Ujjwalan is set in the same cinematic universe — known as the Weekend Cinematic Universe — and takes place in the neighboring village of Plaachikkaavu. That shared universe connection may have been key in attracting Netflix's interest. On the TV front, there's also chatter that ZEE Network has acquired the satellite rights. What the film Is about and ETimes verdict Directed by Indraneel Gopeekrishnan and Rahul G, Detective Ujjwalan follows a quirky local detective navigating through minor village crimes — until a chilling series of murders shakes up his sleepy hometown. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Is your tinnitus getting worse? Do this immediately (Watch) Hearing Magazine Undo ETimes gave the Dhyan Sreenivasan starrer a rating of 2.5 stars out of 5 and our official review reads, "There are some rules that a detective story needs to make it work and for the effect to stay with us. Some red herrings that will confuse the audience so that we are emotionally and intellectually caught up in the story, a detective who uses logic that will baffle us with its brilliance and a final revelation of the culprit that will shock us. Detective Ujjwalan does not use any of these devices in a forceful enough manner. The period settings are interesting and the village characters are loveable enough, though some of the superb comic talents from social media, Ameen, Nihal Nizam, Nibraz and Shahubas, are barely utilised. The film seems to go in the direction of most Dhyan films; a bit of an anti-climax."


Mint
an hour ago
- Mint
Metro In Dino OTT release: When and where to stream Aditya Roy Kapur, Sara Ali Khan's film
Anurag Basu's much-awaited romantic drama Metro… In Dino finally hit theatres on July 4, nearly 18 years after his acclaimed 2007 film Life in a… Metro. Touted as a spiritual sequel, the film explores the highs and lows of modern-day relationships in a fast-paced urban setting, a theme that resonated deeply with audiences in the original. Featuring an ensemble cast including Aditya Roy Kapur, Sara Ali Khan, Neena Gupta, Anupam Kher, Konkona Sen Sharma, Pankaj Tripathi, Fatima Sana Shaikh, and Ali Fazal, the film has opened to a positive response for its poignant storytelling, soulful music, and nuanced performances. Interestingly, Konkona Sen Sharma is the only actor returning from the original film. While Metro… In Dino continues its theatrical run, it has also locked its OTT partner — Netflix. Though an official streaming date hasn't been announced yet, films typically arrive online 45 to 60 days after their theatrical release, which means the film could drop on the platform by late August or early September. In a recent interview, Konkona Sen Sharma recalled her experience filming Life in a… Metro, especially working with the late Irrfan Khan and Anurag Basu. 'Irrfan had such a relaxed energy, and so does Anurag. They never made the work feel too serious or heavy — the atmosphere on set was always light and creative,' she shared. First announced in 2022, Metro… In Dino brings back Basu's signature storytelling style, weaving multiple narratives with emotional depth. Whether you catch it in cinemas or wait for the Netflix premiere, this one's definitely worth adding to your watchlist. Meanwhile, on Day 2 of its release, the movie collected ₹ 3.39 crore on Saturday (Day 2), bringing its total domestic earnings to ₹ 6.89 crore. According to industry estimates, 'Metro In Dino' recorded an average theatre occupancy of: This reflects an upward trend from its first day, with afternoon viewership significantly improving across urban centres. The film performed best in southern cities, with Chennai reporting the highest occupancy rate at 69%. Bengaluru followed with 46.5%, and Hyderabad posted 34.5%.

New Indian Express
2 hours ago
- New Indian Express
Outsider by choice
The exercise, he says, was one of unlearning. 'To pretend to not know acting—when it's what I've done my entire life—is to go against my own instincts. And to do that without looking fake, to make the audience believe I was someone unequipped with technique, required a very different approach. I had to believe it myself first.' For Siddiqui, belief is the cornerstone of craft. 'You have to believe that this world you're in is real. In this case, I had to believe I was someone who had never acted before. That belief had to come before anything else.' Despite his success, Siddiqui remains deeply connected to the uncertainties that marked his early years. An alumnus of the National School of Drama, he began with minor, often overlooked roles in films like Sarfarosh and Munna Bhai MBBS. Recognition came gradually—first through Anurag Kashyap's Black Friday and then more substantially with Peepli Live and Gangs of Wasseypur, the latter making him a definitive voice in the new wave of Hindi cinema. Over the past decade, he has earned both acclaim and audience admiration for roles in Manto, Photograph, and the acclaimed Netflix series Sacred Games. Yet, for all his achievements, Siddiqui does not romanticise the industry. If anything, he is one of its most vocal critics. He speaks of a troubling creative stagnation, calling it a kind of 'creatocracy', a system where commerce replaces originality and comfort overrides experimentation. His concerns are not unfounded. 'We've normalised lifting—from songs to scripts, from international cinema to the Southern film industries. Even some so-called cult films are nothing more than polished remakes. Where is the originality in that?' He also points to the increasing reliance on marketing gimmicks and manipulated success metrics. 'You can inflate numbers, buy good reviews, and even book your own shows to make a film seem like a hit. But you can't sustain it. The audience is too intelligent now. They know the difference between what's being sold and what's being felt,' he adds.