Kumari 21 F Telugu movie Review....With trailers and teaser, Kumari 21 F has garnered immense attention. Being Sukumar's first production venture, and that too his own story with a bold setup, the film is expected to take youths by a storm. Let us see how it is.

The CONTENT:

Siddu (Raj Tarun) is trained chef trying for a job overseas and his three friends Shankar (Noel Seenu), Srinu, Satti live in a rustic colony, while Siddu's mother (Hema) works as a nurse. While all the three friends loot people at ATMs, Siddu helps them hide and gives them food for money. In the meantime Siddu falls flat for Kumari (Hebah Patel) at first sight, and later she too falls for him. She kisses him and behaves romantically in a way that Siddu can't believe that he is her first love. As he keeps doubting, Kumari loves him back more and rejects him saying he has no maturity. One day, Siddu's friends fall in police eye after an ATM heist, so what happens to Siddu and Kumari's love due to this incident is the rest of story.

The EFFORT:

On-Screen:

Raj Tarun excelled in few scenes but delivered the same routine and hyper styled treat in other scenes. But he has to mature as an actor in the coming days to take emotional high kind of roles.

Hebah Patel is a revelation. Though she isn't a hefty acting material, she could pull off scenes effortlessly. Her glamour show sounds like a regular girl next door, but the way she is shown on screen is brilliant.

Friends gang, Noel Sean, Jagadish and the other Rayalaseema slang guy who played 'Sollu Seenu' have took the onus of delivering comedy. They succeeded in bringing out laughs, showing that villainy and uttering double meaning punches. Along with hero and heroine, they too got enough screen time to run the show.

Other actors like Hema and others are just adequate.

Off-Screen:

Director Surya Pratap Palnati has succeeded in bringing out natural emotional very well this time, unlike his debut film Adda. But with all the publicity focusing on Sukumar's story, many looked this as a Sukumar's film only. Coming to director, some times there is drop in momentum due to the elongated story and he should have handled well.

This film is like a special show reel for cinematographer Ratnavelu. In each and every scene, he tried to set the mood with his lighting. But watching such exaggeratedly lit blocks for non-stop two hours will be boring at one point time. Otherwise, photography brought some class look to this otherwise over-the-board kind of concept.

Among all the songs scored by Devi Sri Prasad, only a couple have turned out real interesting on the screen. Love cheyyala vadda and Meghala (melody song) are superb, while others are just okay. Background score is pretty average, while in pre-climax and climax scenes he excelled.

Dialogues are good, while art-direction is appreciable in this budgeted film.

The PLUSES:

Youthful concept

Thought provoking climax

Heroine Hebah Patel

The MINUSES:

Prolonged 'adult' content like scenes

Predictable second half

BREAKDOWN:

Sukumar has written a bold of story, but to be honest this bold story is already tried and tested in Tollywood many times. A heroine getting raped and accepted by hero is not a novel idea, but youths ending up in suspicion about the pre-marital single status of a girl is what triggers this whole film.

Weaving a story and scenes around a single emotion is risky and here Sukumar has come up with a story around a guy Siddu who doubts his girlfriend and constantly worries about her fidelity. And there is no way hero could justify his friendship with ATM thieves, who are busy with boozing and other illegal stuff. One day Siddu meets Kumari and falls for her charms, while his friends continue to say that she's a cheap girl who will cheat him. But Siddu loves her neck deep and still can't express it as he too doubts her. In that hitch, Kumari confirms that she will love him no matter if he already has girlfriends or not, good or bad and takes break from him.

At a time when people start to feel that there is no second half as the whole suspicion point is so strong, the story is unravelled point by point from here little grippingly. While there is depth in emotions, sometimes logic sounds stupid. How could hero pick another girlfriend very easily and dump her very easily? If the story wants to do justice to one girl, then they made another a scapegoat. This ill-sounding story somewhat hits reality tone just before the pre-climax, as it explains, if you play with fire one day the fire engulfs you too. A hard hitting climax will bring the end, leaving people in a trans about what they have seen.

Overall adult touch to the story could have been avoided, with those waist-lifting scenes and cheap jokes about girls bringing b-grade color to the film in the first half. Ratnavelu's artistic photography has saved some scenes falling into vulgar category. Family audiences will feel tough to watch this thought provoking Kumari along with their children and elderly members, while some youths may get connected to it.

A-centre audience might give a thought about the film, while B-C centres wouldn't be liking second half. On a whole, the 'A' content might engage audiences until some other happening film arrives.

Final words: Kumari 21 F, some highs and some flaws

Size Zero Movie Review, Size Zero Review....No other heroine would dare to go up on the weight scale for the sake of a role, but Anushka proved that for her going obese is nothing if a character demands. That's why Size Zero is something special in her career. Let us see what this movie is all about.

The CONTENT:

Soundarya aka Sweety (Anushka) loses her father at an young age and believes in old railway station weighing machine tickets which promises fortune for her. As she crosses her teenage, mother Rajeswari (Urvasi) keeps on looking matches for her, but everyone gets scared of Sweety's weight and makes fun of her. Still, weighing machine tickets make her happy till the day she falls for documentary filmmaker Abhi (Arya) whom she rejects earlier in a match-making ceremony as he didn't had good job. At the same time, Abhi falls flat for Simran, an NGO worker (Sonal Chauhan) who is ultra sexy. Upon noticing Abhi-Simran kissing, heart broken Sweety joins a fast-slim centre Size Zero. What happens to her weight now? What's the turn her life takes now due to this slimming centre? That's what the rest of film is about.

The EFFORT:

On-Screen:

Anushka stuns with her all-round show as an actress. Apart from putting huge weight for the role, she just lived in the skin of character. What's more stunning is that Anushka has even put on some skin show for a song in that heavy weight getup. Had the script supported more, maybe film would have reached a new level.

Hero Arya has done a supporting character like role, though he's the pair for Anushka. Sonal Chauhan completes the love triangle and provides glamorous relief. Gollapudi Maruthi Rao as grandpa and Bharat (master Bharat) as an young brother are good.

Real show stealer in the movie is actress Urvasi. She excelled as a loud mouth mother, with her quick wit, emotions and presence. After her, it's Prakash Raj who stuns yet again. He is perfect as a money-minded green eyed businessman who supports what his does.

There is nothing to boast about those special appearances made by Nagarjuna, Tamanna, Hansika, Rana, Bobby Simha, Sridivya and Jeeva. Only Nag mouths a single dialogue in one shot, while others are scene just cycling

Off-Screen:

Other than getting a good writing backup, Prakash Kovelamudi's direction didn't had any such special touch. While the narrative style is well supported by star-cast, production values and colorful art and camera work, Prakash hasn't took the film to any new level with his screenplay.

Cinematographer Nirav Shah's visuals are impressive and colorful, while Anand Sai's art has complimented them well. They brought nice feel to the film along with costume designer Prashanti's vibrant colours.

So much is expected from Keeravani's music, but it sounds so-so in the film. Song are just okay while background score would have been better. Dialogues by Kiran are okay.

The PLUSES:

Anushka

Comedy in first half

The MINUSES:

Lack of story

Boring second half

Unimpressive songs

BREAKDOWN:

Written by K Raghavendra Rao's daughter in law Kanika, the film's story is expected to be very exciting but at a point it turns to be a mere news channel program where they take a fight on 'fitness and wellbeing centres' that promise heavy weight loss in a week. Prakash Kovelamudi's simple direction failed to bring any freshness at all for Size Zero.

Story starts interestingly with a girl (Anushka) who believes in fortune cookies and the messages written on weighing machine tickets in railway stations. As she grows fat, her mother's concerns to get her daughter married are interesting. And then, this obese girl falls flat for a handsome guy and starts dreaming about romancing him. Light hearted comedy in every scene is good, but the film never took any big turns or twists, giving some cinematic feel. Though Arya is introduced as documentary filmmaker, never his background makes way into the story. Sonal's glamour is just to please masses all the way. And as interval approaches, with heart-broken Anushka getting hurt by her mother more, we expect some fire works in second half.

Either it is Anushka's house or Arya's flat or KBR park, that's how the movie's story shuffles from. As the film is about an obese girl going slim, definitely an instant-weight-loss centre is the centre of this second half. And there comes Prakash Raj stealing the whole show in just couple of scenes. But still he couldn't save the film because there is not much for him to do as a villain. The scene shifts to promoting PVP Sports and all other actors who are acting in PVP's other films through a 'fitness' program. 20 minutes after second half starts, movie turned into a fitness equipment telle-shoppe kind of program. Emotions just go like that and story takes simple turns to reach a mediocre climax. Though Anushka wins hearts as an over-sized lady, this second half with under-sized emotions and too many cinematic liberties weighs it down.

On a whole, Size Zero is a light hearted script that is promoted as something unique but at the end sounds like a TV serial with no extended scenes, elongated emotions and routine endings. In the second half, huge cycling show supported by visual effects kills the whole experience. None of the cameos of any actor are really useful for the film. Only multiplex audiences might love this film, while others will look at this as a plain-jane film with no entertaining quotient. Already Allari Naresh's Kitakitalu like films have handled this obese concept quite well, while Size Zero just has fat-Anushka.

Final words: Heavy weight flaws and zero-size thrill

From a long time, writer-producer Kona Venkat is busy giving a colour that Shankarabaranam is the best flick he has ever made in his career. He's confident of huge success as he storms away the direction mantle from Uday Nandanavanam, saying that he has supervised the whole film. Let us see how this Nikhil-Nanditha starrer has actually fared.

The CONTENT:

Gowtham (Nikhil) lives in USA with his father (Suman), mother Rajjo Takur (Sitara) and a sister. As his father is about to commit suicide after getting cheated by partners for 1 million dollars, Gowtham travels to India to sell their ancestral property Shankarabaranam and clear their debts. After coming here, he finds out that his uncle (Rao Ramesh) and their family are living in the palace and plans to sell the palace by forcefully vacating them. Meantime he also falls flat for his uncle's daughter Happy Takur (Nanditha). Before he sells palace, Gowtham gets kidnapped by Bhai Saab (Sudhir Misra) gang for ransom. How Gowtham comes out of their clutches and faces difficulties from other kidnappers including Munni (Anjali) and Home Minister (Sampath) is the rest of story.

The EFFORT:

On-Screen:

Nkhil managed to look charming in paled skin tone like an NRI, but haven't worked hard on his diction. Though he spoke english words all the time, no where we feel like hearing them from an NRI's mouth. In other way, everyone gets surprised to see why Nikhil accepted this film when there is no prominent role for him except taking blows from villains.

Through out the film it's Saptagiri and 30 years Prithvi who stole the show with their comedy timing and punches. Without them, the movie would have got bored much faster. Especially both rocked with their terrific screen presence and body language.

Heroine Anjali's cameo is little effective, while film's main female lead Nanditha is just limited to couple of scenes and songs. The long list of comedians including Viva Harsha, Praveen and others are adequate. Others have done their part well, but not highly impressive. In the end, Sampath's mixed acting as a villain and comedian impressed.

Off-Screen:

Director Uday Nandavanam has chosen all the right elements at right time including comedy, love and emotions, and picked up a nice concept to remake. However, the film's bumpy ride won't give any high points but hiccups. But we wonder who directed the film, Uday or Kona Venkat?

Kona's dialogues are impressive sometimes and sound like nonsense when he used excessive rhyming and timing. Though he has boasted many exaggerations about his characters during press meets, there is nothing serious inside and no character gets elevated except comedy.

Cinematographer Sai Sriram did somewhat good job, while music given by Praveen Lakkaraju is average. His songs are completely disappointing while background score is below the mark.

The PLUSES:

Comedy on a whole

Turns and twists in second half

The MINUSES:

Heavy drag in first half

Lack of soul

Disappointing songs

BREAKDOWN:

Kona Venkat made some tall claims about Shankarabaranam, regarding the story, screenplay and dialogues written by him. But his tall statements haven't reflected in the content. Bihar means a land of thieves, while NRIs means those who throw stashes of money at poor Indians is what Kona narrated through this film.

Film starts in USA with hero Gowtham (Nikhil) leading a happy life as his dad gives him everything (read money). When his dad is about to suicide, Nikhil comes to India to sell their palace (named Shankarabaranam) and he's joined by an awara Saptagiri, who entertains throughout. However, our hero failed to show his acting mettle as he has to portray his negative side for a while. The story gets dragged even after revealing the point that hero gets kidnapped. We have to wait till interval, going through some rib-tickling comedy, to see hero taken away by gun-wielding silly goons.

As it is revealed that hero doesn't have single dollar in his pocket or account, kidnappers feel little sad. Then our hero gives him idea such that other gangs will buy him. These sound interesting and with the arrival of Prithvi as police inspector Percentage Paramesh, the whole setup turns very funny. But the film takes a downward trend as scene turn repetitive and comedians delivering similar punches. After a poor pre-climax, climax turns little interesting yet again with villain Sampath's arrival as he puts on superb comedy. After a bumpy ride, finally Kona Venkat delivers a message about 'bandaalu and anubandaalu' which is very small in size to read.

Premise of Shankarabaranam is not new as we have seen umpteen movies including Nagarjuna's Greekuveerudu and Ram's Pandaga Chesko are also having similar story lines. Other than Kona's witty comedy liners, first half is an utter boring hour to bear with routine content. In second half, though kidnap twists look good, they're repetitive and boring. Other than comedians, leading actors failed to win hearts with their presence. Recently released Superstar Kidnap is also having same story, probably the whole of second half lifted from Hindi movie Phas Gayare Obama. Surprisingly all these films failed, and Shankarabaranam is looking no better.

Final words: Classic title wasted for silly comedy

Bengal Tiger Review...Raviteja teamed up with Rachha director Sampath Nandi and expectations from this duo have touched sky after they named the film as Bengal Tiger. Check out what the film is all about.

The CONTENT:

Aakash Narayana (Raviteja) is a roam-free guy in a village in East Godavari. One day he wants to become famous as a bride (Aksha) rejects him because he is not having fame to his name. With his gimmicks be becomes right hand of an Agricultural Minister (Sayaji Shinde) and then becomes right hand of Home Minister (Rao Ramesh). In the mean time Home Minister's daughter (Raashi Khanna) falls flat for Aakash and conveys to his dad about marrying him. But when the news is being broke in front of CM Ashok Gajapathi (Boman Irani), Aakash reveals that he's already in love with Meera (Tamanna), daughter of CM. What happens then, what is the link between CM and Aakash, who will finally win Aakash's heart, is what we have to see on screen.

The EFFORT:

On-Screen:

Raviteja is definitely a bundle of energy, but problem is that his unwanted itch to slim down has brought out his aged looks. Sometimes we get a doubt why his senior citizen is romancing girls half of his age. Otherwise, his role as Bengal Tiger is a regular and easy one for him.

Boman Iran as a villain has put up some good show with looks, but director failed to exploit the most of this talented 3 Idiots actor. Other actors like Rao Ramesh and Sayaji Shinde are adequate but their potential is not used to the fullest. Other actors like Ramaprabha, Prabha, Nagineedu are just wasted.

Comedy department is dominated by Prithvi and Posani again, while Brahmandam failed to invoke laughs. Shakala Shankar is bit okay in first half but has no scenes in the latter part. Other actors did their bit in making a mark, but scenes haven't provided them much backing.

Off-Screen:

Sampath Nandi hasn't delivered any novel film so far, so we can't expect an out of boundaries story from him. He took a very known story and tried to give some intelligent colour to them, through his creativity. While has poured good efforts into first half, the cat-mouse chase like second half sounded a big dumb. Other than unwanted punch dialogues, there is nothing new he has done with pen too.

Songs scored by Bhims are good, while Chinna has done his best in giving decent background score. Cinematography of Soundarajan is good at times. There is nothing much to boast about choreography as each song looked like a rehash of Raviteja's previous songs. Rest of departments have done a decent job.

The PLUSES:

First half comedy

Tamanna's glamour in two songs

The MINUSES:

Lean and slim Raviteja

Predictable second half

Same routine comedy scenes

BREAKDOWN:

Sampath Nandi is still busy with his 90s mindset to write stories and he thinks that it's very easy to gain access to Home Minister's house and make his daughter fall flat for him. Also these kinds of cat-mouse chasing games are no longer looking interesting for Telugu audiences as they are becoming boring.

With Raviteja fully beaten up and still he walks on corpses in a pool of mud, the rugged scene looks very intriguing and movie starts loading with a flashback from that time. As usual, our hero Aakash (Raviteja) is a jobless arrogant youth beating all the bad in the village. One day he wants to become famous and pelts a stone at minister. Liking his intelligence, the minister makes him his right hand. Sounds dumb logic, but entertaining. Scenes to impress Minister's daughter Raashi Khanna aren't new, but by chewing that popcorn brought at canteen, they could be passed. Posani and Prithvi saves some scenes with their hilarious comedy, but those scenes couldn't save the movie for long. As interval arrives, many would expect the twist, as the second heroine hasn't made any entry till then. A momentary surprise like interval ends the first half.

As second half started, twists in the tale are predictable with senseless scenes hitting us back to back on the head. Some crappy action sequences, stuffed with ear-rust removing comedy scenes of Brahmanandam are big spoilers of the whole show. That's almost a dozen of films since Brahmi has actually entertained audiences. To bring some color, Raashi's bikini scene and Tamanna's gorgeous figure are explored. They can't hold the audiences to seats for long. At that time, a flashback starts as usual explaining how heroine's father backstabbed hero's father and the revenge drama becomes perfect boring routine Telugu cinema that is being made by many for years. A silly climax, silly ending and the mud fight is back. Director's intelligent screenplay closed.

Recently the movie Run Raj Run has come up with similar plot but comedy and romantic scenes sounded very new. Couple of years back Sampath Nandi himself made Rachha, with similar theme line. Why the same illogical and boring concepts again and again folks? Heroism and comedy doesn't make up movies. Success of Bengal Tiger depends on how B C centres recieve the film.

Final words: Tiger's claws are so weak.

Puri Jagan has rushed to Varun Tej after Nitin opted out of this Loafer. Everyone is eagerly waiting to see how the output would be. Also this is the first ever mass tryst for our mega hero. Let's see how it happened.

The CONTENT:

Upon being called Loafer, Murali (Posani) separates from his wife (Revathi) and vows to up-bring their just born son Raja (Varun Tej) as a big loafer. Raja grows up as a thief in Jodhpur with his dad and believes his mother is dead. One day a lone traveller Parijatam aka Mouni (Disha Patani) comes into his life after he tries to loot her suitcase. Also she is being chased by her father's goons after she is on the run from home. Parijatam falls for Raja and conveys the matter to her maternal aunt who is none other than Raja's mother (Revathi). Will Raja identify his mother and reveals truth? Will Revathi unite with her husband? Will Parijatam's family do no harm to Raja? That's the rest of story.

The EFFORT:

On-Screen:

Varun Tej looks dashing and energetic, but he's not any surprise revelation. While his body language is stunning, he has to improvisation when it comes to dialogue delivery. Also he got confused about the slang he should use. Though he grabs attention with styling, style factor in his body language should be upped.

Heroine Disha Patani has done a routine commercial role, where there is nothing to do with acting, but songs need most help in the form of glamour. She excelled in flaunting her curves. Revathi as a mother is gracious, while Posani is loud and irritating. Ali and Brahmi are wasted in poor roles that invoked no laughs. Dhanraj and Saptagiri tried hard to make people laugh, while succeeded partly. Mukesh Rushi and Charandeep as villains are adequate.

Off-Screen:

The writer in Puri Jagan once again developed a simple idea into a full length movie and tumbled to get new scenes for it. Giving us an amalgam of the scenes he wrote for films like Desamuduru and Golimaar, Puri revisits all his scenes once. Though he gave couple of best emotional scenes, other parts of the film lacked the shine.

Cinematography of PG Vinda is adequate. Sunil Kashyap's song on mother, Suvvi Suvvalamma, is top notch while others are above average. Art department showed their mettle with their creative sets in Jodhpur and also in Goa beaches. Rest did a good job. C Kalyan spent a decent money to make every block look rich.

The PLUSES:

Varun Tej's change over
Emotional scene in second half
Songs and Disha Patani's glamour
Revathi's one-woman show

The MINUSES:

Dragged first half
Lacklustre entertainment
Outdated story
Logic-less scenes

BREAKDOWN:

Puri Jagan has picked up a well known point, and first wrote a scene for Revathi where she tells about the pain a mother feels while delivering a child. Around that scene, the whole of film is reverse engineered with a bout of Puri's past films. We could see Desamuduru, Golimaar and other films along with characterisation from Pokiri and Idiot. Only fans may have admiration towards it, while others feel watching routine stuff again.

Movie opens with a fight between Posani and Revathi, where Posani runs away from home and raises his son as a Loafer. Revathi is totally cut off and Varun Tej grows up as a thief. No scene that introduces him as a thief gives us kick, other than fact that he looks like the one who steals petty stuff from travellers. As the story drags on, a heroine is introduced and her inability to give some exaggerated expressions saddens the plot. Some small twists take on the story, while regular scenes go on, and it leads to interval. This plot is not new, but hero's mother being maternal aunt of heroine, is shown up as a twist. Nice emotional churn out, but impresses partially.

As second half opens, Puri shows his mettle with scenes where hero meets villains and introduces himself to them. But as we expect the energy to continue, it takes emotional route. Revathi steals the show in two scenes, while Varun delivers his best in Suvvi Suvvalamma song. Afterwards, film slips into routine again. A clueless Puri brings Ali with Thammudu Pawan Kalyan spoof and Brahmi with Srimanthudu spoof. What's this torture of spoofs for Telugu audiences? Simple illogical twists in screenplay leads to routine climax, where hero kills all villains for a happy family reunion. Just with couple of emotional scenes as a base, how could a two hour narrative get interesting?

Though B C centre audiences are patronising routine films, there is not much comedy, fun and heroism in Loafer. Meaningless scenes around mother sentiment and illogical ideas that move the story are a big headache for this Varun Tej starrer. How come Puri brings beaches to Rajasthan's cities like Jodhpur or any? Heights of stupidity!!

Final words: Loafer lacks the punch.

From a long time, Gopichand is exclaiming that he won't experiment from now onwards but will deliver films only that will entertain audience. On that note, he picked Soukyam under AS Ravikumar Chowdary's direction. As the film is promoted as a routine masala but hilarious treat, lets see how it is.

The CONTENT:

A jobless, aimless, ridiculous and useless guy Sreenu (as said by a character in the film itself) helps his friends to get married. When it comes to his marriage, he keeps on searching for girl Sailaja (Regina) whom he met 3 months back. Cut to flash back, Sreenu falls flat for Sailaja in a train journey and later proposes her. She too loves him but by the time he introduces them to his sister and brother-in-law, Sailaja is taken away by goons of his father. The rest of the film is about, how Sreenu manages to beat Sailaja's father's goons and marries her. Meanwhile there are other bunch of goons who forcibly come into the story and try to impress. And then there are comedy characters who make sudden entry just only to make us laugh. Cut through all these routine dramas, how film reaches climax is the actual story.

The EFFORT:

On-Screen:

Gopichand slimmed down a little more than Jil, but haven't improvised in picking up happening scripts. Sticking to routine silly scenes, known plots and 5-song-4-fights routine, he has come up with routine acting only. There is nothing new we could boast about.

Regina is looking good, but we can't praise either her acting prowess or her glamorous side. Both ways, she is not on par with any of her contemporaries. Either fire brand acting or dazzling presence all over songs is needed. She lets down both ways.

Other actors like Mukesh Rushi, Pragathi, Raghubabu, Satya Krishnan, Sivaji Raja, Surekha Vani, Chandu have all appeared as usual nothing new to talk about. Comedians Posani, Prithvi, Saptagiri and Krishna Bhagavan tried hard to make us laugh, but succeeded partly. This time neither Baahubali spoof, nor Srimanthudu spoof worked. Brahmanandam episode is a mere waste.

Off-Screen:

Director AS Ravikumar Chowdary claimed very big about Soukyam, but in the end, he has failed to come up with a new story, screenplay and also direction. Using a remix of all Sreenu Vaitla and Kona Venkat house dramas, he has churned out yet another routine 'drink' for audiences. Neither his screenplay-direction, nor his way of conceiving scenes brought any interest on the film.

Other departments like Prasad Murella's cinematography, Kona-Gopi's dialogues and Gowtham Raju's editing are pretty average. Anup Rubens need to reinvent himself, as his tunes are failing to excite. Background score is literally uninteresting, while songs don't sound hummable, but bring the feel of hearing them already in other albums.

The PLUSES:

Nothing Nothing Nothing

The MINUSES:

Everything Everything Everything

BREAKDOWN:

Directors like AS Ravikumar Chowdary are failing time and again to pick up impressive scripts. Other than cooking those routine stuff, he is not able to come up with something really interesting. While that routine masala worked for Pilla Nuvvuleni Jeevitham recently, it got rotten now.

For any routine Kona-Gopi dialogue provided movies, there is a scene where hero helps his friends getting married. Same here. (Reference: Ready movie). Gopichand does the same things as his co-characters say, he is jobless, workless, ridiculous and useless guy. Then a girl is introduced through a flash back, who is very simple and simply travels in trains. Scope for train comedy here. Bring Posani and others, to irritate and laugh audiences with double meaning punch dialogues. (Venky movie). As expected, she will be taken away by goons, who happen to be her parents (Ready movie again).

As second half opens, scene shifts to a house in Kolkata where heroine's father is a big shot, an influential king maker. At the same time, hero enters heroine's house to take control of situation (Namo Venkatesa movie). And now, audiences are getting bored, so what to do? Push some songs yaar. Regina's glamour failed to attract crowds, so is Anup Rubens' horrible music. So push some comedians like Prithvi and Krishna Bhagavan with Baahubali and Srimanthudu spoofs, because this is the season of spoofs. Then a comedy of errors takes place. (all Sreenu Vaitla movies). Finally the movie reaches climax, not because story is unfold, but runtime is getting over.

To send audiences with huge smiles on faces, it's better to make climax fully comic like a Racegurram. So Soukyam team brings Brahmanandam here. With writers failing to write exciting scenes, what would he do anyway? Temper spoof and Gabbar Singh antyakshari scene made it sound like a cheap telefilm than a feature film. Finally the movies ends, on a routine note.

Like any other Friday, this time too audiences haven't got anything new to boast about. With Kona Venkat and Gopimohan as dialogue writers, expecting a big twist is a twist, because giving a new twists is never in the twisted diary of these writers. Forget the film, and go watch Ready or Venky if you want.

Final words: Waste of valuable time.

Hero Ram is looking forward to score a hit at any cost. Leaving his trademark exaggerations and commercial stuff, this time he has come up with an author backed role with Kishore Tirumala's Nenu Sailaja. Here is how it goes.

The CONTENT:

Hari (Ram) is a good looking youngster who is rejected by every girl from childhood onwards. Finally he becomes vexed with proposing to girls and decides to give up love. At that time he meets Sailaja (Keerthi) and they happen to see bump into each other on multiple occasions. Thinking that destiny is quenching to make them a couple, Hari tags along her. Later when he proposes, she rejects. A dejected Hari later finds out a connection between Sailaja's brother and his sister. That gives him an idea to own back Sailaja, and the rest of the comedy is about he wins her heart.

The EFFORT:

On-Screen:

Ram tried to tone down his exaggeration, but he hasn't brought any freshness to his character. He looks plain with his costumes, with no masala songs and no hefty action sequences. But there is not one proper scene in the film that could bring the actor in him. Otherwise he's good to watch.

Keerthi Suresh is a big minus for the film. Neither her introvert looks nor her acting charms bring any freshness to the film. She sounds routine with just one scene in the climax where she showcased her acting talent. Expecting a Nitya Menon from this Mallu lady is disappointing.

Other casting like Satyaraj, Rohini, Naresh and Pragathi are wasted in poorly etched roles. Pradeep Ravat left villainy aside and tried to create comedy, but failed. Villains are unneeded for this film, but for sake of commercialism few faces are pushed in, and they did no miracles.

Off-Screen:

Director Kishore Tirumala has written good dialogues, but what he needs is a compelling script to score a blockbuster. Though some scenes written by him are good, on a whole he failed to come up with a great story. At least feel good factor should be there, but it is also missing. And when it comes to extracting performances from talented actors, Kishore succeeded partly.

Other notable aspects are Devi Sri Prasad's background score, while his songs are partly impressive. Except Sailaja Sailaja breakup song, others are below average. Rest of the departments have done a good job, but nothing looked like a great work. Sameer Reddy's camera, Sreekar Prasad's editing and AS Prakash's art work hasn't much excited.

The PLUSES:

Ram
First Half
Couple of songs

The MINUSES:

Heroine Keerthi Suresh
Dragged second half
routine predictable story

BREAKDOWN:

Making a remix of films like Darling, Mr Perfect and a Dilwale Dulhaniya Le Jayange, director Kishore Tirumala tried to make a new-age love story with hero cursing girls and then falling for the love of his life. But every scene looks completely non-sync as every new idea can't simply get weaved into the flow. That's where Nenu Sailaja hits hard and tastes tough to digest.

The film begins with a Manasanta Nuvve style childhood love drama and then hero starts narrating his life story. The way every girl rejects him and Ram throws punches on them, it's very interesting. In that process however he has hurt girls with some rude dialogues and also made fun of couples. When the first half sounds very entertaining, his love story starts, making things pretty slower. Heroine Keerthi Suresh doesn't stole the show, but makes us think if she's really heroine of the movie. It's obvious that interval bang is going to be breakup and guess what, our guess is correct.

So, what to do with the second half? Simply pulled a new story, which is based on various lines like Darling and Mr Perfect, Ram is sent to house again to do comedy, sentiment and all fun. Did we forgot to mention that as a Telugu hero he should do some fights? For that sake, couple of villains characters are created and they appear to fight with hero in some scenes. Ruthless illogical scenes, not so laughable comedy and poor songs, mars the whole experience. Big actors like Satyaraj, Rohini are clueless about what they are doing. Finally it has to reach a climax, and a routine climax comes into picture as usual. Later Ram utters a lengthy dialogue to get claps, and film closes on usual note.

Nenu Sailaja might sound little better than Ram's previous films, but isn't a superb love story or a blockbuster material. There is New Year advantage for the movie, and it will run in theatres till January 13th until the biggies arrive.

Final words: Old wine in a semi-new bottle

Jr NTR's dream of cracking 50 crores club is going to be started with Nannaku Prematho. As the film is publicised as a father-son emotional high, everyone is looking forward what magic Sukumar has really done on screen.

The CONTENT:

Ramesh Chandra Prasad (Rajendra Prasad) gets cheated by Krishna Murthy alias Koutilya (Jagapathi Babu) in business and takes up another identity Subramanyam. He grows his sons Rajiv Kanakala, Srinivas Avasarala and Abhiram (NTR) with values. While on death bed, he ask his son Abhi to avenge the loss and bring Krishna Murthy to zero. On that mission, Abhi now flatters Kay Group MD Krishna Murthy's daughter Divyanka (Rakul Preet) and gets into the empire. However, Krishna Murthy knows all this. What happens there after is the rest of story.

The EFFORT:

On-Screen:

Jr NTR looks stylish in his attire, but after watching him for a while, his beard looked little disturbing. Cutting out his usual antics like exaggerated dialogues and activeness, he literally acted like the synonym of cool. Especially during last 20 minutes of the film, he portrayed vivid emotions flawlessly. However, he didn't stick to one style of characterisation purely. Sometimes he slaps his associates, sometimes he pleases his lover and sometimes he tries to portray a dominant. Nice variations, somehow disjointed.

Jagapathi Babu is a revelation. He looks damn hot in that salt and pepper look. His role Krishna Murthy is also a cool-player and there is no exaggerated role for him this time. Though there are no fights and violence, he tried to portray a myriad of emotions with his expressive eyes.

Heroine Rakul Preet has for the first time acted very well. She left her plastic smiles and over board excitement at home and struck true to the character. As a rich person's daughter, she's terrific and her presence in songs is also an asset for the film. All other actors are routine, while Rajiv Kanakala once again makes a mark with just couple of scenes.

Off-Screen:

Sukumar has once again tried to put his extensive knowledge of science, maths and other physical theorems into usage. Taking up a routine story, he comes up with display of knowledge which sounds good in certain scenes but ends up as an over-fried curry in the end. Someone on deathbed asking to take revenge on his opponent is something we see on villain's side each time, but here hero's father does that. Other than that, Sukumar churned same old story. But he took scenes from movies like Transporter, Taken and some emotional plots from The Descendants to churn out the film.

Vijay K Chaktravathy's visuals are top notch, while Devi Sri Prasad's background music is good at parts. With songs that sound similar to his previous compositions, and failure of giving best RR for scenes that need high dose, DSP did only a partial justice to the product. Producer BVSN Prasad should be appreciated for spending huge bucks for filming the movie completely in London and Spain.

The PLUSES:

Jr NTR

Engaging first half

Visuals of London

The MINUSES:

Science lessons

Emotions going for toss in second half

Poor-routine story

BREAKDOWN:

A son fulfilling the dream of an ailing father, and helping him avenge his business loss, is a regular story we're watching on silver screen these days. We have seen moves like Dookudu and mostly recently Bengal Tiger, where sons go for any extent for the sake of father and help exact retribution for the insults experienced by father in the past. Targeting the villain's daughter and making her fell in love is another old school formula. Except for Sukumar mark science and maths classes, there is nothing new than this formula in Nannaku Prematho.

Story starts in London with a father (Rajendra Prasad) asking his son (NTR) to exact revenge on Krishna Murthy (Jagapathi Babu). By the time NTR starts using his intelligence and Sukumar entertains us through his science fundamentals, common sense logic and basic histrionics, it is already proved that NTR is shunted out of a company for not being too intelligent. Awww, the buck is shot. Okay, whole first half goes entertaining as NTR and Rakul keep the flow interesting. But when we come to know that Jagapathi Babu also knows about whole game, interval should be interesting, but it's just a simple knee-jerk kind excitement.

Cut to second half, the film starts on emotional note with NTR's father struggling on death bed and to achieve father's dream NTR starts wooing Rakul Preet again. Suddenly when the whole plot of hero to bring villain Jagapathi is revealed, it is portrayed that Rakul Preet is also too intelligent like NTR. And that intelligent is cut off, by taking her to a jail, where a sentimental episode makes her fall in love with hero. There comes pre-climax. Villain wins over hero by torturing him. Recovering from the torture in no time, then hero simply loots villain's money with his technique. That's it, revenge is over. And a 15-minute drama in hospital, to bid farewell to father, ends the film.

Old formula story with 'physics' and 'mathematics' laced all over will not sound convincing. As time progresses, there should be some high emotions even though Sukumar used huge intelligence. Whether A or B or C centres, without churning emotions there is no use of applying theorems, principles, algebra, trigonometry, vaasu shastra and electronics. Sorry, add partial physics too. Keeping 'coffee cup' and 'chappal' in particular direction creates scenes, and they sound exciting but not logical. By the time we relish on such scenes, Sukumar's program for Discovery channel misses out its aim. So, it looks plain jane and routine.

Final words: Science documentary sans emotions

Sharwanand is on the high after Run Raja Run and Malli Malli Idhi Rani Roju. At the same time director Merlapaka Gandhi's debut film Venkatadri Express became a hit. This combination is now coming up with Express Raja.

The CONTENT:

Raja (Sharwanand) is a jolly living jobless guy whose father (Nagineedu) is unhappy with his behaviour. After finding out that he is the most laziest in Vizag city, CI (Posani) sends him to Hyderabad for a job. Flattered for Amulya (Surabhi) on first encounter itself, Raja and his friend, Mama (Prabhas Seenu), makes all plans to woo her. On the day of proposal, accidentally Raja hand overs Ammu's dog to municipal dog catchers. As that has upset Raja, he finally finds bag dog but only to kick start a chain of reactions due to his actions. A goon (Supreet) gets upset with missing dog, a wannabe MLA Kesav Reddy (Harish Uttaman) and his mother (Urvasi) gets hurt, a dance troupe owner (Shakalaka Shankar) loses his vehicle and else. How all these incidents are interconnected and how they converge into the climax is the rest of story.

The EFFORT:

On-Screen:

Sharwanand is flawless, but his characterisation and dialogue delivery reminds us of Run Raja Run movie in every frame. He's good in action and romance too, while his comic timing improved very much.

Surabhi looks beautiful, but not much of an acting material if we have to go by this film. Saptagiri and Prabhas Seenu in the first half, while Shakala Shankar in second half acted as major pillars for comedy and they excelled. Urvashi is kick ass in the negative shaded role. Brahmaji, Posani, Supreet, Harish Uttamana and others have done their best.

Off-Screen:

Director Merlapaka Gandhi played a real safe game by choosing a safe script, a wild-goose-chase kind of drama with comedy laced all over. His dialogues clicked all the time, while comedy is another winner from them. Though there is some drag and over crowdedness, he played it well, as all of his cards are somehow attention pullers.

Praveen Lakkaraju's background score is not that intelligent, but couple of songs like Colorful Chilaka and Hulala are interesting. Their hook line is used as BGM intelligently. Other departments like art and stunts have done. With UV Productions at the helm, production values are once again stunning.

The PLUSES:

First Half comedy

Sharwanand

Songs

The MINUSES:

Dragged plot

Lengthy and silly climax

Overdose of Nellore-ism

BREAKDOWN:

It's always safe to make some road-side chase comedies, as there is scope to introduced as many characters as possible and create so much fun. Recently Bhale Manchi Roju scored a hit and Express Raja now treads in same pattern. Except for the fact that director has chosen Vantage Point based screenplay, where he narrates a known incident from different angles, rest of the 'remix' jig is a regular crime comedy kind only.

First half takes off interestingly with the kidnap of a dog. And then hero Sharwanand keeps us informing what has happened some days back. As he keeps narrating, various characters like Prabhas Seenu and Saptagiri joins us. Once his narrative gets over, then another story is added to this story like a sub-plot. In the first narrative, hero-heroine romance and Saptagiri's comedy stand highlight. They took graph to peaks. By the time interval arrives, we'll come to know there are couple of new stories to be added to the already finished movie.

The whole of second half shifts to Nellore, where villain Kesava Reddy and gang entertains us. While the plot gets thinner by now, director makes it little dramatic and interesting with the kind of logic less twists he applies. Shakalaka Shankar imitating Chiranjeevi rather RGV this time, has clicked so terrific. Sometimes interesting, sometimes high and sometimes lagging second half progressed in this pattern. Finally what is the result? A lengthy climax, little unbearable at one point, with a major twist revealed in simple manner, ends the film.

Gandhi succeeded in giving a non-stop popcorn entertainment while the story just takes twists and turns, travelling from Vizag to Hyderabad to Nellore. It seems like director is from Nellore, so from using slang words of the region to showcasing locales around all the time, Nellore-ism dominated second half. At the end, if there is no other better film, then Express Raja is likely to end up as a terrific grosser. Comedy without boredom, always saves.

Final words: Have fun and masti Raja!!

From a long time, Balakrishna is wooing his fans that a treat like Simha and Legend is on the cards again. With flops like Lion upsetting, cinema lovers are eagerly looking forward for Dictator to quench their thirst. Let us see how did it went.

The CONTENT:

Chandu (Balayya) lives in his in-laws house in Hyderabad, working as Supervisor at Dharma Departmental store. His wife (Aksha) speaks with him only on phone. Suddenly another girl (Sonal Chauhan) accidentally meets Chandu and later she gets warned by goons for her missing brother. To save her, Chandu hits the goons and at the same time he gets caught for stealing 5 lakhs from his store. Then a shocking fact about him is revealed and his wife (Anjali). What happens thereafter is the story. His link with Delhi, his past as a Dictator is something to watch.

The EFFORT:

On-Screen:

Balakrishna looked good in few scenes, but in some sequences somehow he sounded very pale. His dialogue delivery is powerful, but he completely faded out in romantic scenes. Coming to his dances, age could be felt over his moves. But in this routine soup, he's the only saviour who makes things interesting.

Apart from the lead hero, other actors are regular. Anjali is okay, Aksha is just there, Nasser and Suman are okay, baddies like Kabir Duhan Singh and Vikramjeet Veer doesn't made any mark. Much hyped Ratni Agnihotri is not interesting at any point.

Coming to comedians like 30 year Prithvi, Hema, Prabhas Sreenu and Shakalaka Shankar, they are all victims of bad script and poor dialogues written by the 'dictators' of Tollywood.

Off-Screen:

Till date, Sriwaas never came up with any unique story or screenplay, so we can't expect him to do something so great. However, this time story is supplied by Sreedhar Seepana while dialogues are given by Kona Venkat and Gopi Mohan. The gang, that worked for Soukyam recently, has failed miserably in bringing freshness to the routine story. And, Sriwaas failed to get a stroke of terrific screenplay and direction to it. In the name of giving entertainment, they picked up a routine story and tried all possible stuff to make it look new.

Thaman's songs are mediocre while his background scored is much more inferior. Only couple of songs made impact and others are time-passing stuff. He seems to have lost in delivering a thumping background score at least, which is his forte. All other technicians have done a good job, but they will not help the poor story to become a blockbuster.

The PLUSES:

Balayya (for fans) Nothing

The MINUSES:

Everything Unbearable second half

BREAKDOWN:

Even recent hits like Bhale Bhale Magadivoyi and Bhale Manchu Roju are also routine stories only, but it's the way they are narrated that really impressed. As everyone almost knows what the story of Dictator is, they are expecting to see the unexpected on screen, but Sriwaas failed audiences in terms of those expectations.

As the story stars, a police officer is simply murdered (generally they murder brutally, but here it is still the 80s format only) and a guy who watches it is being hunted. Cut to Hyderabad, hero dances at a Ganapathi festival and then he works at a super bazar living in his in-laws house. The girl never falls for our hero or other way round, and so the graph of the film. While goons come and go, graph never picks up. And then a boring interval as usual, with no pep. This simply guy is revealed as a big dictator in Delhi.

While many expect crackers in second half, like a Baasha, or like in many of Balayya's films like Samarasimha Reddy to the recent Simha and Legend, there is nothing such. A big family, big goons and unwanted fights. A real horrible experience comes up in the second half with writers and director fooling Balayya with a beaten-to-death script. At least action sequences should impress na? No way. A much irritating climax finally ends the film. Thank god.

From hero saving a girl, and goons giving him a visiting card of theirs, later hero going to den and offering money for her release, to hero beating them and killing all. From hero travelling in metro train on his way to his office, a 'departmental store', to saving an employee in the store. Almost all the story and crucial scenes of Dictator are a straight lift from 2014 Hollywood film The Equaliser that has Denzel Washington in the lead. But director Sriwaas failed to recreate that film's magic, while the punch dialogues written by Kona Venkat blow rust in our ears.

Even fans and cinema lovers who love to see routine scripts may not bear this Dictator because of the amount of routine that is incorporated into every scene and frame.


Final words: Only shouts, no content.

Nagarjuna declared that he will not pick a script from now onwards which is not sensible in terms of content. Living up to his decision, he made Soggade Chinni Nayana and trailers looked somewhat promising all the time. Have a look at how the film fared.

The CONTENT:

Ramu (Nagarjuna), a Doctor and Seetha (Lavanya Tripathi) are one beautiful couple, where Ramu is son of Satya (Ramya Krishna) and Bangarraju (Nagarjuna). The couple comes to their native village Sivapuram to convey to Satya that they are about to divorce. Hurt by their decision, Satya scolds her husband Bangarraju, after which he comes down from hell as a soul who could be seen only by his wife. He now decides to set things in his son's life. However, a bigger problem eludes them as Sampath and Nasser hatches a conspiracy linked to a temple, whose treasure has link with both the families. What happened to Ramu-Seetha's personal life, how Bangarraju helps out his wife and rest of family, is the treat we have to watch on screen

The EFFORT:

On-Screen:

Nagarjuna looks terrific as Bangarraju and he maintained a cool-innocent look for Ramu character. He portrays both the roles of brave village playboy and well-educated USA NRI at ease. He looks too handsome as Bangarraju and brings out every emotion quite well.

Ramya Krishna is the show stealer for her good looks. No doubt, she still has that in her and excels in dances too. Her presence is what commands some scenes and her innocent look makes anyone love her. Lavanya Tripathi is beautiful and her waist-show is what tickles youth all the time. Others like Chalapathi Rao, Brahmaji, Vennela Kishore, Saptagiri, Posani and others are routine. Anasuya's debut doesn't made any impact. Sampath as a villain looks good.

Off-Screen:

Director Kalyan Krishna has done a good job being a fresher. Though the story isn't a new thing, this young director selected a typical village backdrop and mass characterisation, which itself sounds like a winner. Especially to watch such locales of Godavari is itself refreshing.

Anup Rubens scored couple of nice songs, while background music is not as good as Manam movie. Still he holds the nerve whenever Bangarraju character appears on screen. Production values of Annapurna Studios are good.

The PLUSES:

Nagarjuna as Bangarraju

Village backdrop

Sweet comedy without slaps satires

The MINUSES:

Predictable ending

Slow narration in second half


BREAKDOWN:

These are the days where comedy means either making spoofs are slapping a senior actor numerous times on his head and cheeks. However the real good comedy never has this slapping and satire culture. Nagarjuna's Soggade Chinni Nayana is such a sweet film after a long time, where we laugh heartily for healthy jokes, some romantic moments and beautiful emotions. Though cliched at times, the film has ingredients to hold audiences to seats for 2 hours.

The start is interesting as 'son' Nag and his wife Lavanya Tripathi decide to apply for a divorce. As Ramu being a doctor involved so much into work and his hospital, probably most present day house wives connect to it. As the 'father' Nag, Bangarraju, soul arrives to earth, there is huge excitement and that takes graph to new level. With father failing to correct his son's life and the comedy of errors that take place, first half ends on interesting note.

Second half is the part where a majority of story is revealed, but that doesn't sound super exciting. Though there are only little twists, probably deep-layering missed and that dissatisfies the audiences to an extent. Scenes with other hotties, Ramu's romance with wife and a fight with goons, all sound little forced but they won't irritate or bore. As the film reaches climax, everyone will be waiting for some hair rising kick ass moments, but it ends like a TV soap opera.

On negative side, Soggade Chinni Nayana doesn't offer any wow moments or novel treatment with the story. But on brighter note, the film is full of good moments and fun, with lighter vein comedy that happens in a healthy way. Not much of village culture is also shown, but surely that tinge of greenery could be felt. The film will be patronised by majority of family audiences for its pure and clean look. Among all the Sankranthi releases, Nagarjuna's film offers that real festival treat of entertainment.

Final words: Soggade is Sankranthi's Soggadu

Hero Nani is waiting to seal yet another blockbuster after Bhale Bhale Magadivoyi and expectations are quite high this time. Though he teamed with director Hanu whose debut is not a commercial success, promos and first look created heavy impact of Krishnagaadi Veera Prema Gaadha. Let's see how this love story is.

The CONTENT:

Krishna (Nani) is a coward who's in love with Mahalakshmi (Mehrene) and the world doesn't know that as they are secretly talking to each other. Mahalakshmi is sister of Ramaraju, who is in turn a henchmen of Rajayya. At the same time, Rajayya has a brother, encounter specialist ACP Srikanth (Sampath) who always kills criminals without arresting them. All hells break loose as Krishna decides to convey his love to Mahalakshmi's brother. And then a murder attempt on Rajayya changes the whole story, also the entry of Don David Ibrahim gives the full twist.

The EFFORT:

On-Screen:

Nani has first time used the tag Natural Star as a screen credit and also lived to that reputation. Every scene, he's just flawless and stunning. There is however a remark that his looks are pretty same in each movie, but the way he carried the film on his shoulders is good.

Mehrene makes a good debut but not as splashing as Lavanya Tripathi in Hanu Raghavapudi's debut film Andala Rakshasi. But there is not much emotional character given to Mehrene to perform.

Actor Sampath kills big time as usual, while Satyam Rajesh, Prithvi, Murali Sharma and Prabhas Seenu stunned with their comedy timing yet again. Other actors are all good and adequate, though they haven't got a big lengthy role to play.

Off-Screen:

Director Hanu Raghavapudi picked up a routine story this time to stuff it with some nice elements. Probably his average writing is supported by decent star cast and then some superior production values including art and cinematography. Otherwise, he should have worked on the story a little, rather repeating another Kona Venkat kind of confusing comedy in the second half.

Cinematography of newcomer Yuvaraj is interesting. Vishal Chandrasekhar's music impressed at parts, while songs are average and background music is below par. Dialogues written by Hanu Raghavapudi are okay in certain scenes, some sounded funny and others failed to explode.

The PLUSES:

Nani's Natural action

First half Rajesh comedy, second half Prithvi comedy

Interval block

The MINUSES:

Predictable and dragged second half

Slow narration with routine story


BREAKDOWN:

Krishngaadi Veera Prema Gaadha is one of those hyped films in the recent times. From hero Nani to producer 14 Reels, director Hanu Raghavapudi to other cast, everyone spoke extensively about the movie, taking expectations to next level. But the makers have really promised more than what they are offering and the film hasn't lived upto it.

Story opens on an interesting note with the murder of a factionist and making it evident that the film has a heavy shade of faction dose. And then the love story of Nani-Mehrene is cute and adorable. Though the love story seems to be lengthy, Satyam Rajesh's comedy saves the grace. And then, this coward action of Nani disappoints all the time but interval bang is striking. Also the director extensively used Balayya image all the time to secure some safety for first half.

In the second half, the film is all about saving the kids and the ensuing comedy is good. And hero bumps into heroine, rather illogically, and now heroine also falls into issues. From then, a mafia story runs parallel. So we have to see the end of a love story, a faction story, a mafia-cop drama. All these dragged ends finally meet and they end up at climax.

First half of the film sounds like Puri Jagan's 143 movie, while second half is pretty much like Nikhil's Shankarabaranam movie. Though director promised that this is a never-before script on Telugu screen, at least in the last 20 years, fact is that we have seen these type of films many times in last 20 months itself. As Balayya usage and comedy are good, the film's impressive first half may help mint good money, but on a whole it will not be a blockbuster of Bhale Bhale Magadivoyi kind.

By the way, we said this is a love story know, sorry, actually this is a crime, faction, kidnap comedy kind film with some love story into it.

Final words: Krishngaadi 'average' gaadha

Sunil's last film released in 2014 and for reasons obvious it took him two years to come up with next release. Here comes Krishnashtami, which has enough reasons to become a laugh riot. Let us see how it is.


The CONTENT:

Krishna Vara Prasad (Sunil) lives in USA as he's sent there 18 years back when he was a kid to study. Back in India, his uncle (Mukesh Rushi) makes sure that he won't step in mother country at any cost. Unheeded Krishna however starts to India and gets struck in Europe due to a connecting-flight issue. In those three days he falls in love with Pallavi (Nikki Galrani). Due to some circumstances when Krishna lands in India, he gets attacked by Peddi Reddy (Asutosh Rana) men. Later he enters the same Peddi Reddy's house as son-in-law. Unfolding of all these twists is the story of the movie.

The EFFORT:

On-Screen:

Sunil tried to look and sound like a hero probably. Leaving his 'vetakaram' slang in most of scenes, he tried to make fun with punch dialogues only. However he needs to improve body language in romantic scenes. While his crazy six-pack is not needed, some attitude-pack is essential for him. Sunil's dances and action sequences are impressive.

Both the heroines, Nikki Galrani and Dimple Chopade, are projected in a way that one will suit class and other a mass. But Nikki's expression less face and plump appearance hasn't impressed many. At the same time Dimple looked more like an item bomb all the time. They fill the screen well and brought nice glamour to songs, but acting wise, don't ask.

Other actors like Mukesh Rushi, Asutosh Rana and the lady gang like Pavitra Lokesh are regular. In the comedy department, everyone like Saptagiri, Posani, Brahmi, Prithvi, Viva Hirsha tried their full best but succeeded only to certain level. They are not disappointing, but could have done more.

Off-Screen:

Vasu Varma picked up a 'Kichdi' story written by Sri Venkateswara Creations. The film shows many shades of other hit films like Maryada Ramanna, Ready, Mr Perfect and others. While his directorial abilities are good, somehow he failed to sustain the emotion in any crucial scene. On the flip side, the story gets twisted in whichever way possible in glitchy manner, leaving us wondering what Vasu Varma is doing.

Chota.K.Naidu's cinematography is amazing. He's the big saviour of the film as he captures snow-capped locales of Europe very stylishly for the first half. Also the way he has shot some chases, action episodes and songs is terrific. If not Chota, the film's fate would have been something else. Other departments have done good, and choreographers helped Sunil again.

The PLUSES:

Sunil

Comedy throughout

Songs

The MINUSES:

A remix story that is tried and tested

Routine dragged second half

BREAKDOWN:

Krishnashtami is boasted as a superb masala commercial entertainer that is crafted for a big hero. But big hero's will not accept this film as it happens to be a 'kichdi' of stories made from many films. At least an innovative screenplay would save such films, but actually Vasu Varma and Dil Raju felt that routine is enough for audiences.

Film starts with Sunil, an NRI, saving someone in the USA. It proves a point that even after going to USA, Indians behave like Indians only. (Read this way: Even after scoring many flops with routine movies, some makers think that audiences are liking routine only). And then hero starts his journey back to India, lands in Europe, love brews with a new girl Pallavi (Nikki) and he tries to impress her with fun. Her Pallavism episodes are fun and hilarious sometimes. Posani and Saptagiri are loud but still they steal the show for sometime. Then movie cuts to India, introducing new characters and setting up base for a terrific story. That's Interruption. Interval is pronounced as Interruption inside this film.

While the setup could have become bigger and interesting in second half, however, the Sri Venkateswara Creations story writing team felt that audiences can't take much story. They cooked something like Maryada Ramanna in the first half where villains are waiting from years to kill an enemy and now they extended it with Ready kind of house drama. As the villain's family is hell bent on killing someone, twists after twists, they reveal some interesting stuff. Suddenly the movie shifts to Goa (they have actually shot in Bangkok) and it's an EVV Satyanarayana kind of funny climax that follows. Villains change, hero happy, movie ends!!!

By mixing so many stories, Dil Raju made nice decoction of a new story, but actually audiences know every single frame of it. However, some comedy scenes in first half and second half have saved the film to certain extent. But the film's second half would have been better to make it an interesting watch. Living up to the name of a commercial entertainer, the films makes sure that it will make audiences laugh, but will not give any new experience. That's why Dil Raju himself has given 3.25 to 3.5 rating other day.

Fate depends on how far people like Dil Raju believe in Dil Raju, and Sunil will impress.

Final words: Routine Ashtami

Producer PVP and hero Adivi Sesh need a hit badly. Never these two got a real hit and they are hoping for best on Kshanam movie. Meanwhile, Adah Sharma and Anasuya also need a hit and a break. Will all these people get what they want?

The CONTENT:

Some goons attack Swetha (Adah Sharma) and she falls into coma. After 5 months, scene shifts to USA, as it is revealed that Rishi (Adivi Sesh) broke up with Swetha 4 years back and still living in her dreams. Suddenly after getting a call from Swetha now, he packs bags to India. Once hes here, she seeks Rishis help to find her missing daughter Riya. So, what happened to Riya in fact? The pointers lead to suspecting investigating police personnel, Swethas husband (Satyadev), brother-in-law (Ravi Varma) and others. You

The EFFORT:

On-Screen:

Adivi Sesh tried to play subtle, but hes not convincing in many scenes. He tried to play a romantic and energetic lover, a disappointed lover and then a lover on revenge-mode. But in all the three types of scenes, he sounded pretty same. One wonders how come his character is so intelligent and finds out every single clue easily, while he has neither any police or forensic background.

Adah Sharma has single emotion through out the movie. Wearing couple of bruises on the face, she portrays the same artificial expression. Once in a while, we feel like shes trying to act, but wonder whats problem with her. Except her big round eyes and thick eye lashes, never she made use of her good looks to emote well.

Probably Anasuya would have thought that this is the perfect ever negative role she could use to make her debut. Shes a police officer, an ACP rank cadre, and still she carries free flowing long hair like those models in hair oil ad. Never she wears police dress, because her fitness levels will not make us believe that shes a police in the first place. Acting wise, Anasuya needs to improvise a lot and uttering dialogues without any expression on face is uneasy for audiences to accept.

Satyam Rajesh is the complete show-stealer in the movie as he plays the role of ACP Chowdary, with style. His toned dialogue delivery without a touch of comedy and his serious body language has stunned everyone. Comedian Vennela Kishore also tried similar stuff, but failed miserably. In no scene, his Muslim role of Babu Khan looked believable.

Other actors like Ravi Varma, Satyadev and others did a simple job, nothing to boast about.

Off-Screen:

Newcomer director Ravikanth Merepu got a simple script in hand, which is inspired from Hollywood movie Following and then coated with the tone of Maheshs 1 Nenokkadine movie. However, he failed to create impact with the flash back love story and the breakup scene, such that audiences could understand the deep connect of heros character to her ex-lover. Also, leaving many loopholes in thrillers will leave audiences disappointed in the end. Will any lover (at least in a movie) accept the offer of sex on a parting note? For such scene, the emotions between lead pair should have huge strength. Also thrillers should have huge twists (most recently Malupu movie), but here the narrative goes flat.

International technician Shaniel Deos cinematographer is the biggest saviour of the film. Because of his camera work, the Hollywood feel has come easily. Coupled by nice Color Grading during Digital Intermediate (DI) process, film sounds like something shot with hefty budget, though the production cost in below 1.5 crores.

Dialogues by Abburi Ravi are good at parts. Thrillers need some hook lines, such that people will connect to characters well. Coming to music, Sricharan Pakala has tried new but he failed to identify where the re-recording should actually lift movie to new level. Songs are okay, background score should have been better.

The PLUSES:

Overall plot

Satyam Rajesh character

The MINUSES:

Huge drag in starting 20 mins

Expected climax

Linear and twist-less thrills

BREAKDOWN:

At one look, Kshanam will sound like a Hollywood movie (of course, the base plot of kidnapping a kid and erasing the traces of that kids existence from mother are lifted from Hollywood only), but while the logics are being concluded, it sounds like a typical Telugu masala film.

First half of the film is literally the trailer of the film itself. Suddenly a housewife Swetha whose daughter goes missing, calls her ex-BF Rishi and he lands in Hyderabad (India) to solve the crisis. With this question on, the director has narrated us a flashback love story, which we expect it to be kick ass and highly romantic, but there is nothing such here. Everything is flat in narrative, with strong bonding between lead pair never felt by the audiences. Cut to present, Rishi inquires about the kid at every place, asks every person and suspects every little thing, he too starts feeling that Swetha has some traumatic disorder where she is imagining that she has a kid. That leads to an expected twist, (interval block) and the director promises a superb second half at least.

As second half opens, unknown miscreants start targeting Rishi and try to kill him. Suddenly a car garage businessman Vennela Kishore becomes a good-boy-good-samaritan kind and vows to help the hero. While the graph is okay till now, some high twists are expected at least. But with introduction of other characters and their fancies, film sounds dragged. By the time Anasuya drops us a hint that shes clicking heros picture, the whole climax is understood. Still it may give some food for thought, as we know who, but how and why are the things we should know. Those reasons for Riyas kidnapping might sound logical, but there is neither a strong emotion nor any conviction behind them.

Narrating a thriller needs some love for twists and turns. Problem with Kshanam is, everyone understands right from first frame that heroines husband is the culprit. Her husbands brother is another villain. With every clue opened, how this thriller will actually thrill? Film may sustain at box office until a happening film arrives, but will not see a long run due to its cliched story, missing of cinematic elements and more importantly some interesting performances.

Final words: Predictable Kshanam.

Director Nandini Reddy is trying her level best to make a strong come back after the flop show of Jabardasth, while hero Naga Shourya is also waiting for a right break to happen. Lets see how Kalyana Vaibhogame actually is.

The CONTENT:

Shourya (Naga Shourya) is a game designer who wants to fly to USA as his new game-design project gets approval. But his ailing grand mothers last wish happens to be, seeing him get married. His parents (Aishwarya and Raj Madhiraj) starts looking for matches. Divya (Malavika Nair) on the other hand is a medico, whose parents (Rashi and Anand) also looking for suitable matches. But Divya wants to leave for USA and study MD there on scholarship. Both Shourya and Divya meet each other as parents arrange a match-making ceremony for them. Initially they reject, but later they come up with the idea of marrying and getting divorced in 1 year with mutual consent. What happens thereafter is rest of story?

The EFFORT:

On-Screen:

Naga Shourya tried to be little original this time, but there are traces of him imitating other stars to get some body language. Hes good at times, but sometimes leaves you with a blank face. Malavika Nair is a total revelation. If you dont compare her role in that of Yevade Subramanyam with this, definitely youll like her. Though shes not gorgeous, somehow she steals the show.

Aishwarya and Raj Madhiraj as heros parents brings laughs. They try to be simple and sweet, and their dialogues create the emotion, while director failed to sustain it for long. Former hero Anand has not much to do with his role, except uttering a loud dialogue in one scene. Raashi also sounds boring with her dejected looks, but in two emotional scenes, she got some dialogue and scope to show her talent.

All other actors like anchor Hemanth and others are just present to fill the screen and utter dialogues given by the director.

Off-Screen:

Director Nandini Reddy hasnt come out of Ala Modalaindi hangover as she stuffed similar elements here too. While her direction sounds little lazy and weak at times, somehow she failed to maintain a pace of emotions too. Actually she didnt touched any sentiment to a depth. Whether it is parents forcing their likes on children, or parents giving too much freedom to kids, Nandini didnt went inside.

Kalyan Koduris music is master asset for the film as it helps even simple scenes get some elevations. Other departments have done well, including camera and art. Dialogues of Lakshmi Bhoopal are okay at parts, emotional content lacks depth and comedy pieces sound like YouTube comedy short films which he is writing often these days.

The PLUSES:

Naga Shourya Malavikas presence

Couple of songs

The MINUSES:

Lag in both 1st and 2nd hours

Predictable story dialogues too

Routine Ala Modalaindi climax

BREAKDOWN:

As Nandini Reddy promised that shes coming up with a kick-ass take on marriages of present day and the past, everyone is looking forward to watch that brilliant piece of advise and guidance on marriage. But the film sounds like a rehash of movies like Happy, Ala Modalaindi and Nenu Sailaja in parts.

Film starts interestingly as usual with a hook point, and then hero Shourya starts us giving a lecture why anyone shouldnt get married. At the same time Malavika Nairs character has genuine touch as she wants to study more in USA rather always succumbing to pressure from her dad. Though you expect some love and huge affection from doting mother Raashi, our heroine never gets one. Heros parents are for comedy scenes in between. After rejecting each other in a match-making ceremony, they get married, only to give us an interval bang that they will file divorce. Interval bang sounds much like a TV serial ad-break. Okay, thats creativity.

Second half picks up on known note, as hero and heroine should now fall in love with each other. Here every scene goes predicting where hero acts like genuine husband when heroines parents come home and heroine doing the same at heros house. Cinema is to be stretched for 30 minutes more, right? So, bring another girl to whom hero falls and thereby making heroine jealous. Nandini Reddy did exactly the same. That new girl should make hero realise about his love for heroine, right? Nandini Reddy exactly did the same. What about pre-climax now? Dont panic, weve roped in Rashi and Anand, Nandini Reddy gives few scenes to them. What about Climax now? Yes, weve Ala Modalaindi chaos comedy. Nandini Reddy did exactly the same.

What about the result? Nandini Reddy did exactly the same like Ala Modalaindi? No way. Only multiplex audiences might enjoy this film, but not all youths. With whole second half reminding Ala Modalaindi, family audiences may feel unhappy. The films trade depends on how good other releases like Shourya and Guntur Talkies will be.

Final words: Nothing much vaibhogame inside

Director Praveen Sattaru has won name for himself as a different film maker, but never his films achieved that commercial success. With Guntur Talkies

The CONTENT:

Giri (Naresh) lives a worst life with his wife eloped with someone and he working at a medical store. In a similar colony, there is Hari (Siddu J) who lives much more worst bachelor life, maintaining an affair with a neighbourhood aunty and then trying to impress her sister Suvarna (Rashmi). These two work at a medical shop owned by Madhusudhan (Gundu Sudarshan). At nights, Hari and Giri steal household items from locked houses and sell it in a market. Eventually they both end up stealing 5 lakhs each and sets individually to Goa and Chennai. However, some goons catch them next day for a missing drugs box. Now, police too chase these two petty thieves. Also a Kadapa faction batch and Revolver Rani (Shradda Das) too chase these two. Rest of chaos is the second half of the film.

The EFFORT:

On-Screen:

Siddhu Jonnalgadda improvised his timing and his comedy in first half is a huge asset for the film. At the same time, Nareshs flawless timing and performance as an aged thief with huge desires is stunning. Anchor Rashmi is just an eye-candy, while Shradda Das is equally another eye-candy with couple of dialogues to her. Gundu Sudharsan, Mahesh Manjrekar, Raghu Babu, Raja Ravindra and others bring huge laughs and sometimes bore you too.

Off-Screen:

Director Praveen Sattaru picked up a chaos, interlinked, twisted story with all known elements to score a commercial hit it seems. However, his back and forth screenplay is interesting to watch. He never missed the masala part in the film and also explored all actors well.

But the big elevator of all the average scenes in the film is composer Sricharan. His background score is terrific for both crime and romantic scenes. Songs are good but not so impressive. Ram Reddys cinematography is also adequate. Other departments worked well.

The PLUSES:

Non-stop comedy

Huge glamour quotient

The MINUSES:

Lack of any innovative ideas

Cheap adult stuff

BREAKDOWN:

These days we have seen enough about crime comedies induced with chaos and Guntur Talkies also treads on similar path. But the execution is little smooth, funny and brings heavy laughs. With total C grade stuff inside, definitely this is going to be money spinner in mass centres.

Movie opens in a slum like colony, where Giri and Haris lives are portrayed in the worst way possible. Maybe thats how some people in slums with no education, perfect life and money, lives. Praveen Sattaru succeed in bringing huge fun through some realistic scenes. As Giri tries to survive the tragedy left by his wife and Hari trying to impress Suvarna with his cheap advancement, the movie sounds like a perfect Malayalam B-grade flick sans Shakeela. No doubt, Rashmis glamour, Siddus overrated jokes, sex maniac Shradda Das banking only on perverted sex and overall cheap adult stuff brings down the roof. Interval card says, Posukoni Randi, (Go piss and come) and thats how the films vulgarity levels are, sorry this is called dark comedy we say!!!

Second half is all about how a mafia Don (Mahesh Manjrekar), cool and funny police SI (Raja Ravindra), Shradda Das and others chase this Hari and Giri. Director made sure that either there is some adult comedy, some verbal blasts and huge laughs through out. While the movie gets little predictable in the end, the chaos comedy we see in some typical Hollywood crime-comedy films brought heavy laughs. By the way, how crime comedy films end? Those who chase the heroes die and the heroes end up with huge bounty accidentally. Whether films takes place in Hollywood or Guntur, endings are the same guys.

Guntur Talkies is neither a brilliant film nor has any National Award winning elements. But the film is all about masala, over sized melodrama, ruggedness, chaos and mass elements in each scene. That will help the film amass decent figures, recovering the investment and pocketing profits.

Final words: Guntur Oora Masala Talkies

Hero Manoj and director Dasarath are looking forward for a hit film, as most of their recent films havent impressed either critics or audiences. Here comes their Shourya giving hope with its thrilling trailer.

The CONTENT:

A Harvard graduate Shourya (Manoj) and an MPs daughter Nethra (Regina) fall in love. As expected, Nethras family doesnt approve her love, which forces the love birds plan to relocate to USA and live there. On their way to airport, they visit Lord Shiva temple and spend a night there. By the time Shourya wakes up, he finds Nethras throat slit. Afterwards police take Shourya into custody, and the rest of film is an edge of seat thriller. What happened to Nethra, and is Shourya the real culprit forms the crux of story.

The EFFORT:

On-Screen:

Manchu Manoj kept his usual effervescent nature at home this time and tried to play a subtle on. He has also grown weight to look chubby and sound like a Harvard graduate. But it takes for a while to digest his characterisation. Though the whole story revolves around Reginas role, its sad that she is limited to few scenes. Apart from not giving scope for her to emote well, there is neither any glamour touch to her role. Prakash Raj shines at his usual best, while comedians like Prabhas Seenu and Brahmi irritated too much.

Off-Screen:

Deviating from his usual style, Dasarath picked up a thriller movie this time. While people expect some kind of romantic emotions and fun, the movie is devoid of all such. Also Dasarth lost that midas touch, if we have to say in etching brilliance out of simple scenes. His dialogues along with writer Kishore are partly impressive.

Dasaraths brother Veda delivered average background score for this thriller while the film should have something thrilling and hair rising. But his songs are good though they are placed at wrong times in the film. Other technicians did their best.

The PLUSES:

A new-type thriller

Manojs sensible performance

The MINUSES:

Comedy in second half

Slow narrative

BREAKDOWN:

Taking up thriller stories itself is a big challenge and Dasarath made a terrific attempt with his choice of script. But what upsets film lovers is, he failed to adapt the racy pace needed to narrate such stories. He picked his usual style of slow narration like a Santosham and Sambaram.

First half begins with heroines throat slit and that sets whole pace to a new level. But the momentum is not maintained by Dasarath with him showcasing more love towards comedy and romance without focusing on the thrill elements. Boring love track in the first half actually tests patience of audiences. Only after Prakash Rajs entry, the film gained that missing momentum. Interval bang is a stunner and raises expectations on second half.

While the second hour is exciting, what acted as a big spoiler is the unwanted comedy put on by Brahmi. Though Prabhas Seenu succeeding in bringing heavy laughs, sometimes his antics are loud and irritating. Heros drama to teach a lesson to villains is interesting. Though we cant find pure logic in the explanation about man killed in Delhi zoo, it gets well related to story. Though story is good, an interesting screenplay would have done huge favor for the film.

Shourya is an intelligent script that is marred by few unneeded elements. For such thrilling stories, there should be racy screenplay like in Kshanam and Express Raja. Thats where Dasarth took the yorkers and failed to through the bouncers. On a whole it looks like him trying all bookish shots on a flat track, though there are fours and sixes occasionally.

Final words: Intelligent, yet slow Shourya

Nara Rohiths Tuntari movie got more hype than any other film of his in the recent past. And with director Kumar Nagendras Gundello Godari still having that good impact on audiences, expectations soared about this flick. That too with the film being remake of Maan Karate, a story written by AR Murugadoss, its expected to run well at theatres. Let us see how this is.

The CONTENT:

A group of five friends(Vennela Kishore, Poojitha and others) get hold of a future copy of a newspaper that will be released 4 months later. Finding that one Raju will win a boxing tournament and 5 crores cash-prize, this friends group then finds Raju (Nara Rohit) in Vizag who is a jobless rash-living youth. They set up him to become a boxer by paying him monthly salary. In the mean time, Raju falls in love with Siri (Latha Hegde) and the friends group helps him. Finally Raju enters race and wins all games, only to clash with Killer Raju (Kabir Duhan Singh). Kishore and friends group then get a doubt if they found wrong Raju or their Raju (Nara Rohit) cant beat Killer Raju for sure. What happens then is the story.

The EFFORT:

On-Screen:

Nara Rohith tried his hand at mass dialogue delivery, but somehow failed to get that body language. While his comedy dialogues are good, a timing in his delivery is missing. At the same time, his bulging tummy didnt made him look like a hero material. But his trademark voice is the biggest saviour of all. Newcomer Latha Hegde has to learn a lot, though she looks beautiful. Except in couple of songs, she failed to pack a punch. Other actors like Shakalaka Shankar, Vennela Kishore tried their best to bring laughs. Rest of the cast is just okay.

Off-Screen:

Director Kumar Nagendra has chosen a good script, but what knocks us is the he executed. Probably his budget limitations hasnt allowed him to chose some best actors. Had he packed the film with set of finest actors, then the result would have been little better.

Sai Karthiks songs are another average treat, while he rocked with background score as usual. And the art-direction of the film is good in some places like songs, while other scenes looked flat. Rest of the departments did well.

The PLUSES:

Story

First half comedy

The MINUSES:

Predictability

Lack of hair rising moments

BREAKDOWN:

Definitely this is an ordinary story from AR Murugadoss, with many logics going for a toss. But the way he has woven a big idea around a simple story is amazing. However, when the story is transformed to screen, some wow moments are needed to make the film splendid. Thats what missed in the original, but Kumar Nagendra havent improvised it here.

Movie starts on interesting note, as the fantasy element fantastically takes over us. As a sage predicts a future very differently and the group of friends suspecting it, and then believing it due to various happenings, it all sounds interesting. There enters Nara Rohit, promising a racy mass treat ahead. The films graphs rises and falls due to slow pace, but the comedy quotient keeps us on toes. Interval bang has a small twists, which sounds good, but not superbly exciting.

As the film got into serious mode in second half, some twists and highly emotional moments are expected to stun us. But the love track of hero with heroine disturbs us a little. Then the songs that dont actually create any interest are much more barriers for the movies flow. And when the movie gets to the main act, its villain Kabir Duhan who dominated all the way with his look. Final boxing ring fight creates certain interest, but it lacked that quintessential drama. Finally all these flat scenes make the climax finished and people yawn.

Biggest doubt one would get after watching the film is, Why is this film named Tuntari?. Only Nara Rohith and director Kumar Nagendra could answer that, because there are no such Tuntari acts he actually does in the film, though its a mass and B-C centre centric character.

As there are no other happening movies at box office, Tuntari will get a week happily. And if the Tamil dubbed movies releasing next week fail to click, then Nara Rohith will have one more week. Only to pass the time, this Tuntari will help you, but not to entertain you amazingly.

Final words: Only boxing gloves, no punches

Hero Sundeep Kishan is awaiting for a hit film to fall in his lap ever since he proved his mettle with Venkatadri Express. Somehow things are not working out in his favour and hes been scoring flops. Today his latest movie Run is hitting cinemas, and this being a remake, he pinned huge hopes on them. Let us see how the film is.

The CONTENT:

Sanjay (Sandeep Kishan) takes loan from a loan-shark (Bobby Simha) with the help of his friend Mani (Praveen). At the same time, he is in search for a job as his future father-in-law (Kasi Viswanath) rejects to give his daughter Amulya (Anisha Ambrose) in marriage as hes jobless. Finally the loan repayment deadline comes to last day and Sanjay has hefty tasks in front of him. He has to pay loan, save his love with Amulya and also face a police case from Amulyas father. What happens to this final day is the rest of story. You have to watch the comedy of errors, chaos and confusion on silver screen.

The EFFORT:

On-Screen:

Sundeep Kishan shows ease in his role, but still he needs to improvise his expressions a lot in simple scenes. Also his comedy timing needs to be improved a lot. Anisha Ambrose sizzled in a minuscule role and there is nothing she could really showcase in terms of acting. Bobby Simha as a villain scored 100% marks. Hes to be watched out in the future. But the make-up guys should have maintained consistency with his moustache. Brahmaji as SI Padmavathi is good but his comedy havent created fun. Posani succeeded partially in bringing laughs. Tamil actor Mahats role is boring. Others did the job as per the script.

Off-Screen:

Director Ani Kanneganti seems to have picked up the remake frame-by-frame with nothing new in terms of screenplay or scene conceiving. He infused lot of confusion with his mediocre direction as we fail to understand how each character reacts in a scene.

Sai Karthiks background score is good, but it has become a routine for his to use similar strings work all the time. Forget about songs. Cinematography is okay at parts, in a song, but crucial chase scenes sounded average. Same case is with dialogues as they are good at parts and boring at few scenes.

The PLUSES:

Sundeep Kishan

Villain Bobby Simha

Interesting script

The MINUSES:

Boring narration

Dragged first half

Silly climax

BREAKDOWN:

As they have publicised this Run as remake of Tamil superhit Neram movie, many thought that there is some unknown element in this film that will pave way to become a blockbuster. In reality, this genre is being explored tirelessly these days in Tollywood, so the film sounded nothing new.

Run starts with our hero explaining about his debt, his girl friend and his present situation in back and forth narration. Right from first frame, the film sounded dull except for the villain Bobby Simhas entry. Somehow many actors looked like misfit casting and we have to blame director for that. However the small budgeted outlook of the film is clearly evident. But as the film goes without many awe-inspiring and hair-rising moments, simple comedy and flat narrative, audiences will wait if something happens big in second hour at least after heroine gets kidnapped.

As expected, second half is another boring flat narrative, as the expected highs are toned down and unneeded comedy is forcefully inserted. All ends get closed for the hero, he suddenly comes up with bad idea and there is no clue why he failed to execute it and film takes another turn. And without the involvement of hero, the film takes its own course through other stories and comes to a conclusion. Smoking his cigarette into air and telling us that he will not think about unsolved ends, which by now audiences have also stopped thinking, Sundeep finishes the narrative.

There is a dialogue in the film, Some times are good times, some are bad times, and weve to take them both. In that way, some films are good, some are and there is no need to to complete the sentence. The doubts that still haunt us are whether cinema took place in Vijayawada or Hyderabad? All the place names sound like Hyderabad and the film has Bezawada Dance in the end, what for this is? Another mind blowing example about the taste of film is, each time a phone rings on silver screen, you cannot find out whose phone it is, because each time we hear different ringtones.

Final words: No need to RUN to theatres, watch peacefully at home on TV later.