Srivathsan Nadadhur

in The Hindu

Couple Friendly may not boast a novel plot, but its narrative rhythm is refreshingly mature and modern.

in The Hindu

The film charts the journeys of three flawed characters, who make contrasting choices to overcome their hopeless circumstances.

in The Hindu

Between the silly humour, songs that spring out of nowhere and a romantic track with zilch chemistry, you are expected to feel for the uncle who has sacrificed everything for Ram. After introducing a pivotal character before the intermission, the film shifts abruptly to Ram’s ‘heavy’ past (that hams on and on), only for it to be diluted by a series of inconsequential comedy sequences. Apart from tirelessly loving the girl and being occupied at work, Ram keeps lamenting about his past, sobbing scene after scene, drowning in self-pity. Satyabhama is the pampered daughter of a business tycoon whose only job is to motivate Ram and who dreams of marrying him someday. Fights, songs and emotions find their way into the narrative haphazardly, and several conflicts are conveniently left stranded.

in The Hindu

Dilruba’s problem is its lack of focus and purpose. The characters aren’t strong and the weak, bloated screenplay does not help. The subplot involving the drug lord and Vicky is exaggerated to unbelievable proportions, and the film’s core idea (the ex helping Siddu and Anjali reunite) takes a backseat. The climax, which stereotypes Rayalaseema’s faction wars, adds to the chaos.

in The Hindu

Like many Nara Rohith films over the years, Sundarakanda has an issue — it has an interesting idea, but turns out to be an inconsistent film. His static screen presence continues to be a problem; his performance, be it in the emotional scenes or dance sequences, do not land. The indifference makes it quite difficult to care for his character.