Ronth

 

Ronth is another solid film from the Malayalam industry. The word Ronth means "patrol," and the movie follows two police officers—one a seasoned veteran, the other a rookie—as they patrol the city over the course of a single night.

We often hear that the police patrol the streets at night to ensure our safety, but we rarely think about what they actually go through during those hours. This film gives us a realistic, grounded look at what a night on patrol can involve. I had no idea so much could happen in just one night. It really made me appreciate how important their presence is for keeping the peace.

The movie is directed by Shahi Kabir, who won a National Award for his screenplay for Nayattu. I learned that he actually served as a police officer before becoming a writer and director. That background clearly reflects in his work—his stories about police life feel honest, grounded, and human. Unlike the typical commercial portrayals where police officers are shown as larger-than-life heroes, Shahi shows them with their vulnerabilities, as real people. His attention to the little details stands out, and maybe that’s because he’s lived that life himself. I also liked his previous film Officer on Duty, which is streaming on Netflix.

It’s quite rare and refreshing to see a former police officer turn into a storyteller and bring such authenticity to the screen.

Ronth not only shows what actually happens during a police patrol, but also explores the personal struggles these officers face in their own lives. Despite everything they’re going through, they still show up and do their duty.

Dileesh, who plays the senior officer, completely inhabits the role. He doesn’t act the character—he lives it. Roshan Mathew, who plays the rookie, is a familiar face from earlier films and does a great job too.

The music is good, the editing is sharp, and the cinematography is excellent. Like most Malayalam films, it’s shot entirely on real locations, which adds to the realism.

With movies like Ronth, there’s not really a "story" in the conventional sense—it’s more about experiencing the lives of these two officers. So it’s best watched without expecting big twists or turns. That said, I didn’t really like the ending. It’s shocking, yes, but it didn’t quite sit well with me.

Still, Ronth is yet another gem from the Malayalam film industry.

Kuberaa

 

Sekhar Kammula is one of the most sensible directors in Telugu cinema. He’s selective with his scripts and stays true to his core style—telling stories that are relevant to society and centered around common people’s struggles. Except for one or two exceptions, most of his films are love stories or youth-centric. After Love Story, he brings us Kuberaa. The title itself is intriguing and felt unique. With Dhanush playing a beggar and King Nagarjuna taking on a key role, the curiosity only increased.

When the teaser of Kuberaa dropped along with the lyrical video of “Nadi Nadi,” showcasing several cuts from the movie, it sparked even more interest. That’s when I decided to go watch it. Adding to the excitement, this is Sekhar Kammula’s 25th film—so expectations were sky-high.

The basic plot revolves around Neeraj, a filthy rich man who wants to become the richest in the world. To achieve this, he targets natural oil reserves under government control. The story unfolds around the lengths he goes to, whether he succeeds, and how characters like a CBI officer (played by Nagarjuna), a beggar named Deva (played by Dhanush), and a supporting role by Rashmika are all connected.

The film begins by introducing Neeraj—a powerful businessman with control over multiple companies. He discovers oil in the Bay of Bengal and sets his sights on acquiring it. This setup immediately hooks you, making you wonder how the other characters will fit into this narrative. Nagarjuna’s character Deepak is introduced next, and it’s refreshing to see him in such a grounded role. Then comes Dhanush as Deva, with a powerful scene that marks his entry. What stands out is how these intro scenes are crafted without leaning into their star images—they’re presented purely as characters, not stars.

Alongside Deva, several other beggar characters are introduced through a strong song sequence. It’s genuinely stunning to see a star like Dhanush treated as just another character in the crowd, and that’s what makes it even more powerful.

Rashmika’s character comes in much later but plays a significant role.

While many associate Sekhar Kammula with love stories, films like Anamika and Leader proved he’s also adept at thrillers. He applies the same strength here—delivering a gripping narrative with philosophical undertones. He explores the harsh realities faced by beggars and how society often ignores their humanity, all within an investigative thriller framework that keeps things engaging.

The film has some powerful dialogues and scenes that carry Sekhar Kammula’s signature. The music by Devi Sri Prasad is a huge asset—it felt fresh and different. The background score, especially the signature theme for Neeraj, is excellent and haunting. Unfortunately, it seems one or two songs were trimmed from the final cut, but even those songs were well-composed.

The lyrics of the songs are very well written. Especially “Nadi Nadi"—it reminded me of Sri Sri’s famous song “Nenu Saitham.” The lyrics are that powerful, and the music adds so much intensity to it. 

The locations feel authentic, with scenes shot in real places like Tirupati, Mumbai streets, and a dumping yard—all enhancing the film’s realism. The cinematography by Niketh Bommi is excellent. He captured the realistic scenes beautifully, using the right color palette to match the mood of each location and scene.

Performance-wise, Dhanush is the heart of this film. He fully immerses himself in the character and stays consistent, even though the shoot spanned a long period during which he worked on other projects. He proves again why he’s a national award-winning actor. Nagarjuna also delivers a solid performance, portraying internal conflict with grace. His look—graying hair and all—perfectly suits the role, and I’d love to see him in more such parts. Rashmika supports Dhanush’s character well and adds a bit of humor. Both Dhanush and Rashmika seem to have dubbed their roles. The actor playing Neeraj is outstanding, holding his own in intense scenes with Nagarjuna. Even Nagarjuna himself mentioned being on his toes while acting with him. The rest of the cast also did well in their roles.

Of course, there are a few drawbacks. The pre-interval scenes feel a bit stretched, with some repetitive shots of Dhanush walking through Mumbai streets. The climax delivers a great message and strong dialogues but feels a bit abrupt, leaving a few questions unanswered. The title Kuberaa also needed a stronger justification within the story.

Still, despite these minor issues, Kuberaa is a refreshing film. It’s great to see stars like Dhanush and Nagarjuna stepping away from typical commercial roles—no song duets or mass fight scenes—and simply becoming their characters. It’s very much a Sekhar Kammula film, blending thriller elements with philosophical depth.

Go watch it—you won’t be disappointed. My rating: 8/10.

Sinners

 

While visiting LA, I spotted the poster for Sinners outside the iconic TCL Chinese Theater. Right away, I recognized Michael B. Jordan, known for Black Panther and the Creed series. I was surprised—I hadn’t even heard of this new film. It didn’t seem to be publicized like big-budget movies such as Black Panther or Wakanda Forever, so it flew under the radar for me. But later, through word of mouth, I heard it was worth checking out—and that it was a horror movie. Since I enjoy the genre and this sounded different, I decided to give it a shot.

The film is set in the pre–World War I era and follows twin brothers, Smoke and Stack, who want to start fresh and open a juke joint—a kind of club for the local Black community. Their cousin Sammie, an excellent guitarist, joins them. But on opening night, they encounter a supernatural evil. What happens next, and how their lives change, forms the rest of the story.

The setup feels like a fresh spin on horror. Director Ryan Coogler brings his distinct style, portraying Black life with natural performances and realistic settings. He reminds me of our Tamil director Vetrimaaran—both are deeply rooted in showcasing the lives of underprivileged people. At the same time, they balance their storytelling with enough commercial appeal to reach a broader audience without feeling preachy.

Sinners is a good example of that balance. The horror and supernatural elements provide the commercial pull, while underneath, the film explores Black life of that era—how people lived and how important music was in their lives.

The music in the film is really good. Unlike Indian films, Hollywood rarely features strong song scores—usually it’s just background music or a couple of tracks during the credits. But here, the songs reflect the era beautifully. There’s a dance sequence at the juke joint that reminded me of the one in Titanic.

Coming to the horror elements: this is a vampire movie, so naturally there’s a lot of blood. They’ve taken some cinematic liberties, like in Evil Dead—even a small bite results in blood gushing out like it’s from a broken pipe. But I didn’t mind it. That’s part of the genre’s charm. Even the movie posters are blood red, staying true to the theme. I also liked the special effects and makeup—the eerie details on characters felt real, and I believe a lot of it was practical makeup, which added authenticity.

Michael B. Jordan was excellent, as always. I think this might be his first time playing twins. I’m curious whether the twin concept was in the script from the start, or if they changed it later so both roles could be played by him. Either way, the scenes with both brothers looked seamless. These things may be easier with today’s technology, but they still require careful planning to pull off convincingly.

Hailee Steinfeld played his girlfriend and did a good job. I was surprised at first to see a white girl in that role during that era, but then I learned the term “white-passing”—someone who appears white but is classified as Black. That was something new for me.

The rest of the cast, especially the vampires and Smoke’s wife, also did a great job. Overall, it’s a refreshing take on the horror genre. I’d love to see more directors like Ryan Coogler exploring different genres with their unique vision.

That said, I wish the horror parts had been developed a bit more. More action sequences and a broader setting beyond the juke joint would have added depth. The entire confrontation happens in just one place—they could’ve expanded it or explored the origins of the evil more. Also, the dialogues were hard to understand. I get that the dialect adds authenticity, as that’s how Black people spoke during the pre–WWI era. It reminded me of the Chittoor dialect in Pushpa, which even many Telugu speakers struggled with.

So overall, I liked Sinners. I’d give it an 8 out of 10.

Mission: Impossible - The Final Reckoning

 Mission: Impossible – The Final Reckoning

Mission: Impossible – The Final Reckoning is the second part of Dead Reckoning Part One, which released in 2023. Part One was solid—it did a good job of setting the stage for this continuation. I won’t go into the storyline here since that’s easily available online anyway.

Tom Cruise is a true superstar. As someone who follows the Telugu film industry, I understand the power of star pull—and Cruise absolutely has it. Unlike Indian cinema, where stars drive the box office, Hollywood tends to be more studio- and director-driven. In recent years, it’s been dominated by superhero franchises, where the idea of a “star” gets overshadowed by capes and CGI. But Tom Cruise, along with a few others like Brad Pitt and Hugh Jackman (yes, he’s also technically a superhero), still stands out. Just look at Top Gun: Maverick—it made a staggering $1.4 billion. Yes, it had strong direction, music, and a solid story, but it was Cruise’s star power that made it a massive hit.

The Mission: Impossible films are Cruise’s signature action-packed spy thrillers. Audiences flock to them not just for the story or action, but to watch Tom Cruise perform those heart-racing stunts for real. In the last movie, he pulled off one of his wildest stunts yet—riding a motorbike off a cliff. I saw the behind-the-scenes footage, and it was mind-blowing how many times they rehearsed that one-minute scene. That kind of dedication shows he never takes the audience for granted. It’s why he’s one of the last true stars in Hollywood.

Coming to Part Two—this film picks up where Part One left off. For the first several minutes, it’s mostly story and dialogue with very little action. I honestly felt a bit bored. We already know who the villain is—an AI called "The Entity"—so the rest of the plot becomes fairly predictable. We've seen AI villains before, and there’s not much freshness to the idea. It’s hard to build emotional tension with a faceless enemy, even though they try to bring in a human element through the character Gabriel.

There’s a long underwater sequence where Ethan tries to retrieve the “Podkova” module, which is central to the plot. It has its tense moments, but it felt overly stretched. And the much-talked-about airplane stunt with biplanes? While it’s impressive that Cruise did those stunts himself, it didn’t quite match the thrill of his earlier work—either from previous Mission: Impossible films or Top Gun: Maverick.

Honestly, the film feels unnecessarily long. I think the entire story could’ve been told in one movie without dragging so many scenes. That said, there are a few interesting character additions and some loose ends from earlier films that are tied up cleverly.

I also heard this is the most expensive Mission: Impossible film ever made. I really hope it does well financially, because movies like this are important—especially when the film industry is going through a tough phase.

The cast is solid. Ving Rhames shows a different side of his character, which I liked. Simon Pegg is excellent as always. Hayley Atwell’s character felt inconsistent, and her relationship with Ethan isn’t clearly developed. The editing could have been tighter—several scenes needed trimming.

In short, if you're expecting back-to-back action, you might come away disappointed. But if you're okay with a more emotional and story-heavy spy film, this one might work for you.

My rating: 7/10.

Thudarum

 

After Drushyam, I don’t recall Mohanlal acting in another family thriller. He’s mostly been focusing on pan-Indian or big action dramas like L2: Empuraan. While he’s done a few suspense thrillers here and there, they didn’t really fall into the family thriller category. Now, after several years, he’s back in that space with Thudarum. I wouldn’t compare it to Drushyam—even though many are drawing parallels—because this one has a unique story and a completely different screenplay. Still, it comfortably fits under the “family thriller” label.

What’s impressive is that Thudarum, made on a modest budget of around ₹30 crore, has already grossed over ₹200 crore. That kind of success clearly comes down to its strong story, direction, and screenplay.

Thanks to OTT platforms, I’ve recently been watching more Malayalam films, and honestly, the Malayalam industry feels like the Korean film industry of India. There’s a clear focus on storytelling and screenplay rather than just star power. Thudarum is another solid example of that quality. Of course, having a star like Mohanlal helps—it definitely contributed to the film’s reach and collections.

The film follows Benz, a taxi driver leading a simple life. He was once a stunt double in films, but after an accident involving a close friend, he had to leave that line of work. Now, a misunderstanding leads to his beloved taxi being seized by the police. Despite his repeated pleas, a stubborn officer, SI Benny, refuses to return the car. But Benz is determined to get it back, no matter what. That determination kicks off a series of unexpected events that shape the rest of the story—something you’ll want to experience firsthand.

True to the spirit of Malayalam cinema, Thudarum offers depth—both in characters and in the multi-layered screenplay. Each character feels real and well-developed, and the layered storytelling keeps you hooked throughout.

Mohanlal is fantastic. He completely disappears into the role of Benz. Whether it’s helplessness, frustration, quiet rage, or subtle emotion, he nails every shade. There are some commercial touches too—action scenes and fights—but they feel believable because Benz is established as a former stuntman. Shobana, who plays his wife, is excellent as always. But the real surprise is Prakash Varma as CI George Mathan. I can’t say too much without spoiling things, but his performance is one of the highlights.

Tharun Moorthy’s direction is top-notch, and the music adds to the film’s atmosphere. Editing by Nishadh and Shafeeque is sharp and crucial for a film like this—it keeps the pace tight without losing emotional depth.

Overall, Thudarum is another gem from the Malayalam industry. And with Mohanlal leading the way, the film strikes a balance between class and mass appeal. Both kinds of audiences will find something to enjoy here.

My rating: 8/10.

HIT3

 

HIT: The 3rd Case is the third installment in the HIT series, and this time, Natural Star Nani plays the lead. Nani has been on a solid streak lately—not just as an actor delivering back-to-back hits, but also as a producer, backing films like Court. He has that relatable, common-man charm, and he often says he listens to stories as an audience member first, not with any box office calculations in mind.

However, lately, he seems to be making a serious effort to rebrand himself as an action hero—with films like Dasara, Saripodhaa Sanivaaram, and now HIT 3. This film feels like another attempt in that direction, but unlike his earlier efforts, it doesn’t quite land.

In his previous films, the strength of the story helped audiences accept him in intense roles. But HIT 3 lacks that grip. It feels like a mashup of various recent movies and internet stories, without a clear, fresh voice. Director Sailesh Kolanu had an interesting premise—mystery murders happening across India—but he failed to explore the characters deeply, especially the hero and the villain.

Nani plays Arjun Sarkar, a brooding, angry cop. But we never get a proper explanation for his rage. Is it childhood trauma? Personal loss? Without those layers, his character feels forced. For someone like Nani, who’s known for his boy-next-door charm and emotional depth, we need a well-written role to justify this kind of aggression—like in Saripodhaa Sanivaaram, where his intensity was rooted in a solid backstory. That kind of writing is missing here.

The villain is another big letdown. Why cast someone just because they’re tall and muscular when they can’t even speak proper Telugu? It’s not about appearance—HIT 2 had a villain who was just a regular dental doctor, yet he sent chills down the spine with his performance. That kind of impact comes from acting, not abs.

Also, I didn’t understand the need for so many cuss words. Is it to sound edgy? It just felt unnecessary. Big action films like KGF, Leo, or Vikram have intense violence and mass appeal, but they don’t rely on foul language to make an impact. It’s possible to be gritty without being vulgar.

Another misfire is the background music by Mickey J Meyer. I'm not sure who thought he was the right choice for an adrenaline-pumping action thriller. His music is generally soothing and melodic, which doesn’t match the mood this film needed. With the right BGM, several scenes could have had a lot more impact. Also, the track between Nani and Srinidhi Shetty feels too similar to something from a recent Venkatesh film. And that scene where Srinidhi uses AI to make Nani’s mother speak through an old photo? It was awkward and out of place. I don’t know how that made it past editing.

To be fair, the screenplay has its moments, especially in the action sequences. But overall, the film leans more on stylish stunts than strong writing or emotional engagement. The final sequence dragged on too long—I found myself checking my phone until the cameo appearances showed up. Introducing the HIT 4 hero at the end was a nice idea, but if Sailesh continues in this direction, it's going to be hard to build any real excitement around the series.

This film might still do decently at the box office thanks to Nani’s popularity. But as a movie, it’s just average.

My rating: 6/10

Officer On Duty

 

I watched Officer On Duty on Netflix after seeing all the excellent feedback online. Yet again, the Malayalam film industry delivers one of the finest thrillers. This is the fourth Malayalam movie I’ve watched this year that I really liked—all of them thrillers, action-packed, and story-driven. It’s amazing to see so many good films coming out in such a short time from the same industry. It really shows the strength of Malayalam cinema—especially the writing and direction.

The story revolves around police officer Hari, who starts off investigating a case of counterfeit jewelry. What begins as a seemingly small crime slowly unravels into something much bigger, affecting him both professionally and personally. The way this investigation ties into his personal life, and how it connects to drug rackets, is something best experienced while watching.

From the very beginning, the movie grabs your attention. It starts with curiosity, introduces Hari and the case, and then gradually builds up with twists and emotional layers. The screenplay connects all the dots beautifully by the climax. If someone narrates the plot in a straight line, it might sound like a simple story. But the way it’s told—nonlinear, revealing bits and pieces as it goes—makes it so much more gripping. That’s what sets Malayalam films apart. They don’t follow the usual Hero-Heroine-Villain formula. Instead, they focus on telling a good story in an engaging way. I really hope they keep making films like this. And I’m happy that this one also did well commercially.

The casting is spot-on. Kunchacko Boban, who plays Hari, is fantastic. Known mostly for his romantic roles, he completely transforms here with a calm yet intense performance. He carries the seriousness throughout the film so well—you wouldn’t think this genre is new for him. Priyamani, who plays his wife, also fits her role nicely. There’s also a group of friends in the film, and their connection to the story is something you should watch unfold. They all acted brilliantly and added a lot of tension and depth.

Like the hit film Pani, this movie also touches on the issue of drug use among today’s youth—how they’re getting pulled into crime for the sake of fun and thrill after getting high. It’s a disturbing trend, and the movie handles it without being preachy.

The background score by Jakes Bejoy is excellent—some beats even feel Hollywood-style. Roby Varghese Raj’s cinematography is brilliant. I watched some behind-the-scenes footage of the chase scenes, and you can clearly see the effort that went into filming those sequences on real locations. The color palette in many scenes also helps set the mood perfectly. The action choreography is also well done—neither too flashy nor too dull.

It’s hard to believe this is director Jithu Ashraf’s debut film. He handles everything with confidence—from the storytelling to maintaining the tone and character consistency. It never feels like a first-time effort.

Overall, this is yet another superb film from the Malayalam industry. If you enjoy thrillers, suspense, and well-written stories, you should definitely give this one a try.

My rating: 8/10.

Ponman

Ponman is yet another gem from the Malayalam film industry. I'm always fascinated by how their writers and directors can take a simple premise and turn it into an engaging film for over two hours. This one follows the story of a jewelry salesman who advances gold to brides’ families on the condition that they repay him with the returned wedding gifts.

I went into this movie without even watching the trailer, so I had no idea where the story would go. The only reason I decided to watch it was Basil Joseph. Having seen several of his films before, I trust his choices. He’s not just an excellent actor but also a talented director, known for films like Minnal Murali. I often compare him to Telugu star Nani—neither has the conventional "hero" physique or charm, but both have great taste in movies and are effortlessly natural actors. With that confidence in Basil, I watched Ponman without any expectations, and it truly surprised me.

At first, when Basil Joseph’s character, PP Ajesh, gives gold to Steffi’s family for her wedding to Mariyono, I assumed he was a con man—maybe handing out fake gold and scamming brides. But the story took an entirely different turn. Steffi's family ends up unable to pay the full amount, and when Ajesh asks for some of his gold back, Steffi refuses and leaves for her husband’s home without informing him. What follows is a gripping journey of whether Ajesh manages to reclaim his gold from Steffi and Mariyono.

What makes this movie stand out is its screenplay. With such a simple yet unique premise, the challenge was to keep the audience engaged throughout. If this were a Telugu mass entertainer, it would have been resolved in a single fight scene, with the hero easily reclaiming the gold. But this is a Malayalam film. Writers G.R. Indugopan and Justin Mathew, along with director Jothish Shankar, take their time to show how an ordinary, seemingly weak man remains persistent and determined against all odds. It’s a true testament to resilience and the never-give-up attitude—something that today’s generation desperately needs to see. There's even a scene in the film that directly addresses this, with PP Ajesh delivering lines that serve as a lesson to young people struggling with life’s difficulties.

Jothish Shankar’s direction is excellent. The screenplay by G.R. Indugopan and Justin Mathew is impressive—it’s no small feat to engage audiences with such a straightforward conflict. Basil Joseph delivers a fantastic performance, portraying a helpless yet determined man who understands Steffi’s struggles but is also bound by his duty to return the gold to his employer. Lilomol Jose is good as Steffi, while Sajin Gopu is outstanding as Mariyono—his performance as the antagonist might open doors for him in other industries. The rest of the cast does a great job, and Sanu’s cinematography beautifully captures Kollam. The locations in Kerala continue to amaze me.

Once again, the Malayalam film industry delivers a solid, story-driven film. If you enjoy thrillers with a family drama backdrop, this one is worth watching.

Rating: 8/10.

Return of the Dragon

 

I didn’t pay much attention when Return of the Dragon (Dragon in Tamil) was released a couple of days ago since it was a dubbed film. Though actor Pradeep Ranganathan became a sensation with his second movie Love Today, for some reason, I wasn’t inclined to watch this one initially. However, after hearing good feedback, I decided to give it a shot and see what he had done differently this time. And he didn’t disappoint.

After the massive success of Love Today, Pradeep has once again delivered a solid coming-of-age story that resonates with students and the general audience alike. It’s refreshing to see a film set in a college backdrop that brings something new to the table. We’ve seen many college-based films before, some with similar themes—like Raghuvaran B.Tech and Aadavari Matalaku Arthale Verule—which made me wonder what more could be explored in this setting. Usually, college stories revolve around politics, romance, and struggles, but Pradeep and director Ashwath have managed to present a fresh perspective.

The film follows Raghavan, a once-brilliant student in his 12th grade who turns into a rebellious college student nicknamed “Dragon.” Influenced by his high school crush’s remark that girls prefer rugged guys over studious ones, he goes down the wrong path, accumulating 48 backlogs in his engineering course. Despite this, he secures a software job using fake certificates. The real story unfolds when his principal discovers the deception and gives him an ultimatum—clear his backlogs or face the consequences.

The narrative has multiple layers. One explores his breakup with Anupama Parameswaran’s character and how it impacts him. Another focuses on his loving and supportive parents, who stand by him despite his declining academic performance. Then there’s his close-knit group of friends, who stay together and support each other. The character of a junior student who idolizes “Dragon” and becomes a mini version of him adds another interesting dynamic. The title Return of the Dragon is beautifully justified within the story.

If you have studied engineering or medicine, you’ve likely encountered students who were toppers in school but lost their way in college, ending up with backlogs due to bad influences or habits. I’ve seen such cases in my own college—students with sharp minds but the wrong company leading them astray. The film also highlights a common reality: during college, girls often admire the daring, carefree boys who skip classes and appear cool, but when it comes to marriage, they prefer stable, career-oriented men, even if they look less appealing. This irony is depicted beautifully in the movie. Additionally, it touches on the impatience of today’s youth, who look for shortcuts—like fake certificates and proxy interviews—to secure jobs. This aspect feels incredibly relevant in today’s world.

The movie ends on a strong, philosophical note, delivering an important message: if you build your life or career on lies, you’ll never find true happiness. Deep down, you’ll always know it’s fake, and it can all collapse at any moment. A college degree might not seem glamorous, but an honest life and career bring genuine satisfaction and peace.

Though the film is tailored for today’s youth, it never crosses the line into vulgarity, double-meaning dialogues, or forced comedy. Instead, it subtly imparts valuable lessons. A couple of standout scenes include one where Raghavan refuses a tequila shot at a pub because he has to drive his fiancée home and another where he warns his friend “Chota Dragon” against driving drunk. These moments deliver important messages without feeling preachy. This proves that with creativity, filmmakers can craft engaging stories that connect with the youth without resorting to cheap gimmicks.

As for performances, Pradeep Ranganathan impresses once again. He reminds me of Tamil superstars like Rajinikanth and Dhanush—not because of his looks but due to his acting prowess and ability to express a range of emotions. He even throws self-deprecating satire about his lean frame, which adds to his charm. This film has earned him my respect for both his story choices and his acting skills, and I eagerly look forward to his future projects. Anupama Parameswaran delivers a stellar performance as his love interest, bringing depth to her role. Kayadu Lohar, the second female lead, also does well, capturing attention with her screen presence. Special mention goes to George Maryan (of Kaithi and Leo fame), who shines as Raghavan’s caring and supportive father. The supporting cast, especially Raghavan’s group of friends, have all done a commendable job.

Director Ashwath Marimuthu, in just his second film, has handled the subject beautifully. The only aspect that could have been better is the music—while the background score is decent, the songs could have been stronger.

Overall, in an era where people often complain about a lack of fresh stories and rehashed narratives, Return of the Dragon stands out. It delivers an engaging college-based story without exaggerated elevation scenes, over-the-top villains, or unnecessary grandeur. Instead, it remains entertaining, relatable, and meaningful, ending with a powerful message. If you liked Love Today, you’ll likely enjoy this film even more. I highly recommend watching it.

My rating: 9/10.

Captain America: Brave New World

 

There used to be so much excitement whenever Marvel Studios released a movie. At one point, their films were incredible—gripping stories, great action choreography, groundbreaking CGI, and spectacular performances from the actors. However, after the Avengers series, something changed. Their movies no longer had that same impact. Maybe it started feeling repetitive—the same old stories, conveniently using the multiverse and time travel to spin off endless films. It felt like they were just milking their previous successes. But with the recent success of Wolverine and Deadpool, there is hope that Marvel can recapture its former magic.

When Sam Wilson became the new Captain America, Marvel followed up with a Disney+ series, The Falcon and the Winter Soldier. I really liked that series. It felt different—it explored Sam Wilson's internal struggle, his doubts about being a worthy successor to Steve Rogers. Along with the personal conflict, the storyline was solid, and the action sequences were on par with the actual movies. After its success, Marvel decided to give Sam his own film, which is the latest installment in their Phase 5 series, Captain America: Brave New World. 

The movie is good. It brings back several characters from previous films, like Thaddeus Ross (who first appeared in The Incredible Hulk), Dr. Samuel Stern, a new character from Black Widow, the Serpent Society, and many more. The story kicks off with Ross becoming the new President of the United States. During a presentation unveiling a new element, Adamantium, there's an assassination attempt on him. Sam Wilson takes on the investigation to uncover the mastermind behind it all. This mystery element is engaging and keeps you hooked, which is refreshing for a Marvel film, as they often rely solely on superhero action. The investigative angle is reminiscent of Captain America: The Winter Soldier.

The action sequences are well done. I particularly liked Sam Wilson's introduction scene—he arrives at supersonic speed, lands among the bad guys, warns them to "wait for it," and then boom—the sound wave knocks them out, proving he moves faster than sound. The film also delves deeper into Sam's self-doubt, questioning whether he can live up to Steve Rogers despite lacking superhuman abilities. There's also a surprise connection to Dr. Samuel Stern that longtime fans of The Incredible Hulk might appreciate.

Harrison Ford plays Thaddeus Ross, and I think he does a good job. In the comics and previous films, Ross always had a thick mustache, whereas Ford does not. The movie even jokes about this with a line: "Lose the mustache or lose the election." I found that funny. Another interesting detail is how they depict world leaders. The Indian Prime Minister, for example, resembles Narendra Modi, though the film shows him with a wife—whereas Modi is actually a bachelor.

The movie also lays the groundwork for the next Avengers films. Ross asks Sam to form a new Avengers team, which aligns with Marvel's plan for two more Avengers movies. A key moment is when Harrison Ford’s character turns into Red Hulk. Ford does his best to appear as angry as possible, but given his charming persona, it's hard to take him seriously as a raging monster. The climax features a duel between Red Hulk and Sam Wilson, but it ends abruptly. They could have extended the fight a bit more. The transformation of Red Hulk back to normal also felt like déjà vu, as we've seen this same sequence with Bruce Banner countless times before. Additionally, the movie is shorter than typical MCU films, running under two hours.

Anthony Mackie delivers a fantastic performance. It’s great to see him go from playing a supporting role in the MCU to leading a major film and carrying it on his shoulders. He portrays Sam Wilson’s inner struggles exceptionally well, paralleling his own journey as an actor stepping into a leading role. The rest of the cast, including Harrison Ford and Israeli actress Shira Haas, also do a commendable job.

Julius Onah’s direction is solid. The music and sound editing are great. However, I felt the CGI was underwhelming. Even after two decades, the effects looked similar to the original Hulk movie. It’s unclear where all the budget went, but the visuals didn’t feel as polished as they should have.

Overall, the movie does a great job of establishing Sam Wilson as the new Captain America. The investigation angle, action sequences, and character payoffs make it worth watching. I recommend watching a recap on YouTube beforehand, as otherwise, you might struggle to remember who all these returning characters are.

I’d give the movie a 7 out of 10.

Thandel

Naga Chaitanya has been struggling with a string of flops and desperately needed a solid hit. When he announced Thandel with Geetha Arts, it immediately created a buzz. A film backed by prestigious producers like Allu Aravind and Bunny Vasu is usually a sign that there’s something special about it. The film stars Sai Pallavi, who previously acted with Naga Chaitanya in Love Story, a blockbuster. With music by Devi Sri Prasad and direction by Chandoo Mondeti, the film had all the makings of a big success. Plus, the team took over a year to complete it.

Adding to the intrigue, Thandel is based on real incidents about Indian fishermen captured by Pakistani soldiers and the struggles they and their families faced before their release.

I liked the movie. At first, I wondered why Sai Pallavi always ends up in emotional roles where she has to cry a lot. But as the story progressed, I got invested and felt satisfied by the end. One refreshing aspect was that the lead pair was already deeply in love when the movie began. Most films spend too much time on the hero's journey to win over the heroine, but here, the love story was already established. That allowed the narrative to focus more on what happens after their relationship is tested.

Naga Chaitanya and Sai Pallavi are a hit pair. They complement each other with stellar performances. The pre-interval conflict was done exceptionally well—many will relate to it. There’s a moment where the female lead refuses to talk to the hero, and no matter what he does, she sticks to her decision. Naga Chaitanya’s performance in this sequence is superb, perfectly capturing the frustration and pain of not being able to communicate with his lover. Sai Pallavi, as always, is fantastic.

The second half is well-executed, showcasing real political incidents from that time and how they affected the captured fishermen. One aspect I appreciated was the portrayal of the Pakistani jailer. Rather than making him a stereotypical villain, they showed him as a man simply doing his duty while understanding that the fishermen were innocent. It was refreshing to see this nuanced take—despite the India-Pakistan rivalry, regular people on both sides don’t necessarily hate each other. Of course, the film does highlight extremists who despise India, adding moments of tension. One particular jail scene was quite uncomfortable to watch. I won’t spoil it, but I think it was necessary to add emotional weight.

Thandel is a commendable attempt at telling a real-life-inspired story. The background score by Devi Sri Prasad is excellent, especially the signature theme used to showcase the love between the lead pair. Performance-wise, as mentioned earlier, Naga Chaitanya did a great job. With his long hair and beard, he looked like a rustic fisherman and convincingly portrayed a lover deeply in love while also emerging as a leader (Thandel means leader) for his fellow fishermen.

I particularly liked one supporting character who wanted to marry Sai Pallavi—his role was well-written. The rest of the cast was good, but some didn’t quite fit as fishermen, and their accents felt off. Given that the team took a year to make this film, they could have provided better training to make the accents more authentic. Cinematography and art direction were solid. As for the director, Chandoo Mondeti surprised me. I didn’t expect him to handle a love story so well while also delivering strong emotions.

Sai Pallavi’s role felt tailor-made for her, and she did full justice to it. The opening sequence felt like it was edited to create a hook, but later, the director introduced Sai Pallavi as if we were seeing her for the first time, which felt a bit inconsistent.

You should give this film a try. My rating: 8/10.

Mura

 

Since I’ve been finding good Malayalam movies recently, I started looking for another Telugu-dubbed Malayalam film. That’s when I came across Mura. What attracted me to it was Suraj Venjaramoodu. I know him from his previous films like Jana Gana Mana and Mukundan Unni Associates, and I really like his subtle acting. He doesn’t hesitate to take on any kind of role—whether it’s the protagonist, a side character, or even an antagonist—as long as the character has depth and scope for acting. So if he was in Mura, I knew it had to be something special.

And it didn’t disappoint. The story feels fresh and revolves around four young friends who get drawn into a local gang. When they get an opportunity to break into a vault loaded with black money, their lives take an unexpected turn. Now, you might be wondering where Suraj fits into all of this, since the story focuses on these four young men. Well, he plays the role of their Boss. You should watch the film to see how their bond with him forms and what happens after they take on the risky mission of robbing the vault.

This is only the second Malayalam film in recent times I’ve seen that directly caters to Kerala’s youth (the first being Pani). Mura delivers a message about young people who are drawn to violent crime, often out of thrill or fashion, and the consequences they face when they go too far. I think the filmmakers made a smart choice by having a well-known actor like Suraj lead a cast of relatively unknown young actors, ensuring that the movie got enough attention while still feeling fresh.

The director, Muhammad Musthafa, is a well-known Malayalam actor with plenty of acting credits, and Mura marks his second directorial venture. I really liked his direction style—he hooked us right from the intro scene and tied it back nicely in the climax. The four young actors delivered solid performances, with Hridhu Haroon standing out in particular. The movie starts off casually, showing how these young men get caught up in small gang fights, slowly gaining the trust of Suraj’s character. Eventually, he gives them the job of retrieving black money from an abandoned factory. As expected, Suraj delivers a great performance with his signature subtle expressions. There’s also a strong sister character who is just as powerful as Suraj’s role, and she too did a fantastic job.

The second half of the movie transforms into a bloodbath of action-packed drama, leading to a shocking climax. I haven't seen such intense violence in a smaller Malayalam film before, but it felt justified. Of course, there are a few cinematic liberties taken—like when Suraj’s sister’s son brutally beats up the four young men to the point that they can barely walk, yet just a few hours later, they’re back on their feet, attacking with full force. The same happens in the climax. Perhaps, since they’re young, they have the resilience to withstand pain and fight back quickly.

The background score and cinematography are well done. As usual, the film is shot in real locations, something I love about Malayalam movies—they rely on natural settings rather than elaborate sets, making the visuals feel authentic.

If you’re looking for a fresh and gripping action drama with Suraj’s signature subtle performance, Mura is definitely worth watching. I’d give it an 8/10.

Sookshmadarshini

 

I have always enjoyed Malayalam movies, particularly their thrillers. Some of these films are on par with the best Hollywood thrillers. A prime example is Drishyam, which was so gripping it was remade in multiple languages.

With that trust in the Malayalam industry, I pick movies that intrigue me. That’s how I came to watch Sookshmadarshini. Two key reasons drew me to it: Nazriya Nazim and Basil Joseph. Nazriya, who has even acted in Telugu films, is known for her excellent choice of scripts. Basil Joseph, an exceptional director whose work I’ve followed, also stars in this film. With both of them in the cast, I was confident the script had something special.

And I wasn’t disappointed. Sookshmadarshini is one of the best thrillers I’ve watched in recent times. I’m glad I avoided reading the synopsis beforehand—it made the experience more thrilling as I slowly realized what kind of story it was.

The plot revolves around Priya, played by Nazriya, who becomes suspicious of her mysterious neighbor Manual (Basil Joseph) and his peculiar relationship with his mother. The film unravels the mystery behind their strange behavior, revealing secrets and motives that keep you hooked till the end.

Set in a picturesque Kerala village, the film captures the lush greenery, with homes spaced far apart, adding an atmospheric backdrop to the story. Director M.C. Jithin and screenwriters Athulya and Libin T.B. did a fantastic job maintaining curiosity and tension throughout the film. They skillfully blend the typical curiosity of a housewife about her neighbors with a tightly woven mystery. As the twists and turns unfold, the film evokes a range of emotions, leaving you spellbound. I won’t spoil anything here, but the screenplay is on par with Vijay Sethupathi’s recent Maharaja. I’m surprised this film didn’t get the same level of attention, though it did perform well at the box office.

Malayalam storytellers deserve much more international recognition for their craft.

Coming to the performances, Nazriya is phenomenal as Priya, a housewife intrigued by her neighbor’s odd behavior. Her natural performance and expressive eyes convey a spectrum of emotions effortlessly. Basil Joseph excels in his role, showing he’s just as talented in front of the camera as he is behind it. The actress playing Manual’s mother also delivers a standout performance, and the supporting cast, including the nosy neighbors, adds depth to the story.

The background score is fantastic and perfectly complements the film’s mood. The cinematography is equally commendable, with some stunning drone shots that beautifully showcase the layout of the village and its homes. Though I’m not sure of the exact location, it feels tailor-made for this story.

It’s refreshing to watch a movie like this—without loud music, over-the-top dialogues, or cringe-worthy scenes. Films like Sookshmadarshini should be released pan-India so that a wider audience can appreciate them.

I’d rate this movie 9/10.

Pani

 

I have always liked Malayalam films for their fresh stories and novel themes. Some time ago, I watched a movie called Irratta and really enjoyed it. The lead actor, Joju George, delivered an outstanding performance in dual roles. After seeing his talent, I thought Telugu filmmakers might cast him in prominent roles, but for some reason, that didn’t happen.

Recently, while browsing for Malayalam movies, I came across Pani. Seeing that Joju George was the lead actor, my curiosity was piqued. Believing in the strength of Malayalam storytelling, I decided to watch it—and it didn’t disappoint. It turned out to be one of the best thrillers I’ve seen. Interestingly, I learned this was also Joju George’s directorial debut.

The movie revolves around a peaceful family disrupted by two young men with criminal tendencies. Although the family has a background in gangster dealings, they are largely involved in settlements and avoid violence. However, their lives are turned upside down by these seemingly ordinary youngsters.

After watching the movie, I checked out a few reviews. Many described it as a routine vengeance drama and questioned how two boys could realistically unsettle a gangster family. To me, these critics missed the core idea the director wanted to convey. The film highlights a troubling trend among Kerala’s youth—a growing fascination with crime as a form of entertainment. These boys aren’t just committing crimes for money; they evolve into psychopathic killers who derive pleasure from violence. In contrast, gangsters like Giri (the main lead) in the movie resort to violence only when there’s a purpose or reason.

The story begins with the two boys killing someone involved in a land dispute for money. The gangsters in Thrissur are shocked because they usually know if a rival gang is involved, but this time, the crime is committed by two ordinary boys. Their “ordinariness” is their greatest advantage—no one would suspect them of such audacious acts.

The main conflict arises when one of the boys tries to molest Giri’s wife and is beaten up by him. This incident sets off a chain of gruesome events and unexpected murders. Yes, the director takes some creative liberties—like how these boys seem to roam around without getting caught—but that’s the point. Their seemingly weak and unassuming nature allows them to go unnoticed, adding a unique layer to the story.

The movie is engaging, though I felt a few scenes were slightly slow. Joju George’s acting is exceptional—he conveys so much with subtle facial expressions. Abhinaya, who plays his wife, also delivers a strong performance. The background music is excellent and enhances the film’s mood. Many scenes were shot in real locations in Thrissur, giving the movie a raw and authentic feel. I’m impressed they pulled this off, especially since shooting in public places with a star like Joju George isn’t easy. The cinematography beautifully captures these realistic settings.

Overall, Pani offers a fresh perspective on vengeance stories, emphasizing how today’s youth are drawn to crime without fully understanding its consequences. It also explores how society overlooks individuals like these boys due to their outwardly harmless appearance. While there are a few slow moments, the movie’s unique take and gripping narrative make it stand out. My rating: 8/10.

One Hundred Years of Solitude

While watching a random Telugu YouTube channel, the host mentioned the book One Hundred Years of Solitude. He spoke volumes about it, calling it one of the greatest works in literature. The book’s author, Gabriel García Márquez, won the Nobel Prize in Literature for this masterpiece. It has been translated into many languages, including Telugu. Over the years, several filmmakers tried to adapt the book into a movie, but Márquez refused, believing they couldn’t do it justice. After his passing, however, his sons gave Netflix permission to create a series.

The YouTube host, having read the book, was skeptical about how well the series would capture its essence. But after watching it, he was pleasantly surprised by how true it stayed to the spirit of the book. Many scenes he had only imagined while reading were beautifully brought to life in the series. His praise intrigued me, and I decided to check it out.

Boy, what a series! It’s easily one of the best I’ve seen, right up there with Game of Thrones and Breaking Bad. It was my first encounter with the concept of magical realism. The show tells the multi-generational story of the Buendía family in the fictional town of Macondo. As I watched, I felt a whirlwind of emotions—fear, curiosity, discomfort, wonder, and more. Some scenes were as unsettling as those in Game of Thrones, but everything felt intentional. The story is rooted in realism with its vivid, relatable characters, but it also ventures into the extraordinary, leaving you awestruck by its magical moments.

Márquez brilliantly combines themes of history, science, politics, revolution, and even horror into this epic narrative. It’s impossible to categorize this story into a single genre. Coming from a Telugu background, I was reminded of Viswanatha Satyanarayana’s Veyi Padagalu, another multi-generational story that delves into similar themes of politics and cultural history.

Certain scenes from the series lingered with me long after watching. The depiction of childbirth was raw and terrifyingly real. Rebeca eating sand was equally unsettling. One unforgettable episode showed the people of Macondo suffering from an insomnia plague. The relationships in the series were also deeply uncomfortable at times—cousins marrying, a child being molested by an older woman, and José Arcadio marrying Rebeca, who is supposed to be his sister. These moments, while disturbing, added to the realism and complexity of the story, keeping me hooked until the very end.

The first season of the series is a masterpiece. Netflix deserves credit for bringing this iconic story to the screen, allowing a new generation to appreciate its depth and beauty. The actors delivered phenomenal performances, and the art and technical departments excelled. I particularly enjoyed the narration style—it felt immersive, and the narrator’s voice added a captivating layer to the storytelling.

I’d rate this series a 9/10.

Sankranthiki Vasthunam

 

Anil Ravipudi is one of the rare directors in the Telugu film industry who consistently delivers commercial comedy movies that appeal to a broad audience. His style is a unique blend of the legendary directors EVV Satyanarayana and Jandhyala. While EVV was known for his mass-appeal humor, Jandhyala brought subtle, situational comedy, and Ravipudi combines the best of both. His films are family-friendly and entertaining for all age groups. Among his works, F2 is a personal favorite of mine—it’s one of those movies I can watch any time. When you pair his direction with a veteran actor like Venkatesh, who has impeccable comic timing, the result is pure magic. After F2 and F3, their third collaboration, Sankranthiki Vasthunam, arrives with high expectations—and it doesn’t disappoint.

The movie stays true to the high standards set by F2. While the story might not feel entirely new, it’s Ravipudi’s unique characterizations, screenplay, and dialogues, paired with Venkatesh’s unparalleled comic timing and performance, that elevate the film. Ravipudi’s strength lies in creating relatable characters—people you’d find in your neighborhood or family gatherings. Telugu audiences, known for their love of comedy and natural sense of humor, will resonate with this film’s conversational and situational comedy. While some cinematic liberties are taken, they are never overdone and blend seamlessly with the storytelling, ensuring a thoroughly enjoyable experience.

The plot revolves around an ex-policeman who gets entangled between his wife and his ex-girlfriend, all while managing a critical task assigned by the Chief Minister. Ravipudi ensures there’s never a dull moment, maintaining a perfect balance between comedy and action. The action sequences, surprisingly, are as impressive as in any action-centric film and keep you on the edge of your seat.

One standout element is the role of Venkatesh’s on-screen son, a boy spoiled by watching OTT movies. His antics generate some of the most hilarious moments in the film. This subplot is both entertaining and relevant, reflecting the current trend of kids being heavily influenced by OTT content, including inappropriate language. The humor here is sharp and relatable, reminding me of the train episode with the child character in Ravi Teja's Venky movie. This boy has a bright future ahead.

The music by Bheems Ceciroleo is another big asset to the film. The songs are catchy, and the background score, including a quirky frog sound used in key moments, adds to the fun. Aishwarya Rajesh, as the wife, delivers a solid performance, which comes as no surprise given her acting pedigree. Meenakshi Chaudhary, as the ex-girlfriend, also shines in her role. And then there’s Venkatesh—he’s in top form. Whether as a dashing cop in action sequences or a relatable husband managing a chaotic family life with four kids, his versatility is on full display.

The supporting cast deserves praise too, as every character contributes meaningfully to the story. The editing is sharp, and the unexpected double climax feels fresh and innovative.

In an era where filmmakers often focus on pan-India high-budget action dramas, it’s refreshing to see a wholesome family entertainer like this. Sankranthiki Vasthunam is a true “Telugu” film that’s perfect for the festive season.

My rating: 8/10.

Daaku Maharaaj

 

Nandamuri Balakrishna has been delivering solid mass entertainers since Akhanda. With a careful approach to script selection and collaborations with young directors, he’s been connecting with a new generation of audiences. Expectations were naturally high for Daaku Maharaaj, especially with director Bobby, who previously delivered a blockbuster with Chiranjeevi. The trailer, packed with slick visuals and stylish sequences, only amplified the hype.

Balakrishna looks incredibly stylish in the first half, with cinematographer Vijay Karthik’s striking visuals and dark tones giving the movie a Hollywood feel. Bobby’s sleek direction and fresh presentation keep the first half engaging, despite the kid-sentiment subplot feeling repetitive—it’s reminiscent of Balakrishna’s previous film Bhagavat Kesari. Still, the stylish execution and the mystery surrounding Balakrishna’s protection of the little girl maintain interest. The baby girl, who is central to the story, delivers a commendable performance. Urvashi Rautela’s role feels unnecessary, but her glamorous presence caters to mass appeal. The “Dabidi Dibidi” song is a highlight for fans. Interestingly, the real heroines don’t appear until the second half, an unusual choice. The interval bang, featuring the introduction of Bobby Deol as the antagonist, is well-executed and exciting.

The second half, however, falters. The setup of oppressed common people suffering under corrupt villains has been explored in countless films like Khaleja, KGF, and even the recent Saripodhaa Sanivaaram. The storyline lacks freshness, and themes of drugs and smuggling evoke comparisons to Vikram and Leo.

Among the heroines, only Shraddha Srinath gets a somewhat meaningful role, though her sudden brotherly bond with Balakrishna’s character feels unconvincing. Pragya Jaiswal’s character, unfortunately, lacks depth. Similarly, Bobby Deol’s antagonist feels half-baked—his confrontation scenes with Balakrishna lack the impact they should have had. Balakrishna’s Daaku persona is let down by weak makeup and inconsistent character depth. While his rugged look with a bull beard stands out, his clean-shaven appearance as an engineer doesn’t quite fit the intense action sequences. The transformation into the Daaku could have been more gradual and impactful. Additionally, the scenes where his followers kneel in awe feel overly theatrical.

The remaining cast does their job adequately, but many actors sadly end up as padding artists, with little to contribute to the story.

Thaman’s background score is one of the movie’s strongest aspects. The Daaku theme is outstanding and at times feels reminiscent of Anirudh’s style, showing Thaman’s versatility. His music elevates many key moments. Vijay Karthik’s cinematography is another highlight. His work, as seen in Jailer, brings a unique visual flair to Daaku Maharaaj. His use of color schemes and lighting makes Balakrishna’s stylish portrayal stand out, especially in the first half.

Director Bobby aimed to repackage Balakrishna for Gen Z audiences with a stylish narrative and mass-elevation moments, and he succeeded in that regard. However, the film’s story and core themes feel overly familiar, lacking the novelty to truly stand out.

You can watch Daaku Maharaaj for Balakrishna’s new look, his signature dialogues, and the stylish execution. Just don’t expect an innovative or groundbreaking story.

Rating: 7/10

Game Changer

 

Shankar is undeniably a legendary director. He was a pioneer in creating pan-Indian films long before the term became popular. Not only did he helm high-budget movies with big stars, but with films like Boys and Premikudu, he proved he could deliver blockbusters even without major star power. Unfortunately, that golden era seems to have faded. Especially after the controversies surrounding Indian 2, his reputation has taken a hit. Naturally, when he announced Game Changer, skepticism was high. Many wondered if he could recreate his old magic. However, with Ram Charan, Chiranjeevi (Indirectly involves in all Charan's movies), and Dil Raju onboard—each a heavyweight in their own right—it wasn’t just Shankar’s movie anymore. Even so, the negative sentiment surrounding the project seemed to impact its opening.

After watching the movie, I can see why Ram Charan and the others believed in its potential. Appanna’s character is a standout and might just be one of the most memorable roles in Ram Charan’s career. Years down the line, when he reflects on his filmography, this will likely be one of the highlights. The character even reminded me of The King’s Speech—perhaps it served as an inspiration.

The first half of the film is engaging, barring the introduction song after the initial fight, which felt routine. Beyond that, the first half works well, capped off by an unpredictable interval twist. There are also some dialogues explaining the role and powers of a district collector, and Burra Sai Madhav’s writing truly shines here. It’s reminiscent of that iconic scene in Rakhi where NTR passionately explains the importance of Indian Railways. Post-interval, the flashback sequence of Appanna’s character is a major highlight. This is where vintage Shankar resurfaces, and Ram Charan delivers a stellar performance.

However, after this flashback, the second half becomes somewhat predictable. The political drama echoes Tamil Nadu’s election dynamics, drawing parallels to the DMK and Anna DMK parties. Unfortunately, the writing falters here, lacking the freshness or impact of the first half. I suspect many viewers might find the latter portion underwhelming.

In terms of performances, Ram Charan gets plenty of scope to explore various shades, and he does a commendable job. Personally, I preferred his look with a beard—it suits him better. Surya performs well but veers into overacting in a few scenes. It was refreshing to see Srikanth in this role, and he did justice to it. The heroine, sadly, doesn’t get much screen time or substance, while the rest of the cast delivered solid performances. Thaman’s music is a notable positive, offering some refreshing compositions that enhance the film in many parts.

Overall, Game Changer is worth watching for its strong first half and the flashback episodes. However, the routine and predictable second half may dampen its box-office prospects. My rating: 6/10.