‘Kannappa’ movie review: This grand retelling of a devotional tale lacks soul Barring a few moments driven by Prabhas and Vishnu Manchu, ‘Kannappa’ struggles with a dull, uneven narrative

 

At one point, well into the second hour of the Telugu film Kannappa

, Prabhas appears on screen as the deity Rudra. His extended cameo includes lines that cheekily nod to his larger-than-life image — one even references the endless speculation around his bachelorhood. These ‘meta’ touches serve as deliberate fan service, injecting energy into an otherwise uneven narrative.

It is a shame, because Kannappa, led by Vishnu Manchu, sets out with the earnest ambition of reintroducing the devotional legend to a contemporary audience. Rooted in folklore, the story follows Thinna, an atheist hunter believed to be a reincarnation of Arjuna, who transforms into a devout follower of Lord Shiva. In a final act of faith, he offers his own eyes to the deity, earning the name Kannappa.

The story of Kannappa has previously graced the Telugu screen in Bapu’s revered 1976 film Bhakta Kannappa, 

which starred Krishnam Raju — uncle to Prabhas, who makes a much-publicised cameo in this new retelling. The region’s cinema is no stranger to devotional dramas; the past has offered audiences tales told with both grandeur and emotional integrity, drawing them deeply into the spiritual journeys of their protagonists.

In contrast, the core of Kannappa (2025) is overwhelmed by its ambition to stage a pan-Indian spectacle. Big-ticket names from across industries — Akshay Kumar and Kajal Aggarwal as Shiva and Parvathi, Mohanlal and Prabhas in extended cameos — are employed, but their presence does little to enrich the narrative.

The film follows Thinna (Vishnu Manchu), a tribal hunter who renounces faith after a childhood trauma.

His disillusionment with blind rituals is a theme that recurs intermittently, posing thought-provoking questions about the performance of devotion. But just as these threads begin to tug at the viewer’s curiosity, especially through sporadic divine reactions from Shiva and Parvathi, the film retreats, offering no deeper interrogation. Instead, it reverts to tracing Thinna’s transformation from sceptic to Shiva’s most ardent devotee.

Much of Kannappa has been filmed in New Zealand, in an attempt to recreate a lush, second-century landscape. While visually impressive in parts, this setting often feels dislocated from the cultural and emotional terrain of the story. The tribal skirmishes, particularly the face-off with the Kalamukha clan — whose aesthetic borrows heavily from Baahubali’s Kalakeya warriors — feel derivative and underwhelming in comparison.

This brings us to the larger problem — in the post-Baahubali era, it is not enough to go big.

 S.S. Rajamouli’s films endure not because of scale alone, but because they rooted spectacle in craft — tight screenplays, innovative action sequences, and emotional stakes that resonated. In Kannappa, action set pieces are clunky, and the visual effects often distract rather than dazzle.

Beneath the film’s bloated surface, however, are flickers of genuine narrative promise. The bond between Thinna and his father (Sarath Kumar), and his continued yearning for his late mother, provide glimpses of pathos. His relationship with Nemali (Preethi Mukundhan), a warrior princess and Shiva devotee, also had potential. Preethi possesses a striking presence, but her character is reduced to ornamental appeal after a brief flash of swordplay and a couple of high-glam songs.

The film briefly explores the contrast between Mahadeva Shastri’s (Mohan Babu) orthodox puja 

 complete with silks and flowers — and Thinna’s more visceral form of worship, offering meat from his hunt. It is a crucial narrative pivot that could have added depth to the devotional theme, but it arrives too late and is too hurriedly resolved to have any real impact.

With a sprawling ensemble that includes veterans like Madhoo, Brahmanandam, Sapthagiri, Brahmaji, Mukesh Rishi, and Aishwariyaa Bhaskaran, the film is overpopulated and underwritten. Of these, only Sarath Kumar and Mohan Babu leave a lasting impression. Vishnu Manchu finds his footing in the emotional climax, but by then, much of the momentum is already lost.

Ultimately, Kannappa had a moving legend to build upon — a tale of unwavering faith and sacrifice. But what it needed was not more star power or visual gloss, but storytelling rooted in emotional clarity and cultural texture. In striving for grandeur, it forgets to tell the story that matters.

Kannappa is currently running in theatres.

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Ace movie review: Vijay Sethupathi, Rukmini Vasanth’s crime comedy is yet another disaster that uses Yogi Babu as the butt of tasteless jokes

Ace movie review: Although the Vijay Sethupathi and Rukmini Vasanth-starrer had the potential to be a thrilling and fun crime comedy, the intrigue at its core is completely undermined by Arumuga Kumar’s extremely lazy writing.

Ace movie review: Coincidences happen; they can be nice and fun too, particularly in crime and action comedies. But relying solely on coincidences at almost every juncture is simply convenient and lazy writing. Writer-director Arumuga Kumar’s Ace proves exactly that.

From the moment Vijay Sethupathi’s 

character lands in Malaysia, his life becomes a series of conveniently crafted “coincidences”. Immediately after stepping out of the airport, Arivu (Yogi Babu) appears before him ‘out of the blue’. In an extremely clichéd moment, Arivu asks him if he is Bolt Kannan, claiming “this is what he would look like” and then proceeds to rattle off all sorts of details about Kannan. For someone who is definitely not Bolt Kannan but is in dire need of a disguise, this is just too convenient to pass up. Without asking for any ID or proof (and that too in this era), Arivu confirms that he is Kannan and takes him to live in a neighbourhood largely inhabited by Tamils. The real Bolt Kannan was summoned to Malaysia to work as a chef at a food joint run by Arivu’s love interest, Kalpana (Divya Pillai), and thus Vijay’s character conveniently lands a job as well. Totally coincidental.

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In his new neighbourhood, he meets a pretty young woman, Rukmini Vasanth, in an eponymous role, and they, of course, have a rocky start. Nonetheless, he immediately develops feelings for her. Then, they keep running into each other, not just in their locality, but in other parts of the city too, as if someone is scripting their story and desperately wants them to keep meeting so they can eventually fall in love. The coincidences keep stacking up. At the exact moment when Rukmini wants some people to be beaten up, Kannan appears and does the job, completely altering her opinion of him. And before long, she falls for him; totally coincidental, especially considering the film offers no proper explanation for her change of heart. All we’re shown is the two of them talking and laughing, with a song, “Urugudhu Urugudhu,” playing in the background. I thought such unimaginative storytelling was a thing of the past. Clearly not.

As if these weren’t enough, both Kalpana and Rukmini are facing conveniently timed financial crises. Kalpana needs a large sum to settle a bank debt tied to her food joint, while Rukmini needs a huge amount to escape the clutches of her ruthless stepfather, police officer Raja Dorai (portrayed extremely poorly by Babloo Prithiveeraj). But fret not; Kannan is here to save the day. A pro poker player, he tries to make money through gambling. However, his plan backfires (probably one of the few times things don’t go his way), and he ends up just as deeply in debt to mafia don Dharma (a decent BS Avinash). Desperate, he robs a bank. And yes, the heist is just as casually written as it sounds — rushed and completely devoid of tension or planning. Meanwhile, Kannan also wins a jackpot worth nearly the same amount he stole; just imagine the level of coincidences that happen in his life.

 

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‘Kuberaa’ movie review: Sekhar Kammula’s brave film is imperfect, yet compelling An outstanding Dhanush and sincere Nagarjuna Akkineni and Rashmika Mandanna power this partly riveting, partly choppy social thriller

 

The film begins by acknowledging its writer-director’s 25-year career, and the title card — 

Sekhar Kammula’s Kuberaa —says it all. Kuberaa is driven by its director and his ambitious tale that does not pander to the starry aura of Dhanush, Nagarjuna Akkineni, and Rashmika Mandanna. Sekhar makes them play characters — men and women inhabiting a complex world driven by money, power and greed. The narrative is not perfect. Yet, it is a brave one in the realm of mainstream Telugu cinema, giving viewers plenty to chew on.

In broad terms, Kuberaa is the story of a capitalist exploiting those who are below the poverty line. 

How these two worlds collide makes all the difference. A multi-billionaire (Jim Sarbh as Neeraj Mitra) believes ‘fame is power’. He lives in a Mumbai high-rise that has an infinity pool. At the other end of the spectrum are those who beg for alms, whom this film describes as the ‘invisible’, brushed aside at traffic signals and at places of worship as an inconvenience.

Kuberaa (Telugu)

Director: Sekhar Kammula

Cast: Dhanush, Nagarjuna Akkineni, Rashmika Mandanna, Jim Sarbh

Run-time: 182 minutes

Storyline: A business tycoon’s ambitious plans are under threat when an underdog’s tenacity to survive poses unexpected challenges.

The first hour unravels the different worlds. 

A pacy opening sequence establishes the power games of the business tycoon, who does not flinch at dispensing with lives for his ambition. Jim Sarbh does not miss a beat as the cold, calculating antagonist. His ability to speak Telugu, with all the intonations, is a bonus.

Sekhar introduces his key players in a non-formulaic manner. When Dhanush, as Deva the beggar, comes into view, the audience cheer. The actor has played realistic characters that represent the oppressed sections of society in the past with admirable consistency. Here, he takes it a notch higher. The writing gives him, and his associates, enough material to work with as the narrative takes a close look at the life of beggars. Even if groomed and dressed up in the best of suits, can they grasp what is happening around them? Can they be exploited for the bare minimum needs of food and shelter? A telling sequence shows the lack of dignity in their death. In the later portions, this aspect is addressed befittingly through a rousing song and dance sequence.

These polar opposite worlds cross paths with the help of CBI officer Deepak Tej (Nagarjuna), now behind bars for just doing his job. Nagarjuna plays a man in turmoil, one who wants to do the right thing but is manipulated to go against his conscience. Nagarjuna conveys the anguish of his character with restrained intensity. His body language and eyes convey the plight of a lion, now caged.

It takes a while for the narrative to find its rhythm, as it shifts between the characters. Niketh Bommi’s cinematography and Thota Tharani’s production design establish the uber-luxurious world of Neeraj Mitra, with imposing structures that dwarf those who work for him. At other times, Niketh and Tharani work in the background, staying invisible and letting the attention remain solely on the story and its characters. Substantial portions of the film unfold in real locations, from Mumbai’s landmarks to the garbage dumps, and all of this adds credence to the narrative.

The narrative comes to a boil once the cards are revealed and a cat-and-mouse game for survival begins. A character’s love for animals also adds depth to the proceedings.

If three characters — representing the uber rich, the middle class, and the lower strata — caught in a tangle is not enough, a fourth character brings an edge to the drama. The quiet yet effective introduction shot of Rashmika Mandanna as Sameera is worth a mention. As the film progresses, she is a revelation, blending innocence, helplessness and gentle humour.

Through the film, Sekhar questions if one man’s greed and ambition should throw everyone else into a spiral. Do the oppressed not stand a chance to survive with dignity? The questions recur and there are times the writing gets preachy.

Some of the best portions are when the film is in a thriller zone with the possibility of the tables turning. There is trust, betrayal, and a quest for redemption.

However, the final portions are a tad unconvincing. It appears as though the director, who has written the film with his long-time associate Chaitanya Pingali, wanted to move away from a predictable path and instead, deliver poetic justice.

The transitions between a few sequences also feel abrupt. For instance, it takes a while to discern that four beggars have been brought in from four different corners of the country.

A subplot involving a pregnant woman (despite being convincingly portrayed) is like a sore thumb; so is a brief flashback involving a young mother. A few years ago, while remaking Sujoy Ghosh’s Kahaani in Telugu (as Anamika), Sekhar refrained from portraying his protagonist as a pregnant woman, arguing that he did not want to evoke audience sympathy merely by showing a pregnant woman in distress. Here, however, this aspect is played up and the character’s conclusion seems contrived. A one-note sidekick of the antagonist is also annoying.

A few deft touches that work in favour of the narrative are the nuggets of Deva’s childhood and his tenacity to survive. In a scene, Deva bathing in water that streams from a broken pipeline, against the words ‘save water’, shows the cracks in urban infrastructure. Deva’s frequent query about the day of the week and how it ties up to food and religion is a smart observation. Also chuckle-worthy is how a character promises to offer a diamond crown to the temple if his problems are solved.

Kuberaa leaves a few questions unanswered towards the end. 

These niggles stop the story from being wholly compelling. Music composer Devi Sri Prasad who deftly switches between the different worlds, makes us overlook a few rough edges with his score that is sometimes subdued and at other times, rousing.

Kuberaa falls short of being a gamechanger. But it is a brave film from a director who has often stepped away from the norm, and raised pertinent questions. That is ample reason to cheer.

Kuberaa is currently running in theatres

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‘Thug Life’ movie review: Kamal Haasan’s fiery performance aside, Mani Ratnam’s gangster drama shoots blanks

 

When an auteur like Mani Ratnam returns

to a genre he is known for, with a maverick multihyphenate like Kamal Haasan, the expectations are naturally high; the worst result one could anticipate is a film that works but doesn’t necessarily redefine the genre. Seldom would you expect a Thug Life, which bafflingly feels like a Mani Ratnam-ish film that gave in to the mainstream compulsion of being a modern-day Tamil potboiler. A 163-minute chronicle of an elderly gangster’s tryst with love, destiny, guilt and death, Thug Life is a gangster crime drama with stretches so generic and cold that you might wonder if it was really the filmmaker at the helm.

Given his oft-discussed distinct filmmaking style,

you can’t help but look out for a certain Mani Ratnam-esque quality in the mise-en-scène, like the shots of a young boy running into a framed entrance of a chawl, and later, standing there helplessly, drowned in grief, in the initial portions of the film. The sheer promise that shone through the first twenty minutes or so is hard even to reminisce. We begin in 1994, in a scene of gorgeous monochrome. A police shootout ensues at a chawl in Old Delhi, where wanted gangster Rangaraya Sakthivel (a de-aged Kamal) and his chieftains — Manickam (Nasser), Pathrose (Joju George), Anburaj (Bagavathi Perumal) and co — have gathered. In a tragic turn of events, one of Sakthivel’s men inadvertently kills a newspaper vendor (Elango Kumaravel), leaving his two children orphaned.

Gutted by his death, Sakthivel adopts his son, Amar,

and promises to find his sister, Chandra, who went missing in the commotion that followed the episode. With AR Rahman punctuating the enchanting ‘Anju Vanna Poove’ score with silences, the sequence tugs at your heartstrings. This is where the heart of this narrative resides, and this is the pulse of narration you expect from Mani Ratnam’s school of filmmaking. This is also what you hold onto as scenes move on to depict the life of Sakthivel from 2016 onwards — his tender moments with his wife Jeeva (Abhirami); his lust for his mistress Indrani (an underutilised Trisha); the warmth he shows Amar (a restrained Silambarasan TR); his enmity with his nemesis Sadhanand and the trouble it is sprouting in the form of Sadhanand’s revenge-thirsty brother-in-law Deepak (Ali Fazal); and a silent thirst for power that is growing among his men. Unfortunately, Thug Life winds its way hastily, unanchored to that potent crux.

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Tourist Family’ movie review: This Sasikumar-Simran feel-good film leaves you all fuzzy

 A family is trying to flee Sri Lanka and lands up in Rameshwaram, 

only to get noticed by the cops. They are picked up in a police van. The mood is sombre. But what follows is a really funny five-minute sequence that sets the tone for the entire film.

It can be argued that Dharmadas (Sasikumar) is this movie’s hero, but the script does not have a single protagonist; rather, it’s this entire family of four that forms the fulcrum of the script.

Director Abishan Jeevinth’s Tourist Family

 is all about boundaries and ways to break them. A Sri Lankan family with fake documentation has arrived in a Chennai colony, which has, among other people, a grumpy man who rarely socialises, a drunkard who keeps getting yelled at, and a girl wanting to move abroad but changing her mind.

That all these characters live together and are close-knit makes things interesting. Remember director Radha Mohan’s Mozhi? The first half of Tourist Family reminds one of that 2007 Tamil film, just in terms of feeling and flavour.

That fuzzy feeling slowly gives way for some deeper emotional beats. 

A death of a character occurs at a pivotal point, thus making way for more insight into the lead character, Das’, mind. Why is Das as generous and kind-hearted as he is, and how is that going to benefit him and his family in the long run, is an angle that Tourist Family seeks to explore in detail.

Simran, Yogi Babu and Sasikumar in ‘Tourist Family’ | Photo Credit: Special Arrangement

The performances are fine. Sasikumar won quite a few hearts with 2023’s Ayothi,

 a film that emphasised the importance of kindness and love over religion, and he continues in the same vein here too, in a film that categorises deeds of kindness over language or even nationality. As Vasanthy, Simran fits in perfectly in this happy family of four. Nitushan (Mithun Jai Shankar) gets a couple of impactful sequences, but the scene-stealer happens to be the young Mulli, played by Kamalesh Jagan. The boy has solid screen presence and seems comfortable with his comic timing, a quality that will surely fetch him more roles in the future.

Tourist Family (Tamil)

Director: Abishan Jeevinth

Cast: Sasikumar, Simran, Yogi Babu, MS Bhaskar Elango Kumaravel

Run-time: 127 minutes

Storyline: A Sri Lankan family escapes to Tamil Nadu to settle down in a comic yet emotional drama

The biggest strength and weakness of Tourist Family, depending on how you want to see it, is its oscillation between the lighter and heavier moments. A laugh often punctuates a serious scene, like the ones involving a death and a break-up. The emotional moments do strike a chord but one wishes that the humour, which works to a large extent, was placed a little better.

Tourist Family could have done with a little more laughs. The irreverence that the makers had put into the title teaser, featuring the young boy trying to silently open the door while his shoes made squeaking noise — a sequence that had me laughing for quite a while — seems to be in little dosage in the film. But what really helps is Sean Roldan’s score, going with the moods that the film travels through. When there’s emotion, the man is going ‘Iragey’ but when the mood is upbeat, there’s ‘Aachaley’ to groove to.

Beyond the emotions and songs, Tourist Family also makes important points about how we perceive people based on where they hail from. In a world where the mention of war is being bandied about, it’s a timely reminder to love thy neighbour. It’s also a reminder to be honest and converse with people to understand them better. Kadaipoma?

Tourist Family is currently running in theatres

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