Story:
Raghu Ram (Srihari) is the man for a village, Bhadradri. The village gets affected by an unknown disease and the people keep on suffering from various ailments. Raghu Ram works towards bringing in doctors to his remote village. In the process he comes across corrupted officers and Ministers. Finally he achieves his mission after an incessant struggle. Raja plays a medico who supports Raghu Ram. Nikitha plays the role of another medico who happens to be the love interest of Raja. 

Performances:
Srihari steals the show and Raja is also given enough room on screen. Baladitya appears in second half in the flash back theme. Everybody did well standing in their shoes. The macho look of Raja is seen in some songs. If he tries little harder, he may become Andhra Salman Khan (removing shirt and sporting muscular athletic body!!!!!!!!!). 

Nikitha scored more marks than Gajala in glamour quotient and bubbly looks. Others are as usual. On a whole it is Sri Hari’s show. 

Technical values are in tune with the mass audiences. Director worked well but he would have kept an eye on the length of the movie. 

Analysis:
The movie is very lengthy. It appears that the movie has come to conclusion by the time of interval itself. But there is a lengthy narration in second half too. It is the film clearly targeted for B, C center collections. The film stands to the image of Sri Hari who has good following in rural places. 

Now coming to the critical aspects, it is made with many elements- say sentiment, social cause, love and revenge. This blend of commercial elements is rightly mixed but the length tests the patience of audiences, especially in second half.  The focus is clearly kept on the story and narration aspect than other artificial attributes. 

On a whole, the film is for rural centers. It may run well provided proper promotion activity is done. To say in single line, the film is for the social cause of a dying village, keeping logics behind.

Story:
Right (Srikanth) is a hooligan in a city. VJ Choudary (Jagapathi Babu) is an ACP. Obviously, Right is a good goonda, as he is the hero. VJ Choudary takes law and order completely in his hand and keeps on killing every criminal publicly without sending him to court. A college girl (Kaveri Jha), out of the blue, comes to do research on the lives of goondas. She joins with Right and his gang!!!!!!!!!!!! She aims at bringing in moral change in Right. She teaches them morality and makes them start a marriage bureau business. The marriage bureau is not a normal one but dedicated for ‘remarriages’….The story goes on in this style. 

On parallel track Kaasim Bhai (Pradeep Rawat) is a gangster who develops a tug with Right. Finally how Right puts an end to Kaasim Bhai and how Choudary plucks out black sheep in his department are the climax. 

This is the outline of the movie. There are ample elements to be added for this to make it a sensible movie. But unfortunately, the celluloid was wasted by making movie with this outline itself. 

Performances: 
As the narration turned dull, the performances are not elevated. But within the ground, Jagapathi Babu looked fresh and young. Srikanth is also ok. There is nothing special to say about anyone. Although there are many comedians, no big laughs are spilled in theaters. Kaveri Jha is ok but her role is little. She sizzled a bit in a water-song. 

There is an item song by Manisha Koirala that didn’t raise much interest among audiences. It was watched like any other item song by any other item babe. 

Chakry’s music didn’t work well. The interlude in the style of ‘Oho Basti Dorasani…’ is also cacophonous. Cinematography can be considered good to some extent. Fights by Ram-Laxman are over dosed, especially in the climax. They should use right fight at right degree for right film in right manner. Otherwise, even the most difficult stunt scene becomes a laughing stock. Background score is also not in tune with the narration. CC Srinivas, the director needs to toil a lot to make a better movie. 

Analysis:
Story writing, stage drama, TV serial and movie- every creative aspect holds its own style. The parameters are to be measured before making anything. This movie appears to be made just by assuming story. The parameters of film making are not measured.  The idea is not clear. Proper homework was not done to make the movie sensible with scenes those hold better impact. Hence the audiences breathe heavily while watching the film. They take many intervals to get relief and breathe fresh air. That happened for this movie. 

What is the purpose of heroine in this movie? Her need is not felt. Why Jagapathi Babu is hired for such a normal role? Anybody can do that role. That needn’t require an actor with stardom. What is the purpose of Kalabhavan Mani? Well, may be for a change. Why there is sudden change in the story with the introduction of ‘Mallee Pelli Bureau’? Well, no purpose is observed other than making little room for comedy- with the guest roles of Ali, Brahmanandam, Gundu Hanumantha rao et al. But nothing worked well. Many things are ambiguous. 

Both first half and second half are not so active. The climax stunt is irresistibly wild. People simply laughed at that Matrix-style stunt. Is that necessary? The efforts kept on that Matrix fight would have been transformed towards penning better screenplay. To sum up, there is a dialogue through Jagapathi Babu in this movie- “Naaku vyavasayam antey istam. Samajam manchi kosam Kalupu mokkalni eri paresthanu”. In similar way, ‘for the well being of Tollywood and Telugu films, the films of this sort are to be kept under criticism. Well it needn’t be plucked out’.

Story:
Abhiram (Sarvanand) is the son of an affluent industrialist. Being born with silver spoon he never bothers to mingle up with middle class and poor people. He also feels discomfort looking them. But he falls in the crush of a doctor Janaki (Kamalini Mukherjee). She is an orphan who grows up in an orphanage and keeps herself busy in social service all the while. This disgusts Abhiram. He expresses his love for her and she too finds warmth in relation with Abhiram. But there wouldn’t be any match of wavelength between Janaki and Abhiram in ideology and interests. Janaki hides herself keeping herself busy in medical services at rural places. Abhiram goes on roads in search of her. Gali Seenu (Allari Naresh), a two wheeler thief, becomes his friend on the way. Entire story is how Abhiram reaches Janaki after a long chase on roads. He also learns many secrets of lives in his way. Finally, by the time he reaches Janaki, he becomes a sensible person leaving all his rich-airs. He feels the happiness in mingling up with poor people in the society.

Performances:
Allari Naresh is the main energy for the film. Without him, the film wouldn’t be an entertainer. He brought big spirit with his humor filled performance and punch dialogues.

Sarvanand is also perfect in the shoes of a rich man’s son. His voice appears to have gained better base than before. His performance as a lovelorn is impressive.

Kamalini is apt in her role and there is moderate role for her to perform. Major part of the story runs only on Naresh and Sarvanand.

Others are ok. Coming to technical departments, dialogues played very vital role in the film and Nagaraju Gandham penned them in very subtle way. Especially, the dialogues written for Allari Naresh, although shaded with a bit of vulgarity, spilled many laughs in theater. Nagaraju seems to have better future in industry.

The screenplay is impressive as there is no moment in the film that brings boredom for audiences. Every 5th minute in the movie is treated with humor element giving great relief for audiences.

Lyrics by Sirivennela deserve very good mention. The philosophical depth in lyrics that is in tune with situation of the songs elevated the interest levels of audiences.

Director Krish made the film out of nothing. It is really a challenge to entertain people without big story. Simply to say, it is the story of a lovelorn guy who is in search of his love on roads. He dealt the subject really well by entertaining people with invigorating screenplay.

Analysis:
It is certainly the entertaining film that has come on to screens this year. The subject and essence has class-appeal and the way it is treated with Allari Naresh element brought mass appeal to it. The film starts in serious tone and gains right momentum from the entry of Allari Naresh.

First half of the film runs with right pace, getting packed up with non stop humor by Allari Naresh. Second half also went on well but the climax is filled with some tragic scenes. This makes the entertaining graph in audiences fall down. The director has chosen a message-track in climax and hence he brought many things into it viz naxalism. He brought tragedy to establish the change in Abhiram as a sensible person. Had the director really wanted to bring tragedy, he would have done that with the naxalite character. With that the film would have closed in hilarity. But still, the climax is touching and levelheaded.

To sum up, director Radhakrishna should be appreciated for making this out-of –the-box film without getting trapped in formula fever. The film is worth-watching for more laughs, little sentiment and less grief.

Story:
Abhiram (Vinay) is a naughty and active guy. His parents (Jayasudha and Naresh) enjoy his mischievous deeds.

Once, Abhi’s mother takes him to her friend Bharathi’s (Seetha) house. Nandini (Meera Chopra) is the daughter of Bharathi and Col Choudary (Suman) who falls in the eyes of Abhi. First, the love starts from Abhi’s side. Then the door of love opens Nandini’s side as well. But Nandini’s parents fix her marriage with another guy called Goutham.
 
What happens next is the movie. The climax is not so easily predictable. 

Performances:
Vinay acted well but the dubbing voice used for him is not up to the mark.

Meera Chopra is ok and she has shown right emotions while understanding love.

Jayasudha and Seetha looked beautiful on screen. Suman also acted well in his role. Comedy track by Dharmavarapu and Rajitha is also interesting.

Cinematography by Sekhar V Joseph deserves right mention in the movie. Music by Kamalakar is melodious and lyrics by Sirivennela are in his standards.

MS Raju’s debut is made well on a whole with able direction.

Analysis:
The movie runs with a single line theme and there is no big story to say about. Emotional graph between a young boy and a girl plays vital role in the film through out. It appeals for those who have faced the situation the hero faces in this movie. But for others it would a boring experience. Masses cannot digest the melodramatic dialogues of the hero especially in climax. Indeed, the negative response of masses was seen in the theatres for a few scenes.

Small comedy track with MS Narayana, Dharmavarapu and Naresh worked well for all classes of audiences. Appearance of Sunil and Prabhudeva in first song brings some stir in theaters. It is to be underlined that the director-producer MS Raju appeared in a small scene in the movie as usual and there was big response from audiences in the form of shouts and claps. That is the following being exercised by a producer.

The movie deserves a watch for scenic beauty in it. Beautiful locations were ably selected by MS Raju and he planned well for his debut. The film should appeal for youth audiences who love class movies. Only then it can work well at the box office. Otherwise there may not be big ‘rainfall’ of collections.

The climax is not so familiar for Telugu audiences. For the audiences who have watched number of Telugu movies, the circle appears to be half drawn and not completing it at the end.

To sum up, ‘Vaana’ is a neat serious love story that appeals for a set of audiences. It’s a perfect ‘no’ for mass masala film lovers.

Story:
Ajay (Sumanth) is the son of Paandu (Suman), a goonda. Ajay is away from all sorts of crimes unlike his father and qualifies for Civil Services. He gets call for attending the interview. Paandu works at Zakir Bhai (Nazar) and he is very loyal to his master.

Kaasi (Kota) is another goonda who is against to Bhai for sometime and works in his favor for other time. Ajay loves a girl called Samyukta (Kaajal).

Bhai and Kaasi betray Paandu and kills. Finally how Ajay takes revenge on Bhai and Kaasi is the story. Climax goes with a drama among Bhai, Ajay, Kaasi and the police officer Hussain (Subba Raju).

Performances:
Sumanth performed well with respect to expressions and other histrionics. But the punch that is required for action films is missing in him as usual. Kaajal looked cute and lovely. She has no direct relevance with the story but used for glamour and romance on screen.

Subba Raju tried to showcase his talent as he is given a lengthy role this time. Suman did well as a loving father. Others are ok in their shoes. Comedy is weak and the comedians couldn’t tickle well.

Director Raj Aditya has to work on the aspects of screenplay and scene composition. Music is ok and the dialogues are not up to the mark.

Analysis:
Weak screenplay, dull dialogues, poor editing and average story line made the movie ‘Pourudu’. The conviction in drama proved weak due to feeble narration. It counts to be another dud in the filmography of Sumanth. It established once again that mass and action flicks are not working on him. People once again started saying that Sumanth fits only for class and sentimental touching roles. Th reason is again the narration part. The purpose of the movie is not seen at all. It could neither hold social consciousness nor pushed up the adrenaline of audiences with proper drama.

First half of the movie goes dull. The initial 30 minutes of the movie is only used for dragging the length of the movie to desired extent. Second half of the movie is filled with beaten track action episodes. Climax appears to have a twist but that has no weight in tune with conviction (Police Officer giving his weapon to a goonda is something too dramatic).

The comedy track weak. Some nasty comedy with Ali, MS Narayana and Brahmanandam didn’t work well. Dharmavarapu’s comedy is also weedy. The dialogues by Marudhuri Raja are also pale and the editing part by Marthand is frail. There is no proper sink between scene and scene. It appears as if things did in hurry on a whole.

To sum up, ‘Pourudu’ is a normal flick with little boredom and more beaten track narration.

Story: 
Krishna (Ravi Teja) is a young man from Vijayawada who is an MSc in Computer Science but job less. He is such a nice man that he sacrifices his job for a poor needy candidate and lives at the cost of his elder brother and sister-in-law (Chandramohan and Sudha). 

He loves Sandhya (Trisha), the sister of Shinde (Shayaji Shinde). Babi (Brahmanadam) is also a brother to Shinde. As Shinde has an enemy Jakka (Mukul Dev) he keeps Sandhya with Babi’s family in Vijayawada. When Sandhya comes to her elder brother Shinde’s house in Hyderabad, Krishna also follows her. 

In a talk with Shinde, Krishna comes to know that Sandhya’s family has a peril from Jakka and starts his mission to put an end to him. Rest of the movie goes on in entertainment packed action narration. 

Performances: 
Ravi Teja did his best and there is no fall in the graph of his energy levels. He is perfect with respect to bearing, dance and action episodes as well. 

Trisha looted the hearts of all the audiences. Audiences have watched her in songs by leaning forward from their chairs. (Her tattoo below the shoulder also appeared well in a few scenes!!!). She is voluptuous and perfectly in sink in chemistry with Ravi Teja. 

Brahmanadam’s comedy deserves a great mention and he made the film a laughing treat. Sunil also spilled humor in his style. Others are ok. 

Cinematography stands unique in the movie and many scenes were proved impressive. Music by Chakry is also exciting. But the heavy orchestration swallowed the lyrical clarity. 

Bollywood actor Mukul Dev is ok in his role as villain. In fact there is no big role of histrionics in his characterization. He is like anybody else but didn’t prove his uniqueness.  

VV Vinayak reached his target by perfectly aiming on the masses. His efforts have reached a mark. 

Analysis: 
The movie proves to be a first relief in 2008. It entertained through out with enough of humor, packed with high-dose action elements. Ravi Teja’s energy is pervaded in entire movie. Trisha’s glamour sizzled on screen and pulled the crowds towards the screen. Brahmanadam’s comedy, Sunil’s humor and Jaya Prakash Reddy’s villainy slapsticks entertained all segments of audiences. 

First half of the movie runs with right momentum making the audiences laugh and enjoy the narration with brisk screenplay. Second half adds action episodes in big way accompanied with comedy wherever necessary. There is no scene where the audiences get irritated. Climax get over dosed with action scenes but gelled into the narration. 

Choreography is interesting and perfectly in tune with the energy levels and body language of Ravi Teja. The song ‘Nee Sokumada Nee Jimmada’ is choreographed well with humorous and romantic elements. The last song was directly copied from the ‘Appadi Podu’ song from Tamil film ‘Gilli’.

VV Vinayak appears to have changed the name of heroine in his film this time. He named Trisha as Sandhya. In almost all of his movies his heroine’s name was Nandini in general. 

Coming to the action scenes, Ravi Teja coming out from the buried soil is something hard to believe. Director tried to give some reasoning by showing that rain eroded the soil. Leaving a few logics in action episodes behind, the film stands to be an ‘ok’. 

On a whole the movie is an entertaining piece with formula based action elements.

Story:
Veera Venkata Satya Narayana (Balakrishna) is a man who lives in village called Venkata Puram and he almost a demigod for the denizens of that village. A TV crew (Nisha Kothari and Co) comes to that village to make a documentary on him. (There is a nasty erotic comedy track between Nisha and Balakrishna for large part of first half). In the process, a young couple comes for the help of Veera Venkata Satynarayana. They say that they are in love but the groom’s father (First Person of the state) is objecting the marriage and sent goondas to kill the bride. Satyanarayana stands beside them and confronts the First Person Namboodiri (Ashuthosh Rana). His daughter (Anushka) falls in the lust of Satyanarayana as usual. (She performs in erotic style through out the movie just for so called relief of audiences).

On the other hand CBI officers go busy in investigating for the person who keeps on killing the people for some reason. The man kills the people those have no value for common people’s lives. That’s the only reason. The man is Raghupathy Raghava Rajaram (Balakrishna) an old freedom fighter. (YVS might have assumed that people have forgotten the movie ‘Bharateeyudu’-it’s not a comparison with that master piece indeed).He is the husband of Sarada (Simran). Veera Venkata Satyanarayana is the grand son of them.

Finally it is a fight between First Person, who is a cruel one, the CBI officers and Raja Ram. Climax is pretty well predictable.

Performances:
There is nothing to say about performances in the film. Anushka looked erotic and did erotic deeds on screen. She has no big place in the story of the movie. Nisha Kothari is also used for erotic things. She did in her way. Simran appears in old get up for maximum length of the movie. Her old get up is nasty. She has something to act in second half.

Balakrishna did well in his part and he looked impressive as far as get ups are concerned (except the old man’s get up).

Music is just ok and nothing great to say about that as well. On a whole, the mistakes go into the account of YVS in full dose. He would have made proper home work before finalizing the script. It was made in the line of earlier mishap like ‘Subhash Chanrabose’.

Analysis: 
It’s a pity to see the talented director like YVS Choudary made such weak flick toiling for so many months on that. He simply played with the image of Balakrishna. Even Balakrishna failed to assess the outcome of the movie. It’s a miserable Sankranthi for many.

As the movie starts it starts testing the patience of viewers. Simran’s old get up is very bad and that looked completely artificial. Her over-action pumps in uneasiness through out the film. People understand that it is a copy of Bharateeyudu within the first few minutes of the movie. And the movie wouldn’t go against the expectations of people till the climax. First half of the movie disappoints fully. And the second half kills the audience completely. It is probably for the first time for a big hero’s movie that the audience ran out from theater without watching the last 20 minutes.

Why Telugu directors cannot think different? Why the man like YVS also stooped down to that extent.

• Balakrishna molests Nisha Kothari in a train scene. Is that called heroism? Or keeping up the image of him?
• Balakrishna kills two people by holding them in one hand and holding a electric wire on the other. The shock wouldn’t hit Balakrishna. Is that called heroism? (Directors are bringing damage to Balakrishna by composing only such scenes). In fact there is a covering for that in climax.
• Ashuthosh Rana, the First Person (may be an alternative term for CM) of the state comes out on roads wearing an underwear. Is that a scene to believe?
• The CBI officers come to conclusion that old Balakrishna belongs to 1940s from the clue that he eats ‘dampudu biyyam’. Is there any sense in that? It’s available even now in many super markets.
• Balakrishna gets into flying aero plane and says not to ask how he had come (so we should have question mark faces). He says to know only why he has come and blasts the plane. Yes, he escapes from that and smiles at last.

We don’t understand why YVS opted for an international make up artiste for Balakrishna. Even a local one would do well. The make up is simply bad!!!

A director gets warm hug from audiences in the form of box office collections when he makes a sensible movie. Audience should tend to appreciate the director with their hearts after the conclusion of the movie. He shouldn’t get the curses. Unfortunately audiences started cursing YVS while coming out from theatres after the completion of the movie.

The dialogues in the movie are also weak. Except Balakrishna’s dialogue regarding the castes in him no dialogue sounds sensible. ‘Pedavi Datani Mataku ayajamani nuvvu-Peadavi daatina mataku banisa nuvvu’ is in fact an old dialogue and Allu Ramalingiah used to say that. So, no creativity is used in dialogues.

‘Ground loki digaaka background choodanu’, ‘decision theesukunnaka compromise avvanu, compromise ayyetattu ayithey decision theesukonu’ are the dialogues those received mass applause due to typical Balakrishna punch in them.

The scenes from Hollywood flick ‘Patriot’ and a Jackie Chan film are copied in Flash Back theme. It is really a doubt how far this film gets patronage from audiences.

Story:
Rajaji (Rajendra Prasad) is a professor who loses his wife and grown up daughter. He regularly goes to a park and finds a few people coming there with various problems in life. Kiran (Dhanush) comes along with his lover and both decide to die. The reason is that their elders object their marriage. 

Raghuram (Ravi Kondala Rao) is an old man who is neglected by his son. He comes along with his wife (Radha Kumari) with a decision to commit suicide. 

Amala is a lady who gets pestered by dowry craving in-laws and husband. She too wants to commit suicide and comes to that park. 

Cheetila Chinna Rao (Krishna Bhagawan) also wishes to die. Surya Prakash Reddy (Naresh) is a film producer who goes bankrupted and hence wishes to die. 

Rajaji gathers all these suicide aspirants and hires a bus to die collectively. He plans to make the bus jump into Sri Sailam valley so that everyone in the bus will be killed. He also chooses a bus driver who wishes to die due to his family problems. He says that by dying in a bus all together, the families wouldn’t get bad name as it will be coated as an accident. 

The bus starts with all these suicide partners including Rajaji. He too says that he wants to die as he has nobody with him. The conclusion is within in the predictable limits of common audiences. As the bus approaches Sri Sailam, the people in it find attachment with life and change their minds. They want to live happily. Entire film has only bus journey and nothing else. This story sounds variety when listened. But it requires firm screenplay and effective narration to make it a successful movie. That key element is lacking here. 

Performances:
Everybody acted within the limits of script and nobody got the scope to exhibit talent personally. 

Although there is Krishna Bhagawan in the film, his character never makes the audiences laugh. It’s like one in the group. 

Rajendra Prasad continued a decent role after ‘Aa Naluguru’ but there is no range of that film here. 

Naresh’s character is just ok and his slang is not into the skin. It’s only Raghu Babu who could make people laugh for some time with his performance. That is the only relief in the film. Brahmanandam comes as a guest and does his part. 

Nazar played the role of police officer and he gave his own dubbing for the first time. 

Dialogues are weak and the screenplay is also feeble. There are a few illogical scenes in the film as well. On a whole it couldn’t touch the hearts of people.

Analysis:
It’s a film that is assumed to be in the school of ‘Aa Naluguru’. But that range hasn’t come for ‘Sreyobhilashi’. All the characters in the film wish to commit suicide for silly reasons and that can be convinced. But the way they get enlightenment is very artificial. There is no convincing point in the film why the characters change their minds. The depth and spirit is missing there. 

The film is made to give a message. The message is ‘problems are inevitable for anybody. But no problem is such a big one that needs death as solution. Problems just test the individuals. So, one shouldn’t commit suicide to run away from problems’. The narration should be convincing, effective and heart touching for this theme. But it lacks in everything. There is no scene in the film that touches the heart. Although there is scope to make this film in a touching way, the director couldn’t take it to required depths.  

First half of the film is very slow and by the time interval bangs, audiences expect that there may be something in second half. But that is very well predictable and at the end, the message is not rooted deep in the hearts of audiences. Director might have done more homework in the aspect of bringing more conviction. 

Mass audiences cannot relish this film and the class audience may not feel the depth in the film. We have to see who would patronize this. But it is really an adventure by CC Reddy to make something different. Had he focused on bringing in depth for drama, the theme would have got better remarks.

Story:
Anasuya (Bhoomika) is an orphan who becomes a TV reporter out of her shrewdness and talent. She proves to be the right person for doing sting operations. She stays in the house of an old man (Melkote) whom she calls uncle. But suddenly someone kills that old man.

Anasuya identifies that killer (Ravi Babu) and the real story begins then. The killer keeps on killing different people in the city and takes away one organ for their body. Police forces fail to crack the mystery of those serial murders and the purpose of taking away organs from them.

Anasuya takes it personal and aims at catching that killer. She assists police and also takes help from them till she catches him. Inspector (Abbas) helps Anasuya in that mission. After series of suspense and thrilling episodes the killer will be caught hold and will be killed. Who is that killer? Why he kills selective people and takes away organs from them? That has to be watched on screen.

Performances:
It’s Ravi Babu’s character that haunts for longer time after leaving the theaters. He has shown enough of his cruelty as a serial killer. Bhoomika performed well and in tune with the requirements of script. Nikitha is ok in her bit of role. Abbas is only a dummy in the film and he has got nothing big to do for entire 2 and half hours. Others are just in their shoes as per the script.

Sound effects are impressive and they have boosted up the horror aspect to good extent. Cinematography and scene composition are also good. The screenplay would have been more convincing and some threads appeared loosely knitted.

Ravi Babu dealt with direction part well but lost grip at a few instances. The dialogues by Nivas are ok but they too suffered with non-conviction in some parts. Especially while Bhoomika is being interviewed, she says that the interviewer’s shirt was unbuttoned and hence he is unmarried (!). She explains that-had he was married, his wife wouldn’t let him go out like that!! And the interviewer responds ‘brilliant’ for that analysis. Such dialogues are ridiculous.

In another scene looking at Ankitha’s dead body, Abbas says, “Super figure waste ayipoyindi ra”. That speaks less about Abbas’ character. Apart from that that dialogue is irrelevant in that scene.

Ravi Babu could maintain misleading attempt by showing Bhoomika using eye drops for her right eye. Such attempts are common in suspense thrillers in order to mislead people by not guessing the conclusion easily.

Analysis:
It is partly inspired from ‘Silence of the lambs’ but Ravi Babu could make it completely a different theme suiting to nativity. He has picked up tonsured serial killer’s role and the lead lady’s role from that Hollywood flick. Rest of the stuff is completely written indigenously.

First half of the film goes with thrilling and horror elements where the serial killer will be killing one after the other. Interval bang is with suspense. Second half goes with the unleashing of suspense element in the film.

The film is completely made with horror and crime elements. This murder mystery story has many cruel things to underline and the family audiences’ hardly turn on for this. If youth audiences have to be patrons for this film, they expect at least some powerful situational comedy. That’s not there in this flick. Even the glamour part is missing leaving an item song as exception. On a whole, the film appeals for those who like hard core crime thriller keeping some logics behind.