HIT: The Third Case
(2.5/5)
The first half unfolds in a fairly slow and predictable manner, with the narrative picking up some momentum as it heads toward the interval. Nani’s solid performance, sharp characterization, and effective one-liners are the major strengths that keep things afloat.
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The second half introduces a “Squid Game”-inspired setup that brings in some cinematic high points, especially from the pre-climax to the climax.
​While these portions are engaging, the overall writing lacks surprise, relying more on mass moments than genuine twists. The predictability of the plot prevents it from truly standing out.
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On the technical front, the production values and cinematography are impressive, lending the film a slick visual appeal. However, the music fails to make an impact, and the songs act as speed breakers, disrupting the film’s flow.
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Nani delivers a stellar performance and anchors the film with intensity. When he said Hit 3 is not for kids or families, he meant every word — the film is brutally violent, filled with gore and strong language, marking a bold shift for a mainstream star.
While it doesn't quite meet the expectations, Hit 3 is a passable watch, thanks largely to Nani and a few well-executed cinematic moments.
Good Bad Ugly
(2.75/5)
The first half is decent. It’s pure fan service for Ajith fans with many references and elevation scenes. There isn’t much story, and the repeated action blocks feel a bit stretched. However, a few mass scenes—especially the pre-interval to interval block—are well done. It doesn’t bore and keeps things fairly engaging.
Good Bad Ugly is a full-on mass entertainer that works in parts and mainly targets Ajith fans.
The second half starts strong with a flashback but doesn’t offer much after that. It starts to drag and feels repetitive. While some elevation scenes are enjoyable and it's nice to see Ajith in his vintage mass avatar, the film lacks a strong story and emotional connection.
The movie relies heavily on build-up scenes and action blocks, which get tiring after a point. The background score is okay but could’ve done more to lift the scenes. On the bright side, the production values are solid.
It may not meet all expectations but is still a better outing from Ajith in recent times. Worth a watch for the mass moments and Ajith’s screen presence.
Game Changer
(3/5)
10 Jan 2025. The first half of #GameChanger delivers with its grand visuals and impactful moments. @MusicThaman's background score adds to the intensity, and the IAS scenes bring depth to the story.
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The interval block keeps the audience hooked, promising an exciting second half. Ram Charan’s performance and the stunning production design are definite highlights.
The second half of #GameChanger takes the film to the next level, delivering a perfect mix of emotional depth, intense drama, and thrilling moments. Shankar’s masterful storytelling and socially relevant themes shine, while the high-octane climax leaves a lasting impression.
Ram Charan is outstanding as Appanna, showcasing a powerful transformation with exceptional acting range. Thaman’s pulsating background score and the grand production design enhance the cinematic experience, with seamless visuals and captivating cinematography.
Daaku Maharaaj
(3.5/5)
Daku Maharaj rides high on style, swag, and a dose of raw intensity. Set against the rugged backdrop of rural badlands, the film blends folklore with modern-day action, creating a massy entertainer that delivers more than it promises.
Performance-wise, the lead actor steals the show with his fierce screen presence and powerful dialogue delivery. His transformation into the feared yet oddly charismatic Daku Maharaj is both believable and compelling. The supporting cast does their job well, especially the antagonist who adds weight to the conflict.
The first half is pacy with some punchy moments, while the second half dips slightly with predictable sequences. However, it picks up towards the climax with an emotionally charged payoff. The cinematography stands out — dusty landscapes, dramatic slow-mos, and stylized action sequences are executed well.
Music and BGM amplify the mood, though a couple of songs feel like speed-breakers. The film shines in its mass elevation scenes and whistle-worthy moments, especially for fans of larger-than-life storytelling.
While the film isn't free from clichés and could've used tighter editing, Daku Maharaj is still a solid one-time watch — especially if you enjoy gritty action dramas with a desi flavour.
Verdict: A stylish rural action drama with massy highs and a strong central performance. Worth watching for the aura of Daku Maharaj!
Jabilamma Neeku Antha Kopama
(3/5)
#JabilammaNeekuAnthaKopama is an engaging watch with a refreshing storyline and commendable performances. The film does a great job of balancing emotions, drama, and humor, making it enjoyable for most audiences. The lead actors deliver solid performances, and the cinematography enhances the storytelling.
However, the pacing feels uneven at times, and some scenes could have been better executed to maintain the emotional depth. The music is pleasant but not particularly memorable. While it has its flaws, the film still manages to leave a lasting impression. Worth a watch if you enjoy light-hearted yet thought-provoking dramas.
SankranthikiVasthunam
(2.5/5)
The first half is decent! It’s a typical family entertainer in Anil Ravipudi’s style. Some comedy scenes are funny, but a few feel a bit too much. Still, it doesn’t get boring. Bulli Raju steals the show!
Overall, Sankranthiki Vasthunam is a timepass movie made only to entertain during the festive season.
The film follows a familiar pattern like Ravipudi's F2. Comedy works in parts, but sometimes feels loud and irritating. The production values look a bit cheap, and the story isn’t strong. But if you ignore logic and story, the film still entertains—thanks to Venkatesh’s performance, the Bulli Raju character, and good music.
It’s a decent family movie for the festival time.
Vidaamuyarchi
(2.75/5)
The first half is decent. The movie starts slow and takes some time to pick up, but once the plot gets going, it becomes interesting with a few surprising twists before the interval. The director stays focused on the story without adding unnecessary commercial elements.
Vidaamuyarchi is a mediocre action thriller. It has a good storyline and some nicely done twists, but the narration is very slow and feels tiring at times.
The film looks stylish and the production quality is good. Anirudh’s music is okay but doesn’t stand out. Ajith acts well, but the film doesn’t give him much space to show his star power.
Overall, just an okay watch.
Thandel
(2.75/5)
The first half is passable. There are a few nice feel-good moments, and the songs with background score are the biggest strengths so far. The music looks great on screen. But the pace is slow and the drama doesn’t really pick up until just before the interval.
Thandel is a decent love story that works best when it focuses on the romantic and emotional moments between Naga Chaitanya and Sai Pallavi. But it gets tiring whenever the film shifts to other side stories.
Both Naga Chaitanya and Sai Pallavi give strong performances, and Devi Sri Prasad’s music is a big plus—probably his best in recent times. However, the weak writing and slow narration make the film feel stretched in parts.
The movie has a few nice moments throughout and a well-done final 20 minutes. But the India-Pakistan episode in the second half feels very forced and breaks the flow badly. You can see the effort from the lead actors, and they give it their best, but the writing only supports them occasionally.
Dragon
(3/5)
Dragon is a well-made entertainer with regular fun moments and a touching climax.
The first half starts slow but picks up halfway and sets a good tone. The second half is more entertaining and ends with a heartwarming climax. While the writing feels a bit convenient at times and some parts feel a little long, the film never gets boring.
The plot is simple and predictable, but the strong writing, good production values, and nice music keep the film engaging.
Director Ashwath and Pradeep deliver another relatable film with a universal appeal. It’s a breezy and fun watch!
Mazaka
(2.5/5)
The first half is passable. The screenplay feels very routine and can be irritating at times, but some comedy scenes work well, especially the fun interval block. Rao Ramesh steals the show! The film needs to keep that same energy in the second half.
Mazaka is a typical timepass entertainer. While the first half is okay, the second half loses steam and becomes tiring toward the end.
A few comedy scenes are done well, and the concept along with Rao Ramesh’s role and performance are the highlights. Sandeep Kishan also does a decent job. But the story structure is too routine, and the over-the-top comedy in parts doesn’t always work. The songs are weak and their placement affects the film’s flow.
With a better second half and stronger music, this film could’ve been a lot more fun. As it is, it’s just an average watch.
Dilruba
(2./5)
The first half is below average. It starts with an interesting setup, but soon turns into a flat and routine college love story with nothing exciting happening. The film really needs a strong second half to make a comeback.
Dilruba is a boring love story that doesn’t offer anything fresh.
While the concept has some potential, the execution feels outdated. There are unnecessary commercial fights and songs that act as speed breakers.
The love story begins well but quickly becomes formulaic and loses its emotional touch. The villain angle appears suddenly, feels forced, and becomes irritating. Kiran Abbavaram plays a very regular role. Apart from a few decent scenes and some okay background music, there isn’t much to like.
Overall, this one doesn’t leave an impact.
Court
(3.25./5)
The first half is decent. Though the story is predictable, the screenplay stays engaging for the most part, except for a few slow moments—mainly during the love story scenes. The realistic approach makes the drama more interesting. Sivaji gives a superb performance and the setup for the second half is solid.
Court is a decent courtroom drama. While the plot feels familiar and there are a few slow patches, the strong dialogues and realistic presentation keep the film engaging.
All the actors do well, especially Priyadarshi and Sivaji, who deliver standout performances. The music is also good and fits the mood of the film.
Despite its predictability and a few lags, the film is a well-executed and thought-provoking drama that doesn’t bore.
L2E Empuraan
(2.75./5)
The first half is strictly average. While the cinematography and production values are excellent, the screenplay feels flat. This part mostly feels like a setup, and the drama only works in bits. Mohanlal appears in very few scenes, which is disappointing. A strong second half was much needed.
Empuraan focuses more on style and technical brilliance than on strong storytelling.
The visuals are top class, and a few mass moments in the second half work well. However, the emotional depth and engaging drama that made the first part special are missing here. This sequel is also much more violent.
With a 3-hour runtime, the film feels long and slow, especially due to the pacing and too many slow-motion shots. The background music is okay. Mohanlal delivers well in the scenes he’s in, but his limited screen time is a letdown.
Overall, it doesn’t live up to the hype and ends up as a mediocre experience.
MAD Square
(3/5)
The first half is good! It runs well thanks to the lead characters and well-written dialogues. The wedding sequence is especially funny. Laddu steals the show so far. Apart from a few dips, the comedy mostly works. Waiting to see how the second half goes!
MADSquare is a decent timepass comedy that mostly delivers what it promises.
The film gives off more of a Jathi Ratnalu vibe than MAD 1. There are plenty of hilarious scenes that hit the mark, though some jokes feel forced or over the top. The short runtime is a big plus.
Despite a few scenes that don’t land, it still ends up being a fun and light entertainer.
Robinhood
(2/5)
Robinhood follows a typical commercial film formula. The comedy works in parts during the first half, but the second half loses momentum and falls flat.
The first half is standard but still watchable thanks to an interesting storyline and the comedy between Vennela Kishore and Rajendra Prasad, which works at times. However, the second half becomes predictable and follows a routine format that fails to keep the audience engaged. The music is also below average.
In the end, it’s a strictly okay watch.
Sikandar
(2/5)
The first half is dull. The story feels outdated and even a bit silly. The screenplay is slow and bland, with nothing new or memorable. Everything feels like a repeat of films we’ve already seen. It really needs a strong second half—but it doesn’t deliver.
Sikandar is an action drama that ends up being boring from start to end because of its outdated writing and lifeless execution.
The concept might have seemed emotional on paper, but on screen, it lacks impact. The film feels like a mashup of many old movies with zero freshness. The background score is out of sync and poorly done. Except for a couple of okay action scenes, there’s nothing worth noting here.
Jack
(2/5)
The first half is below average. The screenplay is clumsy and not very engaging. Siddhu’s character has some shades of Tillu and seems interesting, but the comedy doesn’t land as expected. The production quality is also poor. It needed a strong second half—but didn’t get it.
Jack is a spy action comedy that fails on both fronts. The spy parts are weak, and the comedy mostly doesn’t work.
Director Bhaskar tried to include all commercial elements, but the poor screenplay and weak writing stop any of them from standing out. Siddhu does his best, but without good dialogues and scenes, there’s not much he can do.
The entire spy angle and villain plot feel silly and irritating. Except for a few okay scenes, most of the comedy and one-liners fall flat. The music is bad, and the production values are very low—green screen effects are clearly visible in many scenes. Overall, it’s a hard watch.