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.