Suresh Kavirayani

in Cinema Express

Naveen Polishetty has created an image where his films guarantee entertainment, and he once again proves it with Anaganaga Oka Raju. Though Maari is the director, Naveen’s involvement in the dialogues and screenplay — as mentioned in the title cards — makes it evident that he has a strong hand in shaping the film. He knows how to keep the audience engaged without letting the film feel boring.

in Cinema Express

There are a few laughs here and there, but overall, the film fails to impress and falls short of Kishore Tirumala’s usual standards. Many jokes are lifted directly from social media instead of being organically written. Sunil’s flashback 'Kerosene' episode is in poor taste and reflects badly on the director’s judgment. A routine story is presented in a very weak and uninspired manner.

in Cinema Express

Visually, the film is pleasing, with neat cinematography that captures both urban spaces and scenic locations effectively. Vishal Chandrasekhar’s music, however, turns out to be the film’s weakest link, with songs that fail to leave a lasting impression. That said, the sharp dialogues more than compensate for the lack of musical highs. In the end, Nari Nari Naduma Murari stands tall as a clean, laugh-out-loud entertainer that understands the pulse of festive audiences. Without resorting to forced drama or over-the-top gimmicks, it delivers genuine humour driven by writing and performance. For Sharwanand, it marks a confident return to form, and for audiences, it offers exactly what a Sankranthi release promises — unpretentious, wholehearted entertainment.

in Cinema Express

While motocross forms the core of the film, director Abhilash Reddy has also woven a strong father-son emotional drama.

in Cinema Express

The first half of the film is engaging and impactful.

in Cinema Express

The standout performer is VK Naresh, who steals the show with his comic timing, emotional depth, and entertaining references — including a Pokiri-style moment and a Balakrishna imitation.

in The New Indian Express

The standout performer is VK Naresh, who steals the show with his comic timing, emotional depth, and entertaining references — including a Pokiri-style moment and a Balakrishna imitation.

in Cinema Express

Coming to the performances, Akhil Akkineni delivers a sincere performance and shows noticeable improvement over his previous films.

in The New Indian Express

Sukumari, debut director Bharath Darshan fails to translate that idea into an engaging film.

in The New Indian Express

The director uses a slick, trendy editing style to introduce the film, especially in the first half, where he focuses on Siddhartha's emotional state following his betrayal. The editing is fast-paced, which might appeal to younger audiences. However, as the story progresses, the film loses its initial energy. The second half feels too predictable, formulaic, and repetitive, and the emotional intensity that should’ve carried the film is largely absent. The conflict never reaches a peak, and it’s hard to get invested in the characters’ struggles. Even Priyanka’s character, Trisha, who should have been key to the story, remains unclear and chaotic. She breaks up with Siddhartha, then returns to him, only to switch back to Mansoor — her role is left unresolved and confusing.

in Cinema Express

The narration is painfully slow, with several dragged scenes and a preachy tone. There’s nothing new being said about family bonds, a theme that Telugu cinema has explored many times before, and that too, in a far better way. The cameos by Arjun and Dhruv Sarja feel completely forced and disrupt the emotional flow. Prakash Raj once again delivers dialogues about family values, but they feel repetitive and familiar.

in The New Indian Express

Finally, Sri Chidambaram Garu is a pleasant rural drama narrated with simplicity and sincerity. Though the second half has a few hiccups, the film feels like a breath of fresh air amid routine violent and mass masala entertainers. With no double-meaning dialogues, abusive language or violent action scenes, it remains a clean and wholesome watch. Commercial success aside, the film stands out as a refreshing effort powered by new talent and honest storytelling.

in Cinema Express

Overall, Ugly Story attempts to explore a bold and psychologically intense subject. Pranav Swaroop succeeds, to an extent, in presenting an emotional drama, backed by solid performances from Shree Nandu and Avika Gor. With tighter writing and a more engaging story, the film could have been far more impactful. Still, it remains a watchable psychological drama, with certain bold choices.

in Cinema Express

By the time Akhanda 2: Thaandavam reaches its finale, what remains is a film overflowing with ambition but underwritten at every turn. It wants to be devotional, patriotic, mythological, and mass-heavy all at once. In trying to achieve everything, it spreads itself thin and ends up offering very little that feels cohesive, original, or emotionally gripping. What survives are a handful of high-voltage moments tailored specifically for Balakrishna’s dedicated fan base — moments that do deliver, even when the rest of the film does not. In the end, Boyapati’s latest collaboration with Balakrishna becomes a noisy, chaotic swirl of familiar tropes, divine imagery, and patriotic fervour. There are flashes of the old magic, but they flicker within a narrative that never finds clarity or balance.

in The New Indian Express

The problem, though, is that the humour follows a very old-fashioned template. There's hardly any freshness in the writing or the situations. The father-in-law and son-in-law track could have been a riot, but the director handles it in a cliched manner. Interestingly, the second half picks up better than the first, especially with Vennela Kishore’s entry as Dr Bramaram. The story mostly revolves around Vikranth, Chandini, and Muralidhar Goud, while the others appear largely for comedic relief. The last half hour, which was intended to be emotional, leaves a weak impact. Once the father learns about Chaitanya’s condition, the drama should have turned intense. But the writing falls short. Had it been better, the film would have carried a stronger punch. Still, he deserves credit for presenting a delicate topic with so sensibility.