Aaryan (2025) [Film Review] — A Slick Tamil Thriller That Finds Its Feet in the Second Half

Aaryan kicks off with a memorable, Se7en-adjacent hook: a washed-up writer, Azhagar (Selvaraghavan), storms a live TV show and lays down a five-day plan of murders that he will execute as a macabre “story.” What begins as a hostage spectacle turns into a methodical manhunt led by DCP Nambi (Vishnu Vishal), shifting the film from whodunnit to a study of how — and why — a killer constructs a public narrative.

Direction & Writing: Praveen K. keeps the genre engines humming, and writers deliver familiarity

Director Praveen K., working off a script by Manu Anand and himself, favors economy over invention. The setup is confident, and the film is technically competent: pacing, staging, and the ticking-clock structure work in its favor. Where Aaryan Trips is ambition masquerading as a theme, the late pivot toward a social-cause justification for the killings feels tacked on and underdeveloped. Still, the screenplay’s strongest move is treating the villain’s recorded monologues as the opening chapter of something larger, which gives the plot a theatrical, unnerving edge.

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Performances: Vishnu Vishal grounds it; Selvaraghavan makes the killer unsettlingly theatrical

Vishnu Vishal as DCP Nambi is the film’s anchor — restrained, workmanlike, and effective in the procedural sequences. Selvaraghavan’s Azhagar steals the opening with a brittle charisma: his performance sells the idea of a frustrated writer weaponizing narrative. Shraddha Srinath as the TV host is underused but solid; supporting turns from Vani Bhojan, Chandru, and Manasa Chowdary add texture but rarely surprise.

Music & Technicals: Ghibran’s score injects much-needed pulse

Ghibran elevates routine moments into pulsey set pieces; his synth-driven score is a standout, providing urgency where the script is sparse. The film’s production values — editing, cinematography, and set pieces — keep the thriller taut, especially once the second half picks up.

Pacing & Flaws: A rocky start, a more thrilling finish, and a final act that raises questions

Aaryan struggles through a draggy start that leans heavily on exposition. The motive behind the murders — victims framed as “unsung” figures whose deaths will supposedly force society to notice them — feels emotionally unearned and at times melodramatic. Comparisons to Ratsasan are inevitable and not wholly unfair: Aaryan lacks some of that film’s layered revelations, but it compensates with solid procedural mechanics and a satisfying (if not wholly original) climactic trap.

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Conclusion: Worth a watch for thriller fans — not revolutionary, but entertaining

If you come for a taut Tamil action-thriller led by a measured cop performance and an unsettling opening by an unorthodox antagonist, Aaryan delivers. It doesn’t reinvent the serial-killer formula, and its social messaging feels grafted on late, but the film’s craft, Ghibran’s score, and Vishnu Vishal’s steady lead performance make it a worthwhile watch for genre fans.

Rating: ★★★⯪☆ (3.5/5)