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.

Vidudala Part 1

 

I recently watched Viduthalai Part 1. I know I’m a bit late, considering Part 2 is already out in theaters. For some reason, I’ve always been hesitant about watching Vetrimaaran’s movies. I think it’s because his films feel so raw and realistic, often reflecting the struggles of Tamil people, which I can’t always relate to. That said, I did enjoy his blockbuster Asuran.

Anyway, with all the buzz surrounding Viduthalai Part 2 on various forums, I decided to give Part 1 a try. I have to say, I regret not watching this earlier, at least when it released on OTT. It’s quintessential Vetrimaaran—gritty, intense, and realistic—but never boring. The film is deeply engaging from start to finish.

The story begins with Kumaresan, a newly recruited constable tasked with assisting a police operation to capture Perumal, the leader of an extremist group called the People’s Army (Praja Dalam in Telugu). The operation, named “Ghost Hunt,” is aimed at suppressing the People’s Army, which opposes a mining company trying to exploit a hilly region in Tamil Nadu. The People’s Army resembles the Naxalite-Maoist groups that were prominent in Andhra Pradesh and nearby states during that time. They resist industries encroaching on common people’s lands, and the parallels with real-life events are striking.

It’s remarkable to see Soori, known primarily as a comedian in his earlier films, deliver such a convincing performance. He completely disappears into the role of Kumaresan, making it hard to associate him with his comedic past.

One of the film’s standout sequences is the depiction of a train derailment incident, which leaves many injured. The government attributes the attack to the People’s Army. This sequence alone captures Vetrimaaran’s trademark style and attention to detail. The train derailment is depicted with stunning realism, enhanced by some breathtaking drone shots that offer a bird’s-eye view of the wreckage. I couldn’t help but wonder about the budget for this episode—it feels so lifelike, almost on par with Hollywood standards. This scene hooked me completely.

The rest of the film follows Kumaresan’s journey, highlighting his determination to help common people, even when it means defying higher-ranking officers. His defiance lands him in trouble, including being relegated to demeaning tower duty. I admired Kumaresan’s moral resolve—despite being urged by colleagues to apologize to his superiors, he refuses, standing by his belief that he did the right thing. This unwavering sense of justice drives his character and sets him apart.

Kumaresan also forms a bond with Tamilarasi (“Pappa”), whom he plans to marry. The actress playing Tamilarasi is unrecognizable outside the role, thanks to her natural makeup and authentic portrayal of a rural woman. This attention to casting and character authenticity is a hallmark of Vetrimaaran’s work, ensuring that actors’ real-life personas never overshadow their on-screen roles.

The film’s locations are incredibly realistic, shot in what seems to be remote hilltop villages. Some scenes, especially the interrogation sequences, are deeply disturbing. The police brutality depicted—such as stripping women naked and subjecting them to relentless torture—is harrowing to watch. These moments highlight Vetrimaaran’s commitment to portraying uncomfortable truths, even if they are tough to stomach. At the same time, he ensures these scenes are woven into the narrative seamlessly, keeping the audience engaged. While such sequences might not sit well with all viewers, particularly in Telugu audiences, they showcase the harsh realities of abuse and power dynamics.

The climax is gripping and keeps you on the edge of your seat. It reminded me of the iconic Pablo Escobar rooftop capture scene as Kumaresan leaps between rooftops to guide his team in capturing Perumal, played by Vijay Sethupathi. While Vijay Sethupathi doesn’t have much screen time in Part 1, it’s clear he plays a pivotal role in Part 2.

The background score by Ilaiyaraaja perfectly complements the film. Vetrimaaran’s decision to choose Ilaiyaraaja, who was at the peak of his career in the 1980s, adds authenticity to the setting. The music is unique and enhances the period feel. Velraj’s cinematography is excellent, with drone shots effectively capturing the vastness and ruggedness of the landscapes. The supporting cast also delivers commendable performances.

Overall, Viduthalai Part 1 is a typical Vetrimaaran film with an engaging screenplay and brutal, gritty scenes that are hard to watch. But it is a must-watch for any movie lover. My rating: 8.5/10.

Lucky Baskhar

When a few movies were released during Diwali 2024, I decided to watch only one and chose “Ka” over “Lucky Bhaskar.” But after finally watching Lucky Bhaskar on Netflix, I couldn’t help but wish I’d seen it on the big screen. It’s easily one of the best movies of 2024.

As an engineer with experience in the stock market sector and someone who enjoyed web series like Scam 1992 (based on Harshad Shantilal Mehta), I found the story deeply relatable. The movie is incredibly engaging, with plenty of goosebump-worthy moments throughout.

The plot revolves around a private bank employee struggling to support his family on a modest salary. It follows how he discovers loopholes in the banking system and uses them to amass wealth, leading to a gripping and thought-provoking narrative.

Director Venky Atluri, known for his rom-coms like Tholi Prema, has taken a bold new direction with Lucky Bhaskar. While his recent movie Sir hinted at this shift, this film solidifies it. The story and screenplay are exceptionally crafted. What’s truly remarkable is how the film delivers heroic, adrenaline-pumping moments without relying on fights, loud music, or dramatic dialogues. Some scenes are as impactful as any mass entertainer, and the hero breaking the fourth wall to address the audience felt fresh and unique. It reminded me of House of Cards when Kevin Spacey would speak directly to viewers, explaining the intricacies of his schemes.

Atluri’s research into banking systems shines through, with the film showcasing how bank receipts were exploited and how import taxation loopholes were manipulated. Every 10-15 minutes, there’s a powerful elevation scene that keeps you hooked. Some of the dialogues are so meaningful they could double as life lessons or motivational quotes.

That said, I did have a minor gripe. While it’s understandable that the hero, as a private banker, faces financial struggles, it felt odd that he borrowed money from ordinary people in his colony. As a banker, he should have had better options, like taking loans from colleagues or the bank itself. The way his neighbors humiliate him felt somewhat exaggerated.

There’s also a sequence involving a trip to Goa that seemed like creative liberty. However, if you overlook these minor inconsistencies, the rest of the film—especially how the hero outsmarts stock market players, high-ranking bank officials, and even Harshad Mehta’s PA—is an exhilarating experience.

Dulquer Salmaan delivers an outstanding performance, capturing every nuance of his character’s frustration, cunning, helplessness, and determination. It felt like watching a real person caught in the system. Meenakshi Chowdary also impressed as his wife, continuing to shine in her recent roles. The supporting cast was equally commendable, with everyone adding depth to the story.

G.V. Prakash’s background score is a huge asset, elevating many key moments. The production design deserves applause for beautifully recreating the era on a modest budget, making every frame feel authentic.

Overall, Lucky Bhaskar is a standout Telugu film, tackling the banking and stock market world in a way that even common audiences can understand and appreciate. It proves that you can create thrilling, goosebump-inducing scenes without a drop of blood or lengthy monologues. It’s films like these that make me proud of Telugu cinema.

My rating: 9.5/10.

Mechanic Rocky

I watched Mechanic Rocky on Amazon Prime, and I really liked it. Honestly, I was surprised by how good it was. When Vishwak Sen was so confident about this movie during the pre-launch event, I felt skeptical. It seemed like it was going to be a routine movie.

The title, Mechanic Rocky, feels like a big misdirection—maybe on purpose. With a name like that, I thought it was going to be like Mechanic Alludu or some 90s-style movie. But it turned out to be completely different. The concept is fresh, and it’s definitely worth a watch.

I actually started watching it only because someone told me, “Go watch it, you’ll like it.” At first, it felt like a regular story—up until the interval. But in the second half, the movie completely changes direction. It becomes something totally unexpected and focuses on a very relevant topic, which I won’t reveal here.

One thing I kept thinking about is why the director chose this mechanic backdrop. The main story could have worked with any setting. Maybe it was Vishwak Sen’s idea to make it appealing to the masses. Whatever the reason, it works well. Vishwak Sen once again shows he has a great sense for picking the right stories. The last movie of his I liked was Ashoka Vanamlo Arjuna Kalyanam.

I won’t spoil anything about the story because the thrill is in not knowing what to expect. Just trust Vishwak Sen and watch the movie till the end—you won’t regret it. Towards the climax, I felt this is the kind of story we usually see in Malayalam cinema. But here, they’ve mixed that Malayalam-style script with a Telugu backdrop and comedy, and it works beautifully.

As for director Ravi Teja Mullapudi, I think this is his first movie, and he’s done a great job. The story is fresh and deals with a very current issue faced by Indian youth. I’m not sure if he’s related to the famous Mullapudi family, but his work here stands out. One suggestion I’d have is that he could have added a few suspenseful scenes here and there to keep the audience engaged. Other than that, he’s done really well, and I’m looking forward to more from him.

Vishwak Sen is fabulous in this role, and he gets to show different shades of his character. Meenakshi, the heroine, also has an important role, and Shraddha Srinath’s character is excellent. At first, you might wonder why her character is even there, but later, it all makes sense, and you’ll be amazed.

The music is good. I especially liked the song Oo Pillo—it’s my favorite from the album. The rest of the songs are decent. The cast and crew have done a solid job overall.

In conclusion, I’d give this movie 7.5/10. It’s a thrilling watch, and don’t let the title mislead you. Give it a try—you’ll be pleasantly surprised.

Pushpa 2: The Rule

These are my thoughts after watching Pushpa 2. The last time a movie left me so emotionally charged was Baahubali 2.

Pushpa, an ordinary coolie with a brash and arrogant demeanor, is haunted by the stigma of being an illegitimate child. His siblings refuse to share their surname with him, which deeply affects him. The first part of the story portrays his rise as a sandalwood syndicate leader, driven by his attitude and fearlessness. Along the way, he faces numerous enemies. Pushpa 2 continues his journey and takes it to a gripping and emotional conclusion.

In my opinion, Pushpa 1 became a sensational hit because the protagonist resonated deeply with the common Indian audience. Pushpa represents people who are constantly suppressed, ignored, and denied recognition. His defiance against these odds made the audience see themselves in him, and they celebrated his victories as their own.

In Pushpa 2, Sukumar ensures that the core essence of Pushpa's character remains intact. Pushpa doesn’t care about wealth or fame; his self-esteem and anger toward a society that looks down on him drive every decision he makes. This reminded me of the Joker in The Dark Knight, who burns a pile of money, saying, “It’s not about money; it’s about sending a message.” Pushpa’s actions, power, and defiance are a direct message to those who label him a bastard or a smuggler and refuse to respect him.

One of the most brilliant parts of the movie is the sequence where Pushpa’s wife, Srivalli, innocently asks him to take a photograph with the Chief Minister. But CM refuses. That simple incident hurts his ego. What happens next is Sukumar's brilliance in writing. He takes a seemingly trivial incident and builds the entire narrative around it. It reminded me of John Wick, where a simple gas station altercation and the death of a puppy set off an unforgettable series of events. The brilliance lies in crafting powerful drama from a small, relatable moment.

The first half, leading to the interval, revolves around the “kissik” photo incident, and the execution is phenomenal. The conflict between Pushpa and Bhanwar Singh Shekhawat is equally well-developed. Sukumar’s brilliance is evident when Pushpa says “sorry” to Shekhawat and the intense drama following that incident. The scene where Pushpa reflects on how people might perceive him for apologizing is exceptionally relatable. Many of us have felt this way when forced to compromise in life, even if it makes us look weak. But Pushpa is no ordinary man—he cannot live without his self-respect. His response to this situation, including his conversations with his friend Kesava, is is one of the best parts of the film.

The second half is packed with adrenaline-pumping action. Allu Arjun once again proves why he is among the best actors in the country. His acting, especially in the Jathara episode and the climax, is on another level. This performance silences critics who labeled him as merely a great dancer. Rashmika Mandanna also shines, with a stronger role and ample scope to perform.

The pre-climax fight deserves special mention. Yes, the setup might feel familiar, but the execution is extraordinary. Sukumar adopts Rajamouli’s technique of building tension and ensuring that the audience is fully invested in seeing the villains punished. When Pushpa finally delivers, the impact is massive and satisfying.

The climax is sentimental yet powerful, giving closure to Pushpa’s lifelong pain. The moment when his surname is finally printed on niece's wedding invitation card and he breaks down in tears is unforgettable. It ties everything together beautifully. Pushpa doesn’t care about money or fame—he’s been fighting for respect, for the right to be seen as an equal. That’s what makes this moment so emotional.

The songs composed by Devi Sri Prasad are major highlights, elevating the movie’s impact. The cinematography by Mirosław Kuba Brożek is exceptional, with a stunning use of fluorescent colors that adds depth to every scene. Sreeleela shines in a special song, demonstrating her exceptional dancing skills and solidifying her status as one of Telugu cinema’s finest dancers. All the other cast and crew members have done a fantastic job, making this movie a complete package.

While I hoped for full closure in this installment, the makers have decided to extend the story into a third part, which keeps the excitement alive.

Overall, Pushpa 2 is one of the best movie-watching experiences I’ve had. You cheer for Pushpa, you laugh with him, and you cry with him. What else can you ask for from a movie?

Go and watch it. You won’t regret it!

Gravity

When I first watched this movie in theater frankly I didn’t like it. Perhaps I had high expectations on this movie and expected so much action.  And those visuals showing Earth, space etc have seen many times in Netflix documentaries. So nothing felt new.

But when I watched again on my HDTV it looked so different. Apart from those breath taking visuals, another important aspect of this movie, which I missed to notice when I first time watched is, ‘hope’ – Yes this whole movie is based on ‘hope’ – not losing faith whatever happens– This movie teaches you how many struggles you face in your life, you shall never ever lose faith and keep trying to get things done.

No wonder this movie was nominated for ten awards and won seven in 86^th Academy Awards.

I think this plot can be made anywhere not just in space, this can be made in deep under sea water, or on Volcano mountain or any such place where things are abnormal for living – still they can show how the main lead character(Dr Ryan) can succeed without losing hope.

After watching scenes of satellites and space station destruction because of debris, I wonder whether this can really happen in space. Because we have so many satellites and space stations in space making rounds to earth. If it happens then it is going to be catastrophic. Hope it won’t happen.

Then it comes to actor’s performance. Sandra Bullock and George Clooney both are terrific actors. Especially Sandra’s performance in this movie is fantastic and so realistic. And George as Lieutenant also performed so well. You can learn so much from this character. Like how to think straight if things doesn’t go well. How to look for solutions in a place where no else can think there is a solution.

And this movie director Alfonso Cuaron is an all-rounder. He is the director/writer/producer/editor of this movie. When director becomes editor you can see there will be unnecessary scenes in movies because director loves each and every scene what he/she shoots in movie, where as editor knows the realities and cuts the scenes which are not necessary.  I felt some places more trimming in editing can be done.

I liked his previous works ‘Children of Men’ and ‘Harry Potter and the Prisoner of Azkaban’ he has his signature on all his movies.

Technical department is brilliant. I was not sure whether those aerial earth shots were done in CG or they used any NASA footage. If they are CG shots then they are brilliantly done. You can’t find the difference. I’ve heard that though everything looks scientific and realistic of those space shots but they took some liberty and exaggerated few concepts. Of course a movie is supposed to be like this if it is too accurate then it will be another Netflix documentary on space. Some people hoped that this movie might bring public interest back on space. I think that’s correct.

Anyway Gravity definitely a must watch film for any film lovers. If you already watched it watch it again, trust me you will feel different this time.

My score to this movie is 9/10.