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मूवी रिव्यू

मूवी रिव्‍यू: आरआरआर (RRR)

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RRR Movie Review: बेहतरीन एंटरटेनर है एस एस राजामौली की आरआरआर

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बाहुबली जैसी ब्लॉकबस्टर फ़िल्म देने के बाद हर कोई एस एस राजामौली की आरआरआर का बेसब्री से इंतजार था । खासकर हिंदी भाषी क्षेत्रों में एस एस राजामौली की फ़िल्म का बेसब्री से इंतजार किया जा रहा था और 25 मार्च को लोगों का ये इंतजार पूरा हुआ जब जूनियर एनटीआर और राम चरण की स्टारर आरआरआर सिनेमाघरों में रिलीज हुई ।

आरआरआर के साथ जहां जूनियर एनटीआर ने अपना हिंदी डेब्यू किया है वहीं राम चरण की यह दूसरी हिंदी फ़िल्म है । तेलुगु फिल्म उद्योग के दो बेहद लोकप्रिय अभिनेता की पैन इंडिया फ़िल्म आरआरआर सिनेमाघरों में रिलीज हो चुकी है ।

इस बार बहुत कुछ दांव पर लगा है । बाहुबली [2015] उस समय शून्य उम्मीदों के साथ आई थी । बाहुबली 2 [2017] की ऐतिहासिक सफलता के बाद आरआरआर से उम्मीदें काफ़ी बढ़ गई है । । महत्वपूर्ण प्रश्न यह है कि क्या आरआरआर उम्मीदों पर खरी उतर पाती है ?

आरआरआर स्वतंत्रता पूर्व युग [1920] में सेट है और दो क्रांतिकारियों के इर्द गिर्द घूमती है ।

RRR एक मजबूत मनोरंजक फ़िल्म है जो लंबी अवधि के बावजूद जरा भी निराश नहीं करती है । पटकथा का निर्माण आश्चर्यजनक रूप से किया गया है, ट्विस्ट और टर्न ध्यान खींचने वाले हैं और जिज्ञासा बढ़ाने वाले एपिसोड के साथ-साथ शानदार ढंग से निष्पादित एक्शन पीस आपको एंड तक मंत्रमुग्ध कर देते हैं । सबसे अच्छी बात यह है कि, आप फ़िल्म के प्लॉट को को नहीं जानते हैं [राजामौली ने इस बारें में रिलीज से पहले ज्यादा खुलासा नहीं किया है], इसलिए स्क्रीन पर जो सामने आता है वह आपको पूरी तरह से आश्चर्यचकित कर देता है ।

स्पॉइलर दिए बिना फ़िल्म की कहानी शुरू करते है । साल 1920 है । भारत पर अंग्रेजों का राज है। एक ब्रिटिश अधिकारी स्कॉट बक्सटन [रे स्टीवेन्सन] की पत्नी [एलिसन डूडी] एक आदिवासी लड़की, मल्ली से प्रभावित हो जाती है । वह लड़की को जबरन दिल्ली ले जाती है, जिससे उसके माता-पिता और बाकी जनजाति को बहुत धक्का लगता है ।

भीम [जूनियर एनटीआर] - जो जनजाति से संबंधित है - मल्ली को वापस लाने का वादा करता है । जब अंग्रेजों को भीम और उसके मिशन के बारे में पता चलता है, तो वे किसी भी कीमत पर उसका पता लगाने का फैसला करते हैं । हालांकि, भीम कैसा दिखता है, यह कोई नहीं जानता । एक पुलिस अधिकारी, रामा राजू [राम चरण] चुनौती लेता है ।

राजामौली की फिल्में दिल से देसी होती हैं और मनोरंजन से भरपूर होती हैं । आरआरआर उसमें अलग नहीं है । वह जानते है कि उसके दर्शक उनसे क्या उम्मीद करते हैं, जो बताता है कि क्यों हर सीक्वेंस मनोरंजन से भरा हुआ है । राजामौली की फ़िल्मों में इमोशन के साथ अलग ट्रीटमेंट होता है जो उनकी फ़िल्मों को अलग बनाता है ।

राजामौली के पास एपिक कहानी सुनाने की एक शानदार समझ है, जो दिखता है जब आप उनकी फ़िल्मों के विजुअल्स देखते हैं । पहले राम चरण का परिचय और बाद में जूनियर एनटीआर की ग्रैंडनेस आपको हैरान कर देती है ।

RRR में फिल्म देखने वालों का ध्यान अपनी ओर खींचने के लिए बहुत कुछ है । इमोशनल सीन्स काफ़ी संतुलित है साथ ही हास्य, नाटक, एक्शन पीस का अच्छा मेल है जो आपको हैरान कर देते है ।

फ़िल्म में कमी की बात करें तो, हां सेकेंड हाफ़ के बाद फ़िल्म थोड़ी सुस्त पड़ जाती है । इसके अलावा इस दौरान कुछ ऐसे सीक्वंस भी है जो समझ के परे है । निश्चितरूप से यह फ़िल्म एक मनोरंजक फ़िल्म है इसलिए यहां कोई लॉजिक नहीं देखना चाहिए । कुछ हिस्सों में प्रभाव की कमी है । साथ ही, आलिया भट्ट का किरदार और अच्छे से लिखा जा सकता था ।

आरआरआर जूनियर एनटीआर और राम चरण के बहादुर कंधों पर टिकी हुई है । जूनियर एनटीआर असाधारण लगते हैं और ऐसा अभिनय करते हैं जो कहीं भी निराश नहीं करता है । वह आरआरआर को बहुत जरूरी शक्ति देता है । राम चरण शानदार लगते हैं । नाटकीय और एक्शन सीन्स में वह जंचते हैं । विनसम एक्ट वेटेज जोड़ता है । इसके अलावा, आप 'नाचो नाचो' में जूनियर एनटीआर और राम चरण के डांसिंग स्किल से अचंभित रह जाते हैं । इस गाने की कोरियोग्राफी स्पेशल तारीफ़ की हकदार है ।

साथ ही, दोनों अभिनेताओं ने अपनी पंक्तियों को स्वयं हिंदी में डब किया है और बोलचाल के साथ-साथ शब्दों का प्रवाह भी परफ़ेक्ट है ।

आलिया भट्ट को ज्यादा स्कोप नहीं मिलता है, जबकि अजय देवगन एक बेहतरीन कैमियो में नजर आते हैं । रे स्टीवेन्सन [स्कॉट] और एलिसन डूडी [लेडी स्कॉट] निगेटिव भूमिका में जंचते हैं । ओलिविया मॉरिस को लिमिटेड स्कोप मिलता है । श्रिया सरन कैमियो में जंचती हैं ।

साउंडट्रैक में 'नाचो नाचो' में एक हिट नंबर है, जबकि 'शोले' [अंत क्रेडिट] फिल्म को समाप्त करने के लिए एक परफ़ेक्ट ट्रैक है । केके सेंथिल कुमार की सिनेमेटोग्राफ़ी शानदार है और फिल्म के पैमाने के साथ पूरा न्याय करती है । साबू सिरिल का प्रोडक्शन डिजाइन शानदार है । रमा राजामौली ने वेशभूषा पर अच्छी तरह से रिसर्च किया है और डिटेलिंग आप्को आकर्षित करती है । वीएफएक्स [वी श्रीनिवास मोहन] इंटरनेशनल लेवल से मेल खाता है । एक्शन सीक्वेंस फिल्म की ताकत में से एक हैं ।

कुल मिलाकर, RRR एक बेहतरीन एंटरटेनर है जो बड़े पर्दे पर देखने लायक है । फ़िल्म बड़े पैमाने पर हिट होने का दम रखती है । इसे जरा भी मिस मत कीजिए ।

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The Telugu language Indian action epic “RRR” (short for “Rise Roar Revolt”) has returned to US theaters for an exceptional one-night-only engagement on June 1st following its initial theatrical release. Some hindsight has made it easy to guess why writer/director S.S. Rajamouli has only now broken through to Western audiences with “RRR” despite his consistent box office success. Rajamouli’s latest is an anti-colonial fable and buddy drama about the imaginary combo of two real-life freedom fighters, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju ( Ram Charan ). “RRR” is also a fine showcase for Rajamouli’s characteristic focus on maximalist action choreography, overwhelming stuntwork and pyrotechnics, and sophisticated computer graphics.  

By the time he made “RRR,” Rajamouli had already developed his brand of Nationalistic self-mythologizing with some help from recurring collaborators like regular story writer (and biological father) Vijayendra Prasad and both co-leads, who previously starred in Rajamouli’s “Yamadonga” and “Magadheera,” respectively.

Set in and around Delhi in 1920, “RRR” pointedly lacks historical context so that Rajamouli and his team can transform a straight-forward rescue mission into a rallying cry for reunification and also cathartic violence. Bheem, the avenging “shepherd” of the Adivasian Gond tribe, visits Delhi to track down Malli ( Twinkle Sharma ), an innocent pre-teen who’s kidnapped from her Gondian mother by the cartoonishly evil British Governor Scott ( Ray Stevenson ) and his sadistic wife Cathy ( Alison Doody ).

Raju, a peerless Colonial police officer, befriends Bheem without realizing that they’re at cross purposes: Bheem wants to break into Scott’s fortress-like quarters to rescue Maali while Raju wants to catch the unknown “tribal” that Scott’s lackey Edward ( Edward Sonnenblick ) fears might be lurking about. Raju and Bheem immediately bond after they save an unrelated child from being crushed by a runaway train, as clear a sign as any of Rajamouli’s love for Cecil B. DeMille-style melodrama. (“Ben Hur” is an acknowledged influence for Rajamouli, as are the action/period dramas of fellow DeMille-ian Mel Gibson ).

It’s also fitting that “RRR” is Rajamouli’s big breakthrough since it's inevitably about Bheem as an inspiring symbol of quasi-traditional, boundary-trampling patriotism. Rajamouli has gotten quite good at incorporating potentially alienating elements, like his cheap-seats love of grisly violence and brash sloganeering, into his propulsive, inventive, and visually assured fight scenes and dance numbers.

Rajamouli has also already perfected the way he works with and uses his actors as part of his shock-and-awe style of melodrama. Rama Rao is ideally cast as the naively sweet-natured Bheem, whose messianic qualities are also effectively high-lit in a handful of rousing set pieces, like when a bare-chested Bheem wrestles a tiger into submission. Rama Rao’s performance isn’t the main thing, but it is the emblematic inspiration that, along with a “Passion of the Christ”-worthy scourging, understandably leads an assembly of Indian nationals to attack Scott and his bloodthirsty hambone wife in a later scene.

Likewise, Charan’s steely-eyed performance in “RRR” is limited, but strong enough to be credibly superhuman. Rajamouli knows exactly how to capture his best sides, as in an astounding opening action scene where Raju descends into a rioting mob just to subdue and apprehend one particular dissident. Rao and Charan’s bro-mantic chemistry and syncopated physicality have already made a viral success of the movie’s splashy “Naatu Naatu” musical number, but that scene’s infectiously joyful presentation is supra-human by design.

The spirit of the individual matters more than any single person in Rajamouli’s movies and “RRR” is a perfect expression of that notion. It’s also a decent reflection of Rajamouli’s fame, which Film Companion South ’s Sagar Tetali keenly suggests is “the triumph of directorial ambition over the actor-star—the triumph of a brand of storytelling over the South Indian star image.”

With “RRR,” Rajamouli repeats his preference for one nation under populist ubermenschen. Both Bheem and Raju are extraordinary men because they are, at heart, aspirational expressions of the people’s will. Their lives, their loved ones, and their relationships are all of secondary importance—check out Bollywood star Ajay Devgn ’s explosive cameo!—so it makes sense that the cast’s images and performances are also blown up to James Cameron-sized proportions.

Like Cameron, Rajamouli has earned a reputation for pushing the limits of industrialized pop cinema. In that sense, “RRR” feels simultaneously personal and gargantuan in scope. Film Comment ’s R. Emmet Sweeney is right to caution viewers regarding the towering streak of “Hindu-centric” Nationalism and characterizations at the heart of Rajamouli’s “Pan-Indian address.” Sweeney is also right to hail Rajamouli’s dazzling “technical innovation.” It’s not every day that a new Indian movie—which are typically not advertised to Western viewers beyond indigenous language speakers, and therefore largely ignored by Western outlets—is presented as an event to American theatergoers. Attend or miss out.

Available in theaters tonight, June 1st, and also streaming on Netflix.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Film Credits

187 minutes

N.T. Rama Rao Jr. as Komaram Bheem

Ram Charan as Alluri Sitarama Raju

Alia Bhatt as Sita

Ajay Devgn as Venkata Rama Raju

Ray Stevenson as Scott Buxton

Alison Doody as Cassandra Buxton

Olivia Morris as Jennifer 'Jenny' Buxton

Samuthirakani as Venkateshwarulu

Shriya Saran as Sarojini

Chatrapathi Sekhar as Jangu

Makrand Deshpande as Peddanna

• S. S. Rajamouli

Writer (story)

• Vijayendra Prasad
• S.S. Rajamouli

Cinematographer

• K.K. Senthil Kumar
• Sreekar Prasad
• M.M. Keeravaani

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Where to Watch

Watch RRR with a subscription on Netflix.

What to Know

Intoxicatingly over the top, RRR pulls out all the stops to make the absolute most of its 187-minute runtime.

Top-notch singing and dancing combine with a terrific story to make RRR a three-hour feast of entertainment.

Critics Reviews

Audience reviews, cast & crew.

S.S. Rajamouli

N.T. Rama Rao Jr.

Komaram Bheem

Alluri Sitarama Raju

Ajay Devgan

Venkata Rama Raju

Shriya Saran

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RRR Movie Review: एस एस राजामौली के नाम से ‘आरआरआर’ का बेड़ा पार, पढ़िए कहां अटकी और कहां भटकी ‘रौद्रम् रणम् रुधिरम्’

करीब साढ़े पांच सौ करोड़ रुपये में बनी निर्देशक एस एस राजामौली की फिल्म ‘आरआरआर’ की प्रतियोगिता उनकी अपनी ही फिल्मों ‘बाहुबली’ और ‘बाहुबली 2’ से है। भारतीय सिनेमा का दुनिया में मजबूत स्थान बनाने वाले राजामौली की इस फिल्म का परिणाम देश में मनोरंजन उद्योग की अगली दिशा भी तय करेगा।

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निर्देशक एस एस राजामौली के 21 साल के करियर की ‘आरआरआर’ 12वीं फिल्म है। राजामौली की अब तक की सारी फिल्में कामयाब रही हैं जो फिल्मे हिट नहीं भी रहीं, उन्होंने भी बॉक्स ऑफिस पर अपने निर्माता का पैसा डुबोया नहीं। उनकी पिछली दो फिल्में ‘बाहुबली’ और ‘बाहुबली 2’ विश्व सिनेमा के परिदृश्य पर भारतीय सिनेमा की सबसे बड़ी धमक रही हैं। इन फिल्मों की कामयाबी ने दिखाया कि सितारे नहीं बल्कि अब फिल्मों की कहानियों, इनके फिल्मांकन और इनकी तकनीकी सुरुचि और समृद्धि ही बॉक्स ऑफिस पर कमाल करेगी। और, फिर ‘द कश्मीर फाइल्स’ आ गई जिसने इन सारे मिथकों को मिटाकर ब्लैक बोर्ड पर बॉक्स ऑफिस के आंकड़े नए सिरे से लिखने शुरू कर दिए। सिनेमा और सियासत के ये दो अलग अलग चेहरे हैं। अब बारी उस फिल्म की है जिसमें इन दोनों का समावेश है। अंग्रेजों के खिलाफ छिड़ी जंग में दक्षिण को दो रण बांकुरों की कहानी है, ‘रौद्रम रणम रुधिरम’ यानी फिल्म ‘आरआरआर’।

एड फ्री अनुभव के लिए अमर उजाला प्रीमियम सब्सक्राइब करें

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If you haven't been back to the movies yet, Indian epic 'RRR' is the reason to go

John Powers

Ram Charan stars in RRR, an action-packed bromance set in India in the 1920s. Raftar Creations hide caption

Ram Charan stars in RRR, an action-packed bromance set in India in the 1920s.

If you're over the age of, say, 40, you will surely remember the 1975 cult phenomenon The Rocky Horror Picture Show . Weekend after weekend, year after year, decade after decade, audiences turned up at theaters — often dressed in corsets, fishnets and other costumes — to shriek out lines ahead of the characters and sing along with the songs.

I've never seen anything like it — until now. A few nights ago, I went to a packed screening of RRR , an epic action-picture bromance from India. The screening had 900 people — some of whom had already seen the film 10 times — clapping and dancing from the opening credits.

Made by box-office titan S.S. Rajamouli, RRR induces such unabashed giddiness in its audience that Hollywood is witnessing a push to get it nominated for the Oscars. Forget Best International Feature Film, folks are talking Best Picture, Best Director, Best Actor. And having seen RRR twice myself, I'm part of the bandwagon.

Pop Culture Happy Hour

'rrr' is an interrrnational phenomenon.

Set during the British Raj in the 1920s, the movie tells the story of two heroes with impressive physiques and super-charged abilities. The tightly wound Ram — played by Ram Charan — works for the British as a crack military officer who we see quash a mass Indian uprising single-handed. His tiger-hunting counterpart, Bheem, played by N.T. Rama Rao, Jr., is a tribal villager who has come in disguise to Delhi to reclaim a young girl from his village who has been capriciously snatched by the evil wife of the evil British governor.

Ram and Bheem meet heroically while working in tandem to save a child from a train crashing into a river. Kindred in their bravery, they instantly become fast friends. But they don't know one important thing. While Bheem secretly opposes the governor, Ram is secretly working for him. They're bound for a head-on collision.

RRR — the title stands for Rise Roar Revolt — is populist filmmaking. Its emotions are simple, its anti-colonial politics broad. Rajamouli makes the British rulers of India even worse than they actually were, and they were mighty bad. But his mega-star lead actors play their roles with such ardent conviction that we don't merely believe in Ram and Bheem's friendship, we're moved by it. Rajamouli unfolds the many twists and turns of their story with such confidently rampaging energy that, by comparison, most Hollywood blockbusters feel anemic.

I'm normally bored by action sequences, but from the opening riot to the assault on the governor's mansion to the big prison escape — during which Ram rides atop Bheem's shoulders with guns ablazing — RRR contains more exciting action scenes than all the Marvel movies put together. Indeed, there's a slow-motion shot right before the intermission that is one of the most jaw dropping moments in the history of cinema. Just as Crouching Tiger, Hidden Dragon and The Matrix offered American viewers a new vision of action, so RRR possesses a delirious inventiveness and originality that audiences will love. And I haven't even mentioned the marvelous "Naatu Naatu" song-and-dance sequence that recalls the dance-off between the Jets and the Sharks in West Side Story , but is vastly more alive.

You can currently see RRR on Netflix, and it's a good enough movie that you'll enjoy it. But if you can — and I'd urge local theaters to bring it back — you should see it on a big screen. For two reasons. First, Rajamouli is in love with the sheer bigness that makes movies so much grander than TV. Bursting with fights, rescues, wild animals, surging crowds, sadistic monsters, larger-than-life showdowns and mythic transformations, RRR is not a movie that leaves you asking for more.

Indeed, in these days when the box-office is way down, movie chains are wobbling, and experts wonder whether the movies will even survive, RRR makes the case for returning to theaters. It reminds us that movies are always more thrilling when they're part of a collective experience, when you can share the excitement with the people around you. That excitement is electric when you watch RRR . You may well leave the theater humming the catchy tune, "Naatu Naatu."

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RRR Movie Review

RRR Devesh Sharma , Mar 25, 2022, 16:11 IST

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India’s wild action movie RRR re-imagines real-life revolt as an epic superhero battle

The latest outsized crowd-pleaser from Baahubali series director S.S. Rajamouli finds massive thrills in revolution

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In the famous “No Man’s Land” sequence from 2017’s Wonder Woman , Gal Gadot strides across a barren battlefield in slow motion, deflecting German bullets with her wrist cuffs and magical shield. The wind blows through her hair as she leaps across the muddy fields with godlike nimbleness, the score swelling behind her with patriotic pride. There’s a similar moment in RRR (“Rise Roar Revolt”), S.S. Rajamouli’s action-drama hybrid about the adventures of two Indian revolutionaries who have divergent approaches to resisting British occupation in 1920s Delhi. The difference is, in RRR , it’s just one of half a dozen scenes of its kind.

The latest outsized action spectacle from Rajamouli — director of the much-beloved Baahubali movies , available on Netflix — mythologizes two historical figures, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju (Konidela Ram Charan). In real life, Bheem was a leader of the Gondi people who collaborated with other groups to resist landlords and mining companies encroaching onto tribal lands. Raju, meanwhile, led guerrilla attacks on imperial police stations, seizing British guns and ammunition to level the playing field between colonizer and colonized.

This last point makes its way into RRR , as part of a storyline that reframes Raju as a supercop on a mission to take down the British power structure from within. That’s a minor liberty, however, compared to the fact that in the film, both Raju and Bheem have superheroic agility, strength, and fighting abilities. Both can scale buildings like Spider-Man, dodge bullets like Wonder Woman, and flip their opponents like pro wrestlers. Bheem, representing the element of water, counts the animals of the forest among his allies, and bursts onto the field of battle with tigers and wolves by his side. And Raju, representing fire, drives a burning carriage and shoots flaming arrows. Picture Benjamin Franklin and Paul Revere joining the MCU, with Franklin harnessing the power of electricity, and Revere the swiftness of the wind.

The superpowers aren’t the only liberty taken with their stories. RRR explains gaps in both men’s histories by proposing that they became friends after they each made their way to Delhi in the early 1920s — Raju as an undercover imperial cop, Bheem on a rescue mission to save a village girl kidnapped by a colonial governor. (They never met in real life.) In the film, the pair bond over their mutual derring-do. They’re two strangers who agree with a nod to embark on a dangerous impromptu rescue mission to save a little boy trapped by a flaming train accident on a Delhi river.

Subtlety, to put it mildly, is not Rajamouli’s thing. And so the director not only takes every opportunity available to hammer home the “fire and water” theme, he also works in dramatic slow-motion shots wherever he can. Bheem trips and knocks a silver tray out of a waiter’s hand at a garden party? The tray drops in slow motion and spins to a stop as guests stare with wide eyes and jaws agape. Raju pummels a punching bag in frustration after being passed over for a promotion? You bet those drops of sweat are beading off of his glistening, muscular shoulders and dashing mustache at half-speed.

RRR also deals in big emotions to match its hyper-dramatic shooting style. Betrayal, loyalty, and legacy are all major themes, and an alternate title of the film could be SSS — “Secrets. Subterfuge. Sacrifice.” Compared to a stereotypical Bollywood film (which RRR is not — it’s a Telugu production), RRR is relatively light on music and romance, devoting much of its screen time to visual spectacle, gonzo action, and patriotic zeal. The dynamic between Bheem and Raju has shades of the macho bromance of John Woo’s 1980s movies, until it transforms into a superhero team-up. And Rajamouli’s camera is unabashed in its worship of these men, introducing them with protracted sequences designed to build anticipation for viewers’ first look at the characters.

But RRR does make some time for comedy and music amid its stylized feats of mythological bravery. Between the title card — which pops up around the 45-minute mark — and the intermission (sorry, “InteRRRmission”) break two hours in, RRR pauses for a breezy interlude that invites viewers to hang out with the provincial Bheem and the more Anglicized Raju as they get into mischief and chase girls. Raju has a sweetheart back home — his childhood friend Sita (Alia Bhatt), to whom he pledged eternal loyalty before leaving his village to join the Indian Imperial Police. So he acts as Bheem’s wingman, helping Bheem charm sympathetic Englishwoman Jenny (Olivia Morris) with his aw-shucks attitude and impressive dance skills.

Jr NTR (the common abbreviation for N.T. Rama Rao Jr.) and Ram Charan, both Telugu superstars in their own right, show off those skills in the rousing “ Naatu Naatu, ” RRR ’s only real musical production number. (Another song, “Etthara Jenda,” plays over the end credits, and Bheem puts his defiance into song while being punished for his revolutionary activities.) Longtime Rajamouli collaborator M.M. Keeravani provides music for these numbers, along with a title song and instrumental compositions designed to get audiences to their feet.

RRR is a busy movie, full of kinetic camerawork, bustling crowd scenes, elaborate set design, expensive-looking CGI, and loud sound effects. Rajamouli is skilled at balancing the film’s many elements, so “overstimulated” isn’t quite the word for how walking out o f RRR feels. It’s more like the pleasant exhaustion after a good workout.

The extended running times of Indian films used to form a barrier to entry for Western audiences unaccustomed to spending three full hours at the movies. But times have changed, and RRR is only 10 minutes longer than The Batman . On the other hand, although it’s set for release in 30 countries , the film assumes a familiarity with certain characters and iconographies that might go over foreign viewers’ heads. Still, at its core, this is a story about people fighting for their beliefs against impossible odds. It’s about perseverance and the power of working together toward a common goal. Those themes are universally relatable — as is the giddy thrill of watching racist forces of imperial oppression get exactly what’s coming to them.

RRR is now playing in select theaters worldwide.

[ Ed. note: We recommend viewers check local listings or contact the theater to make sure you’re catching the version of RRR you want to see. The film was shot in Telugu, but some theaters are running multiple screens with versions of the film dubbed into one or more of the other major Indian languages: Hindi, Tamil, Kannada, and Malayalam. A Telugu screening will give you the original voice performances with English subtitles.]

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‘RRR’ Review: A Magnificent Cinematic Explosion

Siddhant adlakha.

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S.S. Rajamouli ’s “ RRR ” is a dazzling work of historical fiction — emphasis on the “fiction” — that makes the moving image feel intimate and enormous all at once. A pulsating period action drama, it outshines even the director’s record-smashing “Baahubali” movies (viewers familiar with them probably won’t know what to expect here) thanks to its mix of naked sincerity, unapologetic machismo, and balls-to-the-wall action craftsmanship. The film is playing on over a thousand screens in North America, and watching it with a packed audience familiar with Telugu-language cinema is likely to yield one of the noisiest and most raucous theatrical experiences imaginable. Plenty of recent releases have been hailed as “the return of cinema” post-pandemic, but “RRR” stands apart as an unabashed return to everything that makes the cinematic experience great, all at once.

To talk about the film in any meaningful sense — especially for unfamiliar viewers — first requires setting the stage. Its title is a backronym that stands for “Rise, Roar, Revolt” in English (and similar phrases in various other Indian languages), a fitting label for its early 20th century story about a pair of Indian anti-colonial revolutionaries. However, “RRR” started out as the film’s working title. It stood for director Rajamouli, and the film’s two renowned Tollywood stars, Ram Charan and N.T. Rama Rao Jr. (or N.T.R. Jr.), whose first on-screen collaboration is a good enough reason for many people to buy tickets. The title stuck. The high-caliber names involved are the main attraction, something that becomes all too clear when each actor first appears, and adoring fans turn darkened multiplex screens into lively spaces of celebration, whose walls echo with hoots, hollers and wolf whistles.

The film is worth this reaction, too.

Charan and N.T.R Jr. play Alluri Sitarama Raju (or simply Ram in the film) and Komaram Bheem, a pair of freedom fighters who, as far as anyone knows, never actually met. However, Rajamouli and his co-scribes — story writer K. V. Vijayendra Prasad and dialogue writer Sai Madhav Burra — imagine a fictitious friendship between the pair, during a period in the early 1920s where historical documentation of both figures happens to be scant. “RRR” takes that mild coincidence and turns it into a boisterous, melodramatic saga filled with action that’s over-the-top in its staging, but grounded in its emotional reality.

Charan’s Ram is introduced first, in a manner that’s as viscerally enjoyable as it is narratively shocking. In a strange inversion of history (though one that no doubt establishes a distinct trajectory for his character), we meet this fictitious version of the revolutionary when he’s a police officer for the British Empire. He leaps into battle against a sea of righteous Indian protesters and takes on hundreds of them at once, a superhuman feat typical of South Indian action stars, but one that Rajamouli anchors to tangible bruises, blood and broken bones, blending ludicrous staging (via wide shots that feel like baroque tableaus) with piercing close-ups that rarely cut away as the action plays out. All the while, Ram remains fearlessly and obsessively dedicated to the Crown, and it’s hard not to cheer him on despite this ugly setup — especially when he doesn’t receive the requisite thanks from his British superiors and takes out his frustrations by reducing a punching bag to sandy pulp.

Before long, Ram — now undercover as a revolutionary in the hopes of a big police promotion — is set on a collision course with N.T.R. Jr.’s kindly and heroic Bheem, whose own introduction plays like a fever dream. After a young girl from Bheem’s forest tribe, the Gond, is kidnapped by a British aristocrat, he sets a mysterious plan in motion that involves capturing a number of wild animals (a setup whose payoff is magnificently unexpected). We first meet Bheem as he sprints through the forest — Rajamouli and cinematographer K. K. Senthil Kumar charge towards him with their camera, making his movements feel limitless — and when he manages to capture a roaring tiger in a net, he roars back in its face, accessing something primal and animalistic, as the camera zeroes in on his quivering veins and muscles.

Both men are, in a strictly narrative sense, straight — Ram has a fiancé back home; Bheem has a bit of a will-they-won’t-they with an English woman, Jenny (Olivia Morris) — but everything about the way they’re captured and the way they interact drips with an unapologetic homoeroticism that forms the film’s emotional core. The duo, unaware of each other’s true identities as a cop and revolutionary, first become friends in a scene of explosive heroism that involves a bike, a horse, a train, and both men swinging off a bridge, but the beat that feels most colossal amidst the mayhem is an intimate close up in which they clasp hands, a moment so enormous that it yanks the film’s title onto the screen about 40 minutes in (who would’ve thought “RRR” would have something in common with “Drive My Car”?)

Charan is suave as Ram, and he guides N.T.R. Jr.’s more awkward Bheem through romantic advances with Jenny (a dynamic made hilarious thanks to their linguistic barrier), but the two leading men constantly wrestle between several emotional layers. Each one has their own secret mission — Ram hopes to suss out a revolutionary leader who he doesn’t realize is Bheem; Bheem hopes to make his way into a Governor’s mansion to rescue the kidnapped girl — but the duo’s close friendship also begins to infect their respective missions, especially when they’re forced to confront the truth about one another. They have broader ideals for which they fight, but their senses of duty, which they each see as altruistic, soon become complicated by their love for each as individuals.

It may not be hard to predict the plot, at least in its broad strokes — it’s filled with coincidences, and with misunderstandings which are eventually clarified — but each emotional moment along the way is both magnified to the maximum, yet rooted in the kind of devastating sincerity that makes the duo’s eventual, inevitable collision almost difficult to watch. “RRR” is the kind of film where violence and music aren’t just layered atop the story, but intrinsically woven into the way it’s told. Every action beat has meaning, either in the way it’s set up — a brief moment from the duo’s friendship montage, in which Ram sits atop Bheem’s shoulders, later returns in stunning fashion — or in the way it enhances the narrative. A moment of betrayal, for instance, is marked by a flaming carriage wheel coming undone and striking one of the characters in the heart, and it’s only about the tenth or fifteenth wildest thing that happens in that entire set piece.

For every story beat told through action, there’s another expressed through M. M. Keeravani’s music. The themes composed for Ram, especially when he’s in uniform, arrive with terrifying western horns, which blare whenever he jumps into action, while Bheem’s compositions feel more Earthy, creating a connection between him and nature through spiritual vocal chants and more traditional wooden instruments. As the duo’s friendship grows deeper, the lines between these kinds of compositions begin to blur. The film may not have many dance sequences, but the one major number — “ Naatu Naatu ,” which went viral several months ago for the way Ram and Bheem dance energetically arm-in-arm — becomes its own euphoric mini-movie about friendship and revolution, with its own subplot running throughout the choreography. Modern Hollywood blockbusters tend to have one or two standout scenes, but nearly every scene of “RRR” feels like it could be somebody’s favorite, so even its gargantuan 188 minute running time feels like a breeze.

Of course, the Hollywood influence on “RRR” is clear from the outset, as is the case with many Indian blockbusters, but the film is also its own unique beast. While it evokes images of superhero movies, American war films, and even films about chattel slavery, it blends them together in transformative fashion, hyper-charging each image until it pushes up against the line of believability, but is swiftly yanked back into a familiar emotional realm by recognizable performances. Hollywood star Ray Stevenson plays a moustache-twirling British officer, Governor Scott, who initially comes off as cartoonishly evil — so much so that he doesn’t even want to waste precious English bullets on “brown rubbish” — yet the film not only sticks with that cartoonishness until it feels familiar, but even expands on his strange philosophy until it becomes inextricable from the plot. That Stevenson (and even Bollywood stars Alia Bhatt and Ajay Devgn, who appear in supporting roles) feel like also-rans in the face of Ram Charan and N.T.R. Jr. is a testament to just how massive this collaboration feels — there’s really no western equivalent — and Rajamouli captures every moment and every interaction with the requisite scale and adoration.

By the time the film reaches its fiery climax, one filled with jaw-dropping imagery, it imbues both men with a sense of holy mythicism. Ram even ends up molded in the visage of his namesake, Lord Rama from Hindu scripture, wielding a bow and arrow in the face of British firearms, but no matter how ridiculously any of these moments read on paper, they fit perfectly with the film’s emotional reality, in which love and righteousness flow through the characters like electric superpowers, allowing them to achieve extraordinary, face-melting feats that will leave even the most hardened and cynical viewers feeling childishly giddy.

“RRR” is now playing in theaters.

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Common sense media reviewers.

Epic blockbuster studies colonialism, has brutal violence.

A Lot or a Little?

What you will—and won't—find in this movie.

The movie does promote the idea that you match vio

Komaram Bheem and Alluri Sitarama Raju are incredi

The film is set in India and the majority of the c

The uprising at the core of the film is very viole

Language used includes "bastard" and "wanker." Der

Characters are seen smoking cigars. At a party, ch

Parents need to know that RRR is a hugely entertaining Indian blockbuster with violent scenes throughout and some racist language. The central theme is that of an uprising, standing up and showing courage in the face of tyrannical rule. Set in 1920s colonial India, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri…

Positive Messages

The movie does promote the idea that you match violence with violence. But it also shows the strength in community and teamwork.

Positive Role Models

Komaram Bheem and Alluri Sitarama Raju are incredibly courageous in the face of prejudice and evil. They both realize that teamwork and putting aside their differences will help their cause.

Diverse Representations

The film is set in India and the majority of the cast are native to the country, including the heroes of the piece. The film is very much male-led however, with few female roles of any real note.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

The uprising at the core of the film is very violent. There are brawls and bystanders are hit over the head with rocks and bats. Several brutal deaths. The cracking of bones and bloody faces. Women and children get caught up in the crossfire, being shot and even abducted. There are many explosions and a multitude of weaponry including crossbows, arrows, and cannons. Characters are tortured for information, and are whipped in front of the public as punishment. There are fights between wild animals and humans, the former shot at, the latter mauled. The colonialists beat up helpless Indians, and refuse to use bullets as they are too expensive, killing innocent people using brute force, such as being hit over the head with a branch.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Language used includes "bastard" and "wanker." Derogatory language used toward the Indians include them being called "brown buggers," "filth," "rats," and "monkeys."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Characters are seen smoking cigars. At a party, characters are seen drinking alcohol.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that RRR is a hugely entertaining Indian blockbuster with violent scenes throughout and some racist language. The central theme is that of an uprising, standing up and showing courage in the face of tyrannical rule. Set in 1920s colonial India, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju (Ram Charan Teja) begin as enemies but realize that in order to defeat the British they must join forces. The uprising itself is incredibly violent, but cinematic in its execution. There are fights between humans and wild tigers, with animals being killed and humans mauled. There are also countless deaths -- including innocent women and children -- some of which are brutal and graphic. Characters are also tortured and whipped. There is some use of "bastard" and "wanker," as well as racist language. Characters are referred to as animals and "brown buggers." This Indian production has a diverse cast -- both Telugu and English are spoken -- though it's fair to say the majority of characters, and the heroes of the piece, are men. It has a runtime of over three hours. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (4)
• Kids say (8)

Based on 4 parent reviews

BLOODY AMAZING

What's the story.

RRR is a fictitious story about real events, focusing in on the colonialism of India at the hands of the British. Set in the 1920s, when a young girl is abducted, and her mother callously murdered, family member Komaram Bheem (N.T. Rama Rao Jr.) seeks vengeance against the perpetrators, though he is coming up against a brutal, tyrannical regime. What doesn't help, is that fellow countryman Alluri Sitarama Raju (Ram Charan Teja) is working for the enemy, and he himself proves an indestructible force.

Is It Any Good?

This Indian action-drama offers viewers about as much fun as you can have with a movie. RRR is pure cinema, at times completely over-the-top and ridiculous, but remaining grounded by its historical context. The credit must go to director S.S. Rajamouli for this ambitious undertaking. He truly is a master of his craft, with some spellbinding sequences -- scenes that you may say out loud in the planning stage, but to actually bring them to life is another matter. He may not have the budget of a major Hollywood production, but it matters little such is the strength in storytelling, and his ability to create such epic set-pieces. RRR combines fantasy with realism in a striking way, and while the film tells an important tale, above anything else, it's just purely, and utterly entertaining.

Talk to Your Kids About ...

Families can talk about the violence in RRR . How did it make you feel? Did it add to the story? Do some types of media violence have different impact than others?

The movie is set in the 1920s during colonial India. What do you know about this period? Why is it important to look back on the past? What can we learn from it?

Discuss some of the racist language used. What purpose did it serve the story? How did it make you feel hearing these things in the film?

The movie has very little female representation . Did you find this problematic? Why, or why not?

The film is a fictitious account of real events. What other movies have you seen that has taken this approach?

Movie Details

• In theaters : March 25, 2022
• On DVD or streaming : May 20, 2022
• Cast : N.T. Rama Rao Jr. , Ram Charan Teja , Alia Bhatt
• Director : S.S. Rajamouli
• Inclusion Information : Female actors, Indian/South Asian actors
• Studio : Variance Films
• Genre : Action/Adventure
• Topics : Friendship , History , Wild Animals
• Character Strengths : Courage , Perseverance , Teamwork
• Run time : 187 minutes
• MPAA rating : NR
• Award : Golden Globe
• Last updated : April 7, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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RRR Movie Review : Rajamouli delivers a power-packed entertainer

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RRR - Official Trailer (Telugu)

RRR - Official Trailer (Malayalam)

RRR - Official Trailer (Kannada)

RRR - Official Trailer (Tamil)

RRR - Official Trailer (Hindi)

RRR | Telugu Song - Naatu Naatu (Lyrical)

RRR | Malayalam Song - Karinthol (Lyrical)

RRR | Tamil Song - Naattu Koothu (Lyrical)

RRR | Kannada Song - Halli Naatu (Lyrical)

RRR | Hindi Song - Naacho Naacho (Lyrical)

RRR - Motion Poster

RRR - First Look

RRR - First Glimpse

RRR | Song Promo - Karinthol

RRR | Song Promo - Naattu Koothu

RRR | Song Promo - Halli Naatu

RRR | Hindi Song - Janani

RRR | Hindi Song - Sholay

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Prem Rakshith

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

vsudharshanreddy 1 158 days ago

Excellent �� movie

Basha Elaganuru 133 179 days ago

Rishitborra 12 423 days ago.

Felt above average but not up to the mark and I still think why Rajamouli took few years to Direct a normal film... Rajamouli's previous projects are even good than these...

sesank 487 days ago

Super movie

Chinmudra Anu 496 days ago

Nonsense movie... really don't understand how the audience put so good review for this movie

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‘rrr’ review: s.s. rajamouli’s glorious indian action spectacle.

This Telugu-language action-adventure epic, available on Netflix, has become a worldwide sensation.

By Frank Scheck

Frank Scheck

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“Delirious” is the word to describe S.S. Rajamouli’s Indian action-adventure film that has become a worldwide phenomenon both in theaters and on Netflix since its summer release.

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Although the central characters are based on real-life historical figures, RRR (the title stands for “Rise, Roar, Revolt”) is strictly fictional, as one of the most extensive opening disclaimers ever seen onscreen takes pain to emphasize. (We’re also assured that all of the animals seen in the film, and there are plenty, are strictly CGI. Which is definitely a good thing for them.)

We’re introduced to the lead characters in two bravura action sequences before the opening credits, which don’t appear until some 40 minutes into the film. Ramo Rao Jr. plays Bheem, a burly member of the Gond tribe who attempts to trap a wolf only to come into hand-to-paw combat with a rampaging tiger, whom he manages to subdue through a combination of cunning and superhuman strength. Charan plays Raju, a seemingly superhuman Indian member of the British police who, when first seen, dives into a raging mob of what seems like thousands of rioting Indians to subdue a criminal and somehow manages to fight all of them off successfully.

When a little girl from his tribe is abducted by an evil British governor (Ray Stevenson, leaning heavily into his cartoonish role) who regards Indians as “brown rubbish,” and his equally wicked wife (Alison Doody, Indiana Jones and the Last Crusade ), Bheem embarks for Delhi on a rescue mission. There he encounters Raju in an action-movie version of a “meet cute,” the pair making their acquaintance via a daring joint rescue of a boy from a burning river in a sequence that rivals anything James Cameron or Steven Spielberg has ever devised.

And, of course, there are musical numbers, including the instant classic “Naatu Naatu,” in which Raju and Bheem engage in a frenetically athletic dance-off with rhythm-challenged Brits that would have made MGM’s Arthur Freed proud. (I watched the film on Netflix, and can only imagine the hysteria the scene must have induced in theaters.)

Director Rajamouli, who in just seven years is already responsible for three of India’s highest-grossing films of all time, displays his obvious love of popular cinema in every wildly colorful, overstuffed frame. No matter that the CGI or aerial wire work is sometimes all too obvious, or that the frequent use of slow-motion borders on parody. It’s all presented in such visually dazzling fashion that your eyes are fully satisfied before your brain can make any objections.

And the two endlessly charismatic lead actors display such dynamic physicality in their hyper-muscular performances that they fairly burst from the screen. Their characters provide the most evocative screen bromance since Butch and Sundance.  

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“Bigger than Ben-Hur .” Never again will I bandy around this expression to describe mere weddings, parties or anything else. S.S. Rajamouli ’s epic RRR ( Rise! Roar! Revolt! ), which tells the story of friends who discover they are on opposite sides of India’s struggle for independence, is so massively bigger than Ben-Hur that I’ve almost forgotten that legendary chariot race.

Who needs chariots when you have an army of tigers, jackals and monster stags at your disposal? When one small boy with a lock-and-load rifle can take out an entire British company of colonial lackeys? When two warriors, one unable to walk and riding on the other’s shoulders, become an invincible fighting machine? It simply can’t get any bigger! And look: here comes a chariot, inevitably loaded with tigers!

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Rajamouli’s success with his previous Baahubali series and RRR ’s starry cast – led by Ram Charan and Jr NTR (aka N. T. Rama Rao Jr ), with megastars Ajay Devgn and Alia Bhatt in supporting roles — meant that the Indian audience was expecting great things this time round. Nobody will be disappointed.

From the first scene, when we see a young “tribal” girl stolen from her mother to become the British governor’s wife’s plaything, we are in a heady world of good versus evil. In the next scene we see Alluri Sitirama Raju (Charan), an officer in the British army, tear through a surging crowd of seemingly tens of thousands to bring down one miscreant. Time and again, he is pulled down, beaten and rises to return to the chase. As the crowd disperses, beaten and dispirited, the one British officer with a lick of sense tells his nervous subordinate that while the angry masses were unnerving, he was much more scared of their own native recruit. Quite right, old chap. Be afraid. Be very afraid.

After that, RRR is one action crescendo after another, never dull but not exhausting either; there are plenty of scenes of Raju’s burgeoning bromance with Komaram Bheem (NTR), a similarly invincible knight come from the forest to find the missing girl, to give cheerful respite. Mostly, however, it’s all about cracking heads and derring-do.

RRR wastes no time on nuance; it doesn’t give a second’s credence to the lingering British belief that theirs was a benevolent kind of colonialism. Governor Scott is an ogre who tells his men not to waste good British bullets on these brown scum when they can easily beat their brains out; his bloodthirsty wife looks capable of poisoning 10 Snow Whites before breakfast. The officers are vain wimps; the men brutes. As for the railways, Britain’s much-vaunted legacy to Empire, the only train in RRR , catches fire on a bridge and collapses into the river that is the people’s livelihood. Nice one, Britain.

That said, there is an interesting undercurrent of intersectionality at the Governor’s garden party (shot in Ukraine, incidentally) where all the ladies are very taken with our heroes and want to give their kind of dancing a go, much to the chagrin of their men. There is even a flicker of romance between Bheem and the Governor’s niece, who lends the revolutionaries a crucial hand when needed. This scene lasts no more than a few seconds, however; RRR is very much about men. That’s an opportunity missed. Even Alia Bhatt, as Raju’s stalwart fiancée Seetha, is barely there.

A serious question emerges, however, between the thrills, whippings, beatings and the happy scenes of boyish togetherness that punctuate them. It is the old chestnut of means and ends. How many innocent people constitute legitimate collateral damage in the fight for freedom? Would you kill your best friend? Should you be capable of that? Maybe if soldiers killed both your parents in front of you when you were a child, you would be — but is that a righteous fury or just another wound? It is a question both heroes must ask themselves, both in the course of battle and its aftermath.

In real life, neither of these revolutionary heroes would live to see their battle won. There is, however, a harbinger of a better future. In the last speaking scene — there is another song and dance to come, of course, in which Bhatt finally joins the boys for some Busby Berkley-style kaleidoscopic swirling — the forest-dweller Bheem announces his new goal: to learn to read and write. Bheem did, in fact, learn to read and write in English, Urdu and Hindi, but RRR makes no claim to documentary truth. The myth is what matters, right down to Raju’s ultimate transformation into Lord Rama, shooting down the enemy with his divinely unerring bow and arrow. But do you want the truth, or something beautiful? RRR ’s vision is a far cry from the bitter realities of Narendra Modi’s India, but it makes a truly great story.

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RRR | 2022 | NR | – 1.8.2

RRR SEX/NUDITY 1

Rrr violence/gore 8, rrr language 2, rrr substance use, rrr discussion topics, rrr message.

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A young artist gets stranded in an extensive, immaculate forest in western Ireland, where, after finding shelter, she becomes trapped alongside three strangers, stalked by mysterious creatur... Read all A young artist gets stranded in an extensive, immaculate forest in western Ireland, where, after finding shelter, she becomes trapped alongside three strangers, stalked by mysterious creatures each night. A young artist gets stranded in an extensive, immaculate forest in western Ireland, where, after finding shelter, she becomes trapped alongside three strangers, stalked by mysterious creatures each night.

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'Turbo' Review: Mammootty's charm saves this predictable mass masala entertainer

Director vysakh's 'turbo', starring mammootty, raj b shetty and anjana jayaprakash, is a template commercial entertainer. mammootty's performance and a few twists and turns make this film watchable, says our review..

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• Mammootty's 'Turbo' released in theatres on May 23
• The film is a predictable action comedy with great performances
• The commercial entertainer is directed by Vysakh

Release Date: 23 May, 2024

Malayalam superstar Mammootty has been in impeccable form over the past two years. After a brilliant performance in 'Bramayugam', he is back with 'Turbo', which will see him in a complete mass avatar. Will Mammootty's association with director Vysakh help him continue his streak or will this be a dent? Let's find out!

Turbo Jose (Mammootty), is a jeep driver, who gets into fights in his village at the slightest provocation. Youngsters in his village look forward to his fight at a festival. When his friend Jerry (Shabareesh Varma) gets injured in the fight, he learns that the enemy gang targeted him as he fell in love with Indhulekha (Anjana Jayaprakash). Jose goes to Indhu's house and brings her (with her consent) to Jerry's house, only to be blown away by him. This lands Indhu and Jerry in trouble and the story shifts to Chennai.

Jerry and Indhu, who work at different banks, are still quarrelling as lovers. However, Jerry is also dealing with a bigger enemy as he learns about a big scam carried out by Vetrivel Shanmuga Sundaram (Raj B Shetty). Will Jerry be able to expose him? What happens to his relationship with Indhu? How will Jose help them? The answers to these questions are answered over two and a half hours.

Written by Midhun Manuel Thomas, 'Turbo' is directed by Vysakh. Going by the trailer, 'Turbo' is a no-holds-barred commercial entertainer about a brash man who beats everyone to pulp. Mammootty's Jose is not-so-serious, but a vulnerable guy, who is going through PTSD after a childhood incident. And then you put him against Raj B Shetty's Vetrivel Shanmuga Sundaram, who is a formulaic psycho villain who takes pleasure in killing people.

'Turbo' has many theatrical moments, but they are quite predictable. What makes it interesting is Mammootty's charm and the film's technical brilliance. Be it the camera work by Vishnu Sarma or the music by Christo Xavier, they elevate the ordinary moments and make you cheer for Mammootty. The mass masala entertainer also has a bunch of twists and turns, especially in the climax, that make things intriguing.

Wait for the climax voice-over, which hints at a sequel featuring the two best actors in the country.

'Turbo' is Mammootty's show all the way. The show also deals with how the police and political system are corrupted and how men with money can easily exploit the system. The story that is constructed around this issue is relevant and makes you want to know how the creator has dealt with it.

The high-octane fights in 'Turbo' are performed and filmed well. It is Mammootty's charm and such quirks that made 'Turbo' work to an extent.

It is fun to see Mammootty get back to commercial entertainer after a long time and he has lived the role with perfection. Anjana Jayaprakash has a solid role, which she has portrayed with ease. Raj B Shetty plays a cliched villain. But, his performance made him a perfect adversary for Mammootty. The actor who played Mammootty's mother in the film gives much-needed comedy relief to the story. PS: Watch out for the scene where she is watching 'Avengers' at a crucial time.