Haiwaan opens with a man being drowned in a river, introducing a killer identified visually by his snake tattoo and threatening presence. The story then shifts to Shyam Rane, played by Saif Ali Khan, a visually impaired man who raised his siblings after their father’s death. His heightened senses of smell, sound and touch help him navigate daily life. He works as a maintenance manager in a Mumbai high-rise, where residents and employees trust him completely.

Parshuram Gokhale, played by Akshay Kumar, enters Shyam’s world with a violent history and a deep desire for revenge. His life was destroyed after his family faced a false accusation, leading his father to poison the household before dying by suicide.

After spending time in a mental-health facility, Parshuram emerges with nothing to lose. Shyam unintentionally becomes involved in the conflict and must rely on his intelligence and heightened senses to protect the people around him.

Priyadarshan returns to the narrative of Oppam, his successful 2016 Malayalam film starring Mohanlal. The original’s central premise remains effective: a visually impaired man becomes the key figure capable of identifying and stopping a dangerous killer.

Haiwaan has a strong foundation, a celebrated director and an impressive cast. The reunion of Akshay Kumar and Saif Ali Khan also creates expectations of an entertaining mainstream thriller.

However, the Hindi adaptation does not offer enough freshness to justify revisiting the same material. Viewers familiar with Oppam may find few genuine surprises, while new audiences must wait too long for the suspense to take control. At 165 minutes, the film carries unnecessary songs, humour and extended narrative detours that repeatedly weaken its momentum.

Saif Ali Khan delivers a sincere performance as Shyam. He brings warmth, dignity and emotional credibility to a man who has devoted himself to supporting his family and helping the residents of his building.

Saif convincingly portrays Shyam’s intelligence and heightened awareness. However, the character’s rustic background and wrestling abilities are less persuasive, as the physicality required for those portions does not always feel natural.

Akshay Kumar commits fully to the antagonist’s dramatic personality, but Parshuram never becomes as frightening as the story demands. The performance frequently leans towards exaggeration, turning potentially menacing moments into unintended comedy.

Sharib Hashmi is genuinely entertaining as Inspector Sanjay Shinde and delivers the film’s most consistent humour. The late Asrani brings warmth and authenticity to his role as security guard Hussain.

Boman Irani is dependable as retired judge Pradhan. Shriya Pilgaonkar and Saiyami Kher perform capably but are given limited material. Mohanlal’s brief cameo provides a nostalgic connection to Oppam.

Priyadarshan knows the source material and understands the mechanics of the central mystery. Several isolated sequences demonstrate his ability to stage humour and suspense effectively.

The main problem is that the comedy and thriller elements rarely operate in harmony. Jokes frequently arrive when the narrative should be tightening its grip, reducing the danger surrounding Parshuram.

The high-rise setting gives Shyam a believable community and creates opportunities for suspense. However, the film takes too long to use this environment effectively.

The final confrontation should have been the most intense stretch, but the villain’s exaggerated treatment prevents it from delivering the required fear and urgency.

The film features three songs, but none leaves a lasting impression. A dance number placed before an important sequence is particularly disruptive because it delays the thriller just as the tension should increase.

The music neither strengthens the characters nor significantly advances the story. Removing or shortening the songs would have helped the film maintain a more focused tone. The background score supports several suspense scenes but cannot consistently overcome the uneven staging and delayed narrative progression.

Editing is Haiwaan’s biggest weakness. At two hours and 45 minutes, the film is at least 30 minutes longer than its story requires. The opening portions spend too much time establishing characters and introducing comic diversions. By the time the actual thriller gains momentum, the audience has already invested considerable patience.

A sharper first half, fewer songs and shorter comedy stretches could have produced a leaner and more gripping film. The climax also needs tighter cutting to sustain urgency and make Parshuram feel more dangerous. Oppam succeeded because it was more disciplined and consistently tense. Haiwaan retains the story but loses much of that efficiency.

• Saif Ali Khan’s warm and sincere performance
• Strong central premise adapted from Oppam
• Sharib Hashmi’s entertaining comic timing
• Asrani’s memorable supporting performance
• Dependable work from Boman Irani
• Akshay Kumar and Saif Ali Khan’s reunion
• Mohanlal’s nostalgic cameo
• A few effective suspense sequences

• Excessive 165-minute runtime
• Slow build-up to the thriller
• Akshay Kumar’s villain lacks sufficient menace
• Comedy weakens serious moments
• Forgettable songs
• Underused Shriya Pilgaonkar and Saiyami Kher
• Limited freshness for viewers familiar with Oppam
• Unconvincing physical portions involving Shyam
• Underwhelming final confrontation

Haiwaan arrives with nearly everything required for an effective commercial thriller: a proven story, an experienced filmmaker and two major stars in opposing roles.

Saif gives the film emotional stability, while the supporting cast supplies humour and warmth. Yet the narrative repeatedly delays its central conflict, allowing songs and comic scenes to interrupt the tension.

The bigger disappointment is Parshuram. A revenge thriller depends on the audience believing that its antagonist presents a terrifying threat. Akshay’s exaggerated approach makes the character unpredictable, but not consistently frightening.

Viewers who have watched Oppam will inevitably compare the adaptations, and the Malayalam film’s tighter construction gives it a clear advantage. Haiwaan remains intermittently enjoyable, but its bloated runtime and confused tone prevent it from becoming the tense thriller it promises to be.

Bottomline: Bloated Thriller

Rating: 2.5/5