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‘Akhanda’ movie review: An ultra high decibel roar

Boyapati srinu and nandamuri balakrishna deliver a loud mass action entertainer that is strictly for the fanbase.

Updated - December 04, 2021 01:43 pm IST

Published - December 02, 2021 03:42 pm IST

Balakrishna in ‘Akhanda’

There are films, and there are films by director Boyapati Srinu. Then there are films by Boyapati Srinu starring Nandamuri Balakrishna. In the cinematic universe where the two collaborate, everything is larger than life. Nothing is subtle, not even remotely. In their third outing together after Simha and Legend , the two decide to up the scale and the decibels. Telugu film Akhanda stars Balakrishna in a dual role, but we’ll come to that in a bit.

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• Cast: Nandamuri Balakrishna, Pragya Jaiswal, Srikanth, Jagapati Babu
• Direction: Boyapati Srinu
• Music: S S Thaman

With the stage set for a larger-than-life canvas, Boyapati goes all out. The 167-minute film begins and ends with action sequences that are carefully choreographed, with ample slow motion shots designed to be dutifully lapped up amid loud cheers. Balakrishna walks between two large wheels and later tyres that are rolling away, after beating people to a pulp, of course, in slow motion.

Elsewhere, he thrusts a trishul into someone and turns it round a couple of times, just so we know he isn’t letting the evil ones get away easily. In another scene, bullets pop off someone’s skull. Another man beaten up by Balakrishna and hurled up is still spinning in the air while the star walks away in s.l.o.w.m.o.t.i.o.n. This is only the tip of the iceberg; there’s plenty more action in the film, unfolding to Thaman’s rousing score.

The story is that of twins separated at birth. Been there, seen that? A uranium miner exploits the land and its people to the hilt. Seen such stories too? Boyapati gives these oft-repeated mainstream storylines an added edge with the ‘Akhanda’ (invincible) aspect, throwing in a good measure of religion, spirituality, good Vs. evil godmen.

The narrative unfolds in a familiar fashion, depicting the hero’s good deeds. There’s room for romance as well. The new district collector Saranya Bachupalli (Pragya Jaiswal) is depicted more as a romantic interest and later as wife and young mother than as a civil servant. She gets ample screen time, but not enough scope to be taken seriously as a district collector. The age difference between the couple also appears glaring.

Poorna, as principal secretary Prabhavathi, probing the mining scandal, has slightly better scope to portray a no-nonsense government official.

Srikanth is cast as mine owner Varadaraju who knows no remorse. He eats at a poor woman’s house and in return, presents her with the severed head of the man of the house. If that gives an idea of the depiction of evil in this film, there’s more. A series of barbaric events sets the stage for the arrival of ‘Akhanda’ as the saviour.

The drama goes on and on, with Boyapati and team not tiring of several more action sequences. All this is laced with dialogues by M Ratnam. Some are sermons while most are punchlines — ‘ Meeku samasya vaste dandam pedataru, memu aa samasyake pindam pedatam ; both are not same’. Boyapati and Balakrishna seem to have thoroughly enjoyed making the film.

Srikanth is introduced as a powerful antagonist but eventually comes across as a regular villain. Numerous other characters fill the screen but have no scope to make an impact.

The film gets tiresome post intermission and the incessantly high voltage background score doesn’t help either.

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Akhanda Movie Review: A Feast Meant Only And Only For Fans

Director: Boyapati Sreenu Cast : Nandamuri Balakrishna, Pragya Jaiswal, Jagapathi Babu, Meka Srikanth, Shamna Kasim Language: Telugu

Some films prepare you for what to expect the minute you walk into a theatre. If you've followed the films actor Balakrishna and director Boyapati Sreenu have done together in the last decade you know the formula that they believe in.

Balakrishna essays two roles in the film. One is a do-gooder with super-human skills to bash people but just a little bit of vulnerability to shake his leg to fill the first half with songs and dance along with massy fights. There's a gruesome villain doing an illegal activity and is probably an extreme version of some real life political opponent of Balakrishna, the politician. Then, an interval fight sets up the entry of the second character, who is a super-super-super-human with a tragic backstory to justify the violence that's about to follow. The thrilling climax with fight sequences and punch dialogues aim to bring the roof down. Finally, everyone exits the theatre saying "Jai Ballayya."

Rather than being story-telling entities these films are supposed to be vehicles of adrenaline pumping energy through the dialogues and actions of its leading man. If you're a young male Balakrishna fan who feels safe to express themselves in a single screen theatre, these movies are dream stuff. It guarantees a better high than a cocktail of Redbull, black coffee and any other drug. Akhanda works even better if you want to thump your chest over Hindu myth and folklore. 

In this film, Balakrishna plays Murali Krishna and Akhanda. The first is the relatively (using the word loosely here) sensitive do-gooder in Anantapur district where he's settling disputes and arguing for peace while resorting to violence where needed. This part has meta baggage because Balakrishna is the MLA of Hindupur which is in Anantapur district. 

Srikanth plays Varadarajulu, the tormentor-in-chief, who's conducting illegal mining and ruining peoples lives and the environment. Like Jagapathi Babu, Srikanth is trying to reinvent himself by playing super-villainesque characters but it's hard to find freshness in his interpretation of these characters. Jagapathi Babu brought a certain mix of suaveness with local flavour last seen in Raghuvaran . Jagapathi Babu's voice helped the loudness required of these characters. But Srikanth struggles to get originality to these portions and seem more like a younger brother aping an elder brother. 

Pragya Jaiswal plays yet another part which confuses a highly qualified character (she's an IAS officer named Saranya) for an important one to the plot. But then again her purpose in this film is to dance well and sell her pairing with Balakrishna and cry bucket loads of tears when she's pushed into the path of trouble. She does a good enough job of that.

Balakrishna as Akhanda does the greatest amount of fan service that any star has done in a long time. He dances, gives hat tips to real life situations, utters dialogues that his fans want him to, brings energy to badly written scenes and tries his best to sell the fights. It's everything fans expect from him but it's not the actor who was seen in films such as Aditya 369 , Bhairava Dweepam , and Goutamiputra Satakarni (films of his that I personally like). They have shown us that he's capable of films that are relevant beyond his fans and seep into 'average' cinema audience. They age well and linger in the mind years after their initial viewing.

However, in this film, he delivers exactly what his fans want. He relishes the dialogues and shows how much fun playing to the gallery is. When hell almost breaks loose around the interval mark and it's time for Akhanda to enter, hell does break loose . But it is for the bad guys on screen and in the single screen theatres across the Telugu speaking states. People whistled, hooted, howled and threw bits of colored paper in the air. 

In the hands of Thaman, the music becomes the green chilli that some people eat along with food that's already spicy. It's not for everyone but those that do relish it enjoy it in a way others might not fully understand.

Boyapati Sreenu's earlier work is not something I've been particularly impressed by or enjoyed but it's rare to find an actor-director pair that knows exactly what they want and who they are catering to. That's admirable and a quality other storytellers and directors can imbibe.

If this review sounds a little muddled I think it's because I'm also confused. It wasn't my cup of tea but I couldn't not smile seeing those that enjoyed it doing their thing in the theatre. I found many problematic elements but this film doesn't care to be on that page because that would be like expecting a bulldozer to excel in miniature art.

Ultimately there's a simple litmus test for how you would react to Akhanda . I'm going to throw a phrase at you. You could repeat it sincerely with all your heart or you could utter it ironically with a goofy grin. I know which side I'm on.

Jai Ballayya.

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Akhanda Movie Review

Article by Suman M Published by GulteDesk --> Published on: 9:13 am, 2 December 2021

2 Hr 48 Min   |   Action - Drama   |   01-12-2021

Cast - Balakrishna, Pragya Jaiswal, Srikanth, Jagapathi Babu, Nitin Mehta, Poorna and others

Director - Boyapati Sreenu

Producer - Miryala Ravinder Reddy

Banner - Dwaraka Creations

Music - S Thaman

Nandamuri Balakrishna and Boyapati Sreenu’s combination has become a hit sentiment to Balayya’s fans with the previous two movies of the combo turning blockbusters. Simha and Legend were massive hits, and here comes the duo yet again with Akhanda. The trailer appeared powerful with Balayya in Akhanda look and locking horns with powerful villains. The movie hit the screens today and that too with huge openings all over. Let us walk through the review now.

What Is It About?

Gajendra (Nitin Mehta) takes over Maharudra Peetham in Karnataka to become its head and conduct his illegal activities using his influence as Maharudra Peethadhipati. His partner, Varada Rajulu (Srikanth) a ruthless baddie owns a mine with which he starts polluting the surroundings with his mining mafia and Uranium extraction.

Murali Krishna (Balakrishna), a farmer and a social reformer in Anantapur falls in love with District collector Saranya (Pragya Jaiswal) and they both get married. Murali Krishna learns about Varadarajulu’s mafia and also that the mining waste is the reason for the death of many in his area. Murali confronts him but goes behind bars in an unfortunate scenario and his family falls in trouble due to Varadarajulu. Meanwhile, Murali’s long-lost twin Akhanda Rudra Sikander Ghora (Balakrishna) comes to rescue Murali’s little daughter. What separated Murali and Akhanda? How Akhanda saves all and what is he up to? The remaining story answers these questions.

Performances

Balakrishna is usual as Murali Krishna, but he’s shown powerful as Akhanda. Balakrishna appears as a juggernaut and unstoppable in the role of Akhanda. But the elevation scenes and the stunt scenes go beyond the limit. Most of them have the goons literally flying in the air after Balayya delivers a kick or punch. Murali Sharma’s role is elevated in the first half, and to everybody’s surprise, he does not have a single dialogue in the second half. Balayya as Akhanda looks powerful and it is a treat to fans.

Pragya Jaiswal has a full-length role as Murali Krishna’s wife and she is alright. Even she did not get to utter a dialogue in the second half, where Akhanda takes over.

Poorna aka Shamna Kasim appears as a government official who suffers badly for trying to put baddies behind the bars. Nitin Mehta is just like any other Bollywood villain and he is not any special. Srikanth looked ruthless and he can get more rugged baddie roles after this. Balayya and Srikanth’s confrontation and action scenes are just okay. Jagapathi Babu will be seen in a small role that is just limited to elevating Akhanda.

Technicalities

Boyapati Sreenu did not leave his formula for his movies with Balayya. He might have thought it as a success mantra to have Balakrishna in the dual role. He came up with it yet again in Akhanda too. The first half will have a jovial yet powerful Balayya and when he gets into trouble, the second one comes out even more powerful to save them all. So, Balayya knows the drill and he did everything by the Boyapati’s book.

Among the songs, Jai Balayya is colorful and may impress the fans and masses. Akhanda song is also fine. The background music is good. The cinematography is good. Editing is fine. Some dialogues are good, while some go overboard.

Most of the fight scenes are prolonged. Also, it is high time that the stunts with goons getting crushed to the pulp or flying in the air needs a change. In many scenes, it is just blood, dust, and bodies all over.

Balakrishna as Akhanda Dialogues Background music

Thumbs Down

First Half Prolonged action scenes Formulaic writing Excess run time

Boyapati Sreenu must be under a lot of pressure to deliver a hattrick with Balayya that too after his disastrous Vinaya Vidheya Rama. He stuck to his formula of two Balayyas, a big family, two or three villains, elevation dialogues, and extreme action scenes.

The story of a bad guy’s mining mafia obstructed by the protagonist finally the good winning over evil is as old as mountains. Boyapati goes with the same story, except that he shows Balayya as agora like no other director ever did.

The movie begins with the establishment of the villain’s role and then Balayya’s entry. From there it goes mostly on a predictable note and gives us a feeling that we watched it already elsewhere.

The first half of the movie has unwanted elevation dialogues and scenes one after the other. The love story between Balayya and Pragya Jaiswal is completely boring while there are even boring episodes like ‘Kallu’ drinking and others. There were many boring scenes where Balayya will be seen lecturing people without missing the rhyming words.

Balayya (Murali Sharma) getting arrested for a bomb blast and staying silent since then appears illogical. Though it is the director’s plan to put his calm in the second half to elevate Akhanda, it could be justified. Somehow the same Balayya comes out of jail for the climax fight scene.

The sincere officer who arrests Balayya accusing his possible hand in the blast listens to Akhanda’s preachings even though the latter makes a pile of dead bodies. The NIA officer stays along but fails to establish a connection of bomb blast to mining mafia goons, which makes no sense.

There are some cliched and over-dramatic scenes like the people giving away their lives to save the protagonist’s family, a central minister praising Balayya like a fan, and many more.  

One more drawback for Akhanda is its run time. The first half appears dragged with songs and too many boring episodes, while the second half has prolonged stunt scenes.

Having said that, Akhanda is a Boyapati-Balayya formulaic commercial film that offers no surprises or great twists. Balayya’s Akhanda look and dialogues in certain scenes with apt background score are sure to give goosebumps to his fans. Finally, Akhanda remains a complete mass movie in Boyapati-Balayya template.

Bottom line: High Voltage Action Without Emotion

Tags Akhanda Movie Review Akhanda Review Balakrishna Akhanda Review

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Akhanda Movie Review: Balakrishna punches the goons, this film punches the audience

Rating: ( 1.5 / 5).

Akhanda is a true-blue Boyapati Sreenu film. This is neither a criticism nor an appreciation; I’m merely stating a fact. Ever since his debut with Bhadra , Boyapati has refused to evolve as a storyteller. What has changed, though, is the way his barbaric villains mercilessly murder dozens of junior artists. With Akhanda, Boyapati has reached a new high in savagery: A hospital where sick children are being treated explodes, a truck runs over dozens of poor men, some more men are set on fire, an entire community of labourers is gunned down. Well, what’s so surprising, you may ask. There have been several gory sequences involving mass murders in the director’s filmography. Legend, for instance, had a scene where four dozen fishermen are stabbed and diced; an equal number of background artists are killed in Sarrainodu, Simha, Vinaya Vidheya Rama , so on and so forth. In Akhanda , though, all the sequences of sadism play out in a span of 10 minutes. There’s no stopping an uncaged Boyapati Sreenu in Akhanda .

His conviction to execute the most insane of his ideas is a lesson for future filmmakers. Picture this: hundreds of goons equipped with all the weaponry from Telugu Masala Film’s godown — from machine guns to axes and even chilli powder — have to kill Balakrishna’s Akhanda Sikandar Rudra Agora (that’s his name), who is in the middle of a prayer devoting his undivided attention. Yet they miserably fail and how! That’s what I call conviction. That’s what I call taking the audience for granted. If the callousness towards the audience’s intellect and the recklessness towards storytelling wasn't outrageous enough, Thaman's loud... I mean, LOUD score is the trishulam to our ears. But, why am I questioning the decibel levels in a Boyapati film? 

In between the bloody, gravity-defying fights, there is a semblance of a story. One fine day an extremist named Gajendra kills a faithful guru and takes his spot as a godman to conjure the world. The same day a couple in Rayalaseema is blessed with twins. On the same fine day Jagapathi Babu, who plays a sadhu, warns the father to let go of one of the kids because one of the infants would be destruction personified, while the other is the personification of nature. Usually, this means one of the twins is timid while the other is the wild type. But here both of them are equally violent with innovative methods to decimate their opponents. So why even estrange them? Again, why am I questioning logic in a Boyapati film?

It’s almost impossible to objectively analyse a film like Akhanda , considering how mind-numbingly dumb it is. But what can you do if that’s the film the filmmaker wanted to make. While Boyapati succeeds in what he sets out to do, the ultimate loser is of course... us. Of course, we signed up knowing the film will be loud, crass, violent, and more importantly, senseless. What surprised me, however, is the level of all these attributes. The villains in Boyapati films are cruel, and in Akhanda , it is the turn of Varadharajulu (played by Meka Srikanth, who made a career out of playing soft and kind roles) to do the needful. There is no dearth of crudeness, but here,  they really start bothering you after a point: a mother is raped in front of her child and I see no point for such a sequence to exist. I think it’s shameful that filmmakers in 2021 keep using rape as a device to "infuriate" the hero. What’s funnier is the fact that Srikanth is not even given the "main villain" status. Again, why am I even questioning the writing choices in a Boyapati film? 

If there’s one thing Boyapati has learned from the failure of his previous outing, the subdued superhero film Vinaya Vidheya Rama , it’s that you never play it subtle. In Akhanda , Boyapati makes his hero a proper superhero, err, God, this time. In a scene where Akhanda Sikandar Rudra Agora hits a guy, we see a goon’s soul exiting the body and as he falls back, the soul and body meet. Likewise, he can touch a human and see their past. I wish Boyapati explored this angle deeper, it could have been a fitting answer to Unbreakable. We have a heroine as well, played by Pragya Jaiswal, and in tradition with Boyapati-isms, she is hailed as an “inspiration” for the young women, and then this is immediately followed by a crude scene involving a seatbelt. Perhaps the only character who gets a proper arc is a local goon who is reformed by Muralikrishna early in the film. Again, why am I trying to analyse the craft of a Boyapati film? 

There’s a funny dialogue in the film. “You punish the evildoer by confining him in a cell, I punish by sending him to hell,” Akhanda Sikanda Rudra Agora fiercely says. Boyapati's Akhanda takes it too seriously. 

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Akhanda Review

Balakrishna's Akhanda is releasing in a massive manner today on December 2nd. Expectations are high on all quarters as Balakrishna and Boyapati Srinu are coming together for the third time to score a hattrick and the film being the first big-budget film releasing in theatres after the outbreak of the corona pandemic. Let us see what Akhanda offered to movie lovers and whether it breathed life into Tollywood increasing the hopes.

Story Review

Murali Krishna (Balakrishna) who is a farmer in Anantapur reforms everyone to stay away from factionalism and is highly respected in the district. Newly appointed district collector Sravanya (Pragya Jaiswal) who at first mistakes him, however, falls in love with him, and in due course both get married. In the meantime, Muralikrishna gets a shock when he finds that many get admitted to his hospital due to unknown disease and die of those symptoms. Collector Sravanya's PA (Poorna) who conducts a preliminary investigation finds out shocking truths about mining undertaken by Varadarajulu Mining Corporation headed by Varadarajulu (Srikanth). This leads to sensational developments in the lives of Murali Krishna, Sravanya, Poorna, and others and leads to the entry of powerful person Akhanda (Balakrishna). To find out the shocking developments and its connection to Akhanda, who is an aghora, enjoy Akhanda on the silver screen.

Artitsts, Technicians Review

Boyapati Srinu who tasted a disaster in form of Vinaya Vidheya Rama, teamed with Balakrishna to regain his stature. He came with a powerful mass entertainer to elevate the heroism to Balakrishna to another level. His idea to show Balakrishna in the role of an aghora is something new and it connected chords with the viewers.

He introduced Balakrishna as a messiah of the poor reforming them who lives in the clutches of factionalism. Balakrishna's traditional avatar and power-packed dialogues thrill viewers. He attracted with his look and even shed weight to delight all his fans. The first half passes in an interesting and entertaining manner with Balakrishna's heroics, romantic elements between Balakrishna and Pragya Jaiswal, and also the slow and steady buildup of villains in form of Srikanth, Kalakeya Prabhakar, and others.

Though routine elements crept in during the narration as the film progressed, the pre-interval and interval block in the runup to the introduction of Aghora and the high octane action scenes involving Akhanda and the baddies set the stage perfectly for the power-packed second half. The second half boils down to the all-out war between Akhanda and the others who want to rule the world with illegal mining. Though the scenes are routine once again, the involvement of Akhanda and his powerful dialogues relating to spirituality, Hinduism and others give a new feeling.

Again the climax and pre-climax episodes are loaded with high octane action scenes and Balakrishna as Akhanda roared in a powerful manner. Boyapati Srinu who knows how to elevate the heroism of Balakrishna to the optimum once again emerged successful in doing the same. The story is routine and has shades of his hit films like Legend and Simha and if one removes Akhanda's character from the film, it has nothing. Even the extreme violence and action scenes are lengthy and neverending. One gets a feeling that the lengthy pre-interval and interval block and pre-climax and climax block tested the patience of the viewers. However, with Balakrishna elevating the scenes with his performance, it's a treat for all his fans and masses. For all the positives, Boyapati once again came with a weak story, routine narration, and predictable screenplay. Lack of real twists and turns and the missing emotions undid the power of Akhanda.

Balakrishna made his presence felt throughout the film. Be it as a farmer and reformer Murali Krishna or as an aghora Akhanda, he showed different variations. While he showed his mass and class angle, romantic shades as Murali Krishna, as an aghora Akhanda he came with a powerful roar elevating his heroism to another level. He came with a power-packed performance and his dialogues drove fans crazy.

Pragjya Jaiswal performed her role well as a collector as a girl who falls for a good person, who takes on the baddies and who cares for her daughter. However, she just looked ok in her looks. The chemistry between Balakrishna and Pragya Jaiswal is a treat to watch and their mass song Jai Balayya and romantic song Adiga, Adiga are well shot. Srikanth made his presence felt as a baddie. He looked menacing on screen but his role turned out to be typecast.

Jagapathi Babu got a limited role and he performed well. Kalakeya Prabakhar is ok in his role as a corrupt cop. Poorna did well as the PA to the collector and Subbaraju is fine as a minister. Sai Kumar performed well as Aatma. Others performed accordingly.

Thaman's songs are good. Tunes have shades of mass and class elements and are well shot. He elevated the scenes with his background music. The cinematography of Ram Prasad beautified the film showing the rural atmosphere and also the Akhanda scenes effectively. Editing of Kotagiri Venkateswara Rao could have been better. There are many repetitive scenes and drags left in the film. Stunt choreography elevated Balakrishna's heroism to another level. Production values are good.

Balakrishna

Powerful dialogues

Cinematography

Disadvantages

Routine Story

Missing emotions

Predictable narration

Over the top stunts

Lack of twists and turns

Rating Analysis

Balakrishna and Boyapati Srinu's Akhanda generated immense interest among movie lovers. Since the duo came after scoring blockbusters like Simha and Legend. The entire industry started looking at Akhanda as it happens to be the first big-budget film releasing after the corona pandemic. Boyapati came with an out-and-out mass action entertainer and he elevated Balakrishna's heroism to another level especially in the role of Akhanda loading it with power-packed dialogues. This gives a new feel. However weak story, routine elements, predictable narration undid his efforts preventing it to be a runaway blockbuster. Considering all these points, CJ goes with a 2.5 rating for Akhanda.

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'Akhanda' Review: Routine Roars In High Volume

Movie: Akhanda Rating: 2.5/5 Banner: Dwaraka Creations Cast: Nandamuri Balakrishna, Pragya Jaiswal, Srikanth, Jagapathi Babu, Poorna, Kalakeya Prabhakar, Subbaraju and others Dialogues: M Rathnam Music: Thaman DoP: C Ram Prasad Editor: Kotagiri Venkateshwara Rao, Tammiraju Art: AS Prakash Producer: Miryala Ravinder Reddy Story, screenplay, and direction: Boyapati Sreenu Release Date: Dec 02, 2021

The combination of Nandamuri Balakrishna and director Boyapati Srinu is one of the most successful in the Telugu film industry. They have teamed up for the third time for this high intense action entertainer, Akhanda. Amidst much hype, the film hit theaters today. 

Has the duo delivered a hat-trick of success? Let’s find out.

Story: Muralikrishna (Balakrishna) is a good-natured man in Ananthapuram, who devotes his life to people and does a lot of development work in the region. 

Impressed by his character, the new collector Sarwani (Pragya Jaiswal) falls for him. They get married and are blessed with a girl.

Due to the local mining mafia leader Varadarajulu (Srikanth), Sarwani and Murali Krishna land in a trouble. When Sarwani and her daughter are chased by Varadarajulu’s men, she runs into a cave to hide. She is rescued by a Sadhu named Akhanda (Balakrishna). 

Who is Akhanda? What is the connection with Muralikrishna’s family?

Artistes’ Performances: Playing multiple roles is a cakewalk for Nandamuri Balakrishna. ‘Akhanda’ also shows two different shades of Balakrishna. He once again comes up with a riveting performance in the role of Akhanda. His getup is terrific. Some of his dialogues are powerful, others sounded routine. The entire second-half runs on Akhanda’s role.

Pragya Jaiswal is an IAS officer, but her character turns regular after a few scenes. She is hardly impressive. 

Srikanth, for the first time in his career, has played the villain’s role convincingly. Jagapathi Babu as a Sadhu leaves his mark. 

The actor who played the main villain is okay. So is Poorna.

Technical Excellence: M Ratnam has written dialogues that give mixed feelings. In Balakrishna's roaring voice, some sounded powerful. 

C Ram Prasad's camera work is top-notch. Thaman’s songs are not worth talking about, but the background score is a major strength. His high-decibel score has elevated many episodes in the second half. He has designed a special theme for the ‘Akhanda’ character. 

Major part of the film runs only on the action choreography. The fights look similar from beginning to the end. There is ample chance to design the fights in different styles and patterns. But that variety is not shown. 

On the other hand, the dance choreography is impressive and fresh. Some steps in Jai Balayya song are worth to become viral.

Highlights: Balakrishna as Akhanda Thaman’s background score Dialogues

Drawback: Passable first half Overdose of mass sequences Lengthy and tiring action stunts The logic goes for a toss Routine climax

Analysis After mass entertainers “Simha” and “Legend”, director Boyapati in his third teaming up with Balakrishna has written a story that touches upon issues like illegal mining, protection of the environment, Hindu Dharma, etc. The topics might be new in Boyapati’s film, but the treatment is familiar.

In fact, Boyapati has followed the template of the narrative he has shown in his previous works like “Legend”: the hero in a dual role, a character who does not appear in the first half comes right at the interval point and takes the charge. In ‘Legend’, it was the role of Jaidev, here it is ‘Akhanda’.

What is the other difference between “Legend” and “Akhanda”?

The former has a couple of killer songs like “Nee Kanti Choopulonaa” and “Legend He’s Legend”, an engaging romantic track with two heroines and a menacing villain played by Jagapathi Babu. The latest “Akhanda” lacks all these elements. 

There is a dialogue in the film: Once I decide on something, I meander like a bulldozer truck. True to the dialogue, director Boyapati Sreenu’s narrative goes on a rampage of one action scene after the other in the second half. The fights are lengthy and in a similar manner throughout. The pre-interval fight has a length of about 17 minutes.

Despite Balakrishna’s earnest and sincere effort to play an aging Sadhu, the film doesn’t escape the routine.

While Balakrishna tries playing to the gallery and appealing to his fans, the film is mostly unimaginative. The first character of Balayya doesn’t appear in the entire second half, except for a climax sequence

We never expect to see the logic in Boyapati’s movies. However, when we see the female protagonist as a collector, we expect her character to reflect some reality. What Pragya does as a collector is silly and unrealistic. Same goes for an NIA investigative officer.

In one of the fight sequences, Akhanda completes yagnam sitting calmly even with three axes stabbed in his back.

A few scenes, however, are exceptionally executed. Example: Akhanda – Poorna track, and Balakrishna explaining the true meaning of non-violence in Hinduism.

The film could have been gripping had the villain been strong. The face-off sequences between Balakrishna and Srikanth are tepid. Srikanth doesn’t have the menacing quality required for a villain. Nor is the main villain strong enough.

All in all, “Akhanda” is an out-and-out mass movie, which is embellished with some interesting moments here and there, but is largely formulaic and template of Boyapati’s movies. Dialogues and Balakrishna’s getup as Akhanda give goosebumps to his fans, but the lengthy fights, lack of entertaining moments, and disappointing climax make it a routine mass drama.  

Bottomline: Only for Balayya fanatics

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Tags: Akhanda Akhanda Movie Review Akhanda Review Akhanda Rating Akhanda Movie Rating

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Release Date : December 02,2021

123telugu.com Rating : 3.25/5

Starring: Nandamuri Balakrishna, Pragya Jaiswal, JagapathiBabu, Srikanth, Avinash, Poorna, Subbaraju

Director: Boyapati Srinu

Producers: Miryala Ravinder Reddy

Music Director: Thaman S

Cinematography : C. Ram Prasad

Editor: Kotagiri Venkateshwara Rao

It has been quite some time since we have seen Balayya in a mass role. He is now back with Boyapati’s Akhanda. The film has been released today and let’s see how it is.

Murali Krishna(Balakrishna) is a well-known people’s man in the faction-ridden Anantapur district. Things get problematic in his area when a mine owned by Varadarajulu(Srikanth) creates massive problems for the poor. Murali Krishna takes on Varadarajulu but gets arrested sadly. When the goons create more havoc with Murali Krishna’s family, Akhanda(Balakrishna as Aghora) enters the scene to save everyone. Who is this Akhanda? What is his background? and how he saves everyone is the story of Akhanda.

Plus Points:

It has been a long time since the fans have seen Balayya in a powerful avatar and to their happiness, Boyapati Sreenu provides them a full meal by showcasing Balayya in a never-before-seen avatar in a double role.

Balayya does full justice to his roles but it is the character of Akhanda which the fans are going to love the most. Balayya as the Aghora is on another level in the film. Be it his screen presence, dialogue delivery, or intense look, Balayya is solid and impresses one and all.

One of the biggest assets of the film is Thaman’s BGM. If not for Thaman, the film would have not looked the way it did. Thaman’s BGM for all the elevation episodes is amazing. Pragya Jaiswal gets a good role and makes full use of it. Kalakeya Prabhakar is also neat as the ruthless cop.

Last but not the least, Srikanth is ferocious in the negative role. He surprises one and all with his screen presence and gives a good fight to Balayya. But his screen time is limited.

The first half is impressive and the way both the characters of Balayya are unleashed is just superb. The film is filled with several fan moments and the song, Jai Balayya is just the icing on the cake.

Minus Points:

Like in all Boyapati films, there is not much story in Akhanda. There are no basic twists and you exactly know what is going to happen next. The first half is quite long even though the fights are good.

The problem of Akhanda lies in its second half. Once the character of Akhanda makes an entry, there is no strong opposition to him. Balayya just keeps killing the goons and the novelty point is missing big time. A proper villain elevation would have made things even better.

The emotional angle is also missing a bit in the second half as the family and mother angle looks forced on the viewers. Too many fights in this half are also an issue. Though the fights are good, they look repetitive after a point here.

Technical Aspects:

As said earlier, Thaman has breathed life into the film with his work. Special mention to the way the fights have been choreographed. They give several adrenaline-pumping moments for the fans.

Dialogues are of typical Boyapati style and the way Balayya mouths them is also superb. The dances, lyrics, and costumes of Balayya are also good. However, the film can easily be chopped off for at least ten minutes to make things crisp.

Coming to the director Boyapati, he has lived up to the hype created and has given fans what they were missing. He wrote two powerful characters for Balayya and showcased him superbly. If he would have had an even stronger conflict point in the second half, the output would have been better. Though he went overboard with the logic and fights in his last film, he has taken care of those errors here.

On the whole, Akhanda is a feast for hardcore fans and Balayya gives them ample moments to cherish with his stunning act. The story is dull and violence in the second half is in excess. Akhanda is a kind of film that the class audience might have issues with. But as it has been a long time since a biggie has come out in theatres, the masses will surely lap it up as Akhanda is filled with Balayya’s mass masala avatar like never before.

123telugu.com Rating: 3.25/5

Reviewed by 123telugu Team

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Akhanda movie review.

'Akhanda' was released today amid high expectations in hundreds of theatres in the Telugu States. In Overseas territories, the film has headed to theatres in 500 locations. What is the film about? Is it worth a watch? Let's find out.

Murali Krishna ( Nandamuri Balakrishna ) is a widely respected farmer-cum-reformer in Anantapur, Rayalaseema. Varadarajulu (Srikanth) is a ruthless mining baron working under the aegis of the presiding guru of a Peetham. When the villains endanger the lives of a whole village on the pretext of carrying out mining, Murali Krishna threatens them with dire consequences. But it is only Akhanda (Balakrishna, again) who can take on the might of the evil forces.

Performances

When it is Boyapati Srinu, Balakrishna knows what to deliver, how to do it and where to make it happen. 'Akhanda' proves that he becomes the 'Simha' of acting for a Boyapati movie. The Nata Simha is fabulous in the intense, gravity-defying action sequences.

Srikanth had to look terrifying besides delivering good acting. He is not perfect since it's a bit difficult to accept him in an out-and-out negative role. Jagapathi Babu, after playing jaded roles in 'Peddanna' and many others, is refreshing as a Sadhu but his screen-time is very limited. Pragya Jaiswal, as an IAS officer who falls for Murali Krishna, is average. Subbaraju is seen in an extended cameo in the first half. Among others, 'Kalakeya' Prabhakar gets a typical cop role. Poorna is good as a righteous bureaucrat.

Technical aspects

S Thaman went for Re-Recording with the clear-cut aim of giving the best shot. With ample time at his disposal (due to the pandemic), the talented composer has shown his musical prowess. His BGM is loud here and there but he delivers the mass quotient to an extent. 'Jai Balayya' easily trumps other songs, including the melody 'Adigaa Adigaa'. 

The visuals have upped the game in this one, thanks to C Ram Prasad, who is known for movies such as 'Maryada Ramanna', 'Legend', and 'Jai Simha'. AS Prakash's sets are grand. 

So much depended on the ability of fight masters Ram, Lakshman and Stun Siva to make the film a visual experience of sorts. Balakrishna redeems a few segments with the stunt masters in tandem. But for Boyapati's visualization of the action blocks, 'Akhanda' would have had no salvation. 

M Ratnam's dialogues are impressive in a few scenes, especially where the heroic Aghora has to give monologues. Otherwise, they are run of the mill.

The rom-com track is mediocre. The saving grace is that it's not as silly as the one we saw in 'Vinaya Vidheya Rama', Boyapati's most-hated movie to date. Pragya Jaiswal 's characterization leaves much to be desired. 

The film fails to keep us invested in the story of good versus evil. It's nowhere near 'Legend' and 'Simha'; it knows nothing called gripping narration. After a point, we give up on the villains, who become monotonous. 

Much was expected from Srikanth, but he is not the Numero Uno villain. The metaphysical aspects are the only thing that separates it from usual mass action dramas. If not for the Aghora angle, 'Akhanda' would have been totally routine, totally boring, and totally mindless.

Closing Remarks

Boyapati's story and screenplay don't offer anything new other than the blending of the Aghora angle with the routine template. 'Akhanda' is a very loud film that goes on and on for 165 minutes.

Critic's Rating

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Akhanda Reviews

It may look like that the film is pro-progress and pro-rationality, but [Boyapati's] characters' actions are anything but.

Full Review | Apr 1, 2022

Akhanda is the kind of entertainer that’ll work strictly for Balakrishna’s fans because anyone looking to just kill time over a tub of popcorn might leave exhausted.

Full Review | Original Score: 2.5/5 | Apr 1, 2022

Akhanda Review – Lengthy Mass Jathara

Lengthy Mass Jathara

OUR RATING 2.5/5

CENSOR 2h 47m, ‘U/A’ Certified.

An IAS officer Sravanya (Pragya Jaiswal), falls in love with Murali Krishna (Balakrishna). While this is happening, Varadarajulu (Srikanth) runs an illegal copper mines field. How do these two worlds collide and lead to the Aghora (Balakrishna)?

The movie’s basic plot is what happens when Aghora (Aghora) enters the situation and how he deals with massively powerful people and challenges thrown at him.

Performances

Nandamuri Balakrishna is terrific. He is the first and foremost reason anyone sticks to the entire narrative. It also helps him a great deal when a director who truly understands his strengths works with him. We get that with Boyapati Srinu, and together they give us the Aghora character. It looks terrific and presents Balakrishna in a never seen before avatar.

Even the other Balakrishna looks fine due to his slimmed body and powerful character. The styling has been done superbly. And regarding the all-important performance, well, it is Balakrishna; he gives his hundred percent no matter what. It is what elevates his typical act and takes it to the next level. The intensity can’t be missed, but Boyapati has failed to bring something fresh acting-wise to the table beside the getup change.

Director Boyapati Srinu is back with a new outing after Vinaya Vidheya Rama. It unites him with Nandamuri Balakrishna for the third time after Simha and Legend.

First of all, Boyapati Srinu seems to have learned his lesson from his last failure. He has kept the narrative clean, devoid of any confusion and also the story simple. Unfortunately, herein also is the problem for Akhanda. The ‘story’ is wafer-thin and depends heavily on the star and related action blocks to pull it off. So, while Boyapati has corrected one thing, he has erred on the other.

Right from the introduction, it is evident that Boyapati Srinu has worked hard on Balakrishna. The looks, styling and overall presence are appealing. The screen presence is greatly enhanced due to the effort. He makes sure the attention is squarely on Balakrishna and what he says rather than who (his character) he is?

Post the introduction, Akhanda falls into the familiar track seen countless times. The ‘entertainment has to work to make the narrative breezy, but that doesn’t happen. On the other hand, there is a creation of a powerful antagonist in Varadarajulu. The whole thing looks formulaic. However, the new setting salvages it to some extent.

The expected happens during the pre-interval block when the two worlds collide. Boyapati knows it all too well on how critical the situation is and fills it with heavy drama. The proceedings feel never-ending. What also adds to the feeling is the subconscious thinking of the entrance of the other Balakrishna.

And the expected happens during the interval block with the introduction of Balakrishna in Aghora get up. The first time impact and the thundering BGM nullify the prolonged pre-interval block. However, the actual content leads to a dejavu feeling (we have seen it all in Legend and done much better), which makes the whole thing passable, at best.

One hopes there is better content in store in the second half using the Aghora character. But what we get is more routine stuff involving him with some decent dialogues in between.

Every essential character seems to be built with the only intention to lead to a fight. It makes the narrative extremely formulaic. Still, the fights and drama related to the build-up could have saved things to some extent. Unfortunately, even that doesn’t happen. The dialogues are acceptable from the hero’s side, but they lack the meat when seen as part of the confrontation. The action blocks are overdone. Every fight feels like a climax. It makes one exhausted by the time one reaches the ‘actual climax’.

Overall, Akhanda is a below-par actioner that is mainly saved by Balakrishna’s histrionics. It majorly appeals to the hardcore action movie buffs who don’t mind lengthy action sequences but will get others tired. It makes Akhanda a strictly for fans affair and passable (at best) mass fare.

Pragya Jaiswal plays a glam doll character despite her profession being an IAS officer in the movie. She is adequate, and there is nothing much to complain about. Poorna is alright playing a supporting role that is (like a few others) designed to lead to a fight.

Srikanth is given a fabulous makeover. But, as a performer, he doesn’t take the whole thing to the next level. The same is the case with Jagapathi Babu; however, his voice modulation offers some change. Kalakeya Prabhakar is okay playing a cruel police officer, whereas Subbaraju doesn’t work due to a half-baked role. The rest of the cast are decent in their short screen time.

S Thaman provides the music for the film, which is alright. The songs have been shot well and look lovely to watch on screen. The background score is also satisfactory but is drowned in the loud making of Boyapati Srinu. The cinematography by Ram Prasad is decent. The editing could have been better, especially in the action scenes. The writing is decent. The dialogues at the start are fan-pleasing, and some in the Akhanda episode related to God are good.

Balakrishna

Parts Of Action

BGM, At Few Places

Routine Story

Weak Conflict/Drama

Alternative Take

A simple alternative take for Akhanda would be cutting down on a couple of action blocks and adding some solid confrontations and drama. It would have elevated the fights.

Did I Enjoy It?

Yes, In Parts

Will You Recommend It?

Yes, But With Huge Reservations

Akhanda Movie Review by Siddartha Toleti

FINAL REPORT:

Akhanda is a typical Boyapati Srinu mass drama. He has designed both Balakrishna characters well, and he does justice to them. The dialogues are crowd-pleasing as well as fans-pleasing.

The end result is Akhanda is an action-heavy movie that feels very lengthy. The routine storyline and back to back heavy-duty action scenes makes one exhausted by the time it is over.

— Akhanda show comes to an end. Final report and review coming shortly.

— Another heavy duty action block is going on before the wrap up.

— Murali Krishna (Balayya) comes back to the show in the climax fight while Akhanda (Balayya) sat on Shiva Yagna.

— Akhanda vs cruel mine owner Varadarajulu (Srikanth) action episode is loaded with mass dialogues and Balayya-Boya style mass action. The movie is heading to the climax.

— Akhanda second half started. The second Balakrishna takes over the show from here. Balayya explaining about the God and the science is well written.

FIRST HALF REPORT:

Boyapati presents Balakrishna like never before. His styling and makeover (Aghora getup) are terrific that would be appreciated beyond the fans. The two songs in the first half are decent, one being (Jai Balayya) very good.

The first half of Akhanda is very lengthy with a simple storyline. The interval block is too long and gives the impression of a climax. The second half holds the key now.

— After a long episode of Murali Krishna ( Balayya ) vs Varadarajulu (Srikanth) and some incidents in the Copper mine, the second Balakrishna’s character is introduced. Interval.

— Collector Sravanya (Pragya) falls for Murali Krishna (Balayya). It’s time for “Yah yah Jail Balayya”. The song has nice sets and neat choreography. Pragya makes it hot with her moderate skin show.

— Varadarajulu (Srikanth) enters the show as a villain. He owns and runs an illegal copper mine in the green zone against rules.

— Sravanya (Pragya Jaiswal) has been introduced as a powerful collector. She is impressed with Murali Krishna (Balayya)’s character.

— A heavy and mass overload intro for Balayya. The high voltage dialogues and slow mo shots will be a feast for fans.

— Akhanda show started with a police combing operation to catch Gajendra Sahu, a high valued and most wanted terrorist.

https://twitter.com/mirchi9/status/1466125536648994842?s=21

Akhanda U.S. Premiere live updates starting shortly. Stay tuned.

After a gap of over seven hundred days, the new Nandamuri Balakrishna film, Akhanda, is all set to hit the screens on December 2nd. For the unusually long wait for the fans, the star is making up with a movie that comes in the blockbuster combo. Yes, Akhanda marks the third collaboration of Balakrishna and Boyapati Srinu after Simha and Legend.

The gap between Ruler (2019) and Akhanda (2021) is the longest in the entire career of Balakrishna. The ‘gap’ itself was enough for fans to be stoked about the new film of Balakrishna, but the combo has taken it to the next level. There is tremendous hype on the movie.

Now add another factor to Akhanda that it is the first ‘mass biggie’ to come out after the second wave. There is an interest on a Balakrishna movie like never before. The BB3 (as the makers put it) is roaring at the box office.

A career-best opening for Nandamuri Balakrishna is assured with Akhanda . The bookings are excellent all over. If not for the issues with the ticket prices, it would have been much -much bigger. Akhanda now has the opportunity to be the biggest blockbuster in the career of NBK.

Boyapati Srinu saw the biggest setback in his career with his last outing. However, his combination with Balakrishna has been golden. He would be hoping to redeem himself with another blockbuster success, here.

The trailer has set the expectations high, and the open field is helping Akhanda get the widest release possible. S Thaman started the year with a bang, he would be hoping to do the same at the end.

M9News, as always, is here to give you a ‘first-on-net’ honest and genuine Akhanda review . Watch this space for our updates.

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Akhanda Movie Review

Movie Review:  Akhanda Director:   Boyapati Srinu Producer:  Miryala Ravinder Reddy Music Director:  Thaman S Starring:  Nandamuri Balakrishna, Pragya Jaiswal, Jagapathi Babu , Srikanth and others Release Date:  2nd December 2021 Rating: 2.75 /5

Akhanda Movie Review:   Nandmuri Balakrishna, Pragya Jaiswal and Srikanth starrer Akhanda, helmed by Boyapati Srinu, has finally arrived at the theaters today on 2nd December. Let’s see the story of Akhanda.

Story:  Sravanya (Pragya Jaiswal) is a district collector,  who likes Murali Krishna(Balakrishna) for his good deeds in the district. Varadarajulu (Srikanth), a cruel person, is a  illegal mine owner. Murali Krishna takes on Varadarajulu but he gets arrested. Soon Akhanda(Balakrishna as Aghora) enters the scene to save everyone. Who is this Akhanda? What happens when Akhanda enters the situation and how does he save the people? To get these answers, one should watch the movie Akhanda on the silver screen.

Plus Points:

• Balakrishna
• Performance
• Punched dialogues

Minus Points:

• Emotional angle missing

Performance:  The casting of Akhanda is perfect. Balakrishna steals the show  with his performance and way of dialogue delivery. And he suits his role every bit and his chiseled body that captures quite a few frames would surely be the envy of every man. His punched dialogues are ear feast for fans and movie lovers. Balakrishna does full justice to his roles and his fans love  Akhanda character most. Srikanth is ferocious in the negative role and he  gives a good fight to Balakrishna. But his screen time is limited. Pragya Jaiswal looks cute  on the screen. Jagapathi Babu, Kalakeya Prabhakar, Poorna and others justify with their roles.

Technical:  Cinematographer captures the mood of the film perfectly.   Akhanda  has superb visuals and credit should completely go to the production design department for giving the film a grand look.  Thaman’ background score is impressive.  Screenplay is neat. Coming to the work of Boyapati Srinu as a director, he has done a stupendous job . The emotional angle is missing a bit in the second half.

Analysis:   Akhanda is all about the dialogues and Balakrishna’ performance.  It  is a feast for hardcore fans.

Rating: 2.75 /5

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Akhanda Movie Review : Mass Masala Flick

Akhanda review

Telugu360 Rating 3/5

Story: Murali Krishna (Balakrishna) is a rich person with good reputation in Anantapur district. Varada Rajulu (Srikanth) and his Godfather Swamiji run illegal mining business in the area. Balayya takes on the mafia because of his area people and kids get sick with the uranium mining effect. The powerful Swamiji use his clout to get Murali arrested, then enters the AKHANDA the savior. Rest of the film is about Akhanda ideology and his war on the evil

As with any Boyapati Balayya films, Hero character is designed as a people leader. Set in Ananthapuram , Murali Krishna ( Balakrishna) provides service to poor people by establishing hospitals. Saranya ( Pragya Jaiswal) who is district collector impressed by Murali’s works marries him. The introduction fight was good, Jai Jai Balayya song was impressive. After few routine scenes, Akhanda entry at interval is high voltage action episode. Overall, first half has some good mass elements. Post interval scene in police station followed by back-to-back high voltage action scenes fill the second half. Thaman’s background score is impressive it backs Balakrishna’s larger than life characterization. The hero director duo who proved their strength in earlier films Simha, Legend this time a bit diluted in terms of emotions in the story. The mass appealing fights in second half are not coupled with strong story base.

The ‘Jai Balayya ‘ song , Interval blocks stand out in positive aspects. In second half, the scene in which Balakrishna explains the true meaning of ‘Ahimsa paramO dharmaha’ Hindu principles is highly impressive.

Production by Dwaraka Creations is adequate. Graphics could have been better done. Director Boyapati succeeded in what he is good at.

Performances: Nandamuri Balakrishna carries the movie on his shoulders end to end. His towering presence as Murali, his transformation into Akhanda role make him very special. His diction is impeccable while rendering sansrikt slokas as Akhanda and also while villain bashings as Murali. Pragya Jaiswal role is limited, she is impressive looks wise and performance as well. Hero Srikanth debuts as villain in this film, and he did quite well.

Positives: -Balakrishna’s performance -Thaman’s background score -Boyapati’s large scale fight sequence setup -Heroism elevation scenes, Akhanda Theme

Negatives: -Length of fights, too many of them -Lack of strong emotions

Verdict: ‘Akhanda’ caters to the targeted segment of Fans and Masses. First half has some good mass elements, and second half is full of action sequences without much story. Balayya’s Akhanda character’s ferocious performance, Thaman’s outstanding background score, Jai Balayya Songs are the plus.

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The Adams Family—a group of filmmakers led by father John Adams , mother Toby Poser , and daughter Lulu Adams —are some of the most fascinating horror filmmakers on the scene. Get thee to a streaming service and watch “ The Deeper You Dig ” as soon as possible—it’s one of the best horror films of the decade so far—and then chase that with their clever, twisted “ Hellbender .” These are deeply personal genre films, movies that hum with atmosphere and dread. Their latest is kind of a departure for John and Toby—Lulu gets writing credit but doesn’t appear this time—in that it’s their first filmed on location out of the country (in Serbia) and easily contains their biggest budget. Working with a bigger production company on a film that feels more like anyone could have made it than their previous works drains “Hell Hole” of some of the DIY charm of the other flicks by Adams and Poser. Comparatively, it’s kind of a disappointment, despite having some undeniable positives that should make it an easy watch for horror heads.

“Hell Hole” was obviously inspired by the master John Carpenter , owing a great deal to his version of “The Thing”—a remote outpost overtaken by a monster that can look like an ordinary person—and movies he made about people essentially stumbling into portals to Hell in films like “ Prince of Darkness ” and “In the Mouth of Madness.” The hapless souls in this one are a team (led by Poser’s Emily) that’s fracking in a remote corner of Serbia when they drill into, well, something impossible. They find a body in a sort of cocoon of a centuries-old soldier, and he’s still alive. While they discuss what to do with this break in reality, they notice something even stranger about the Frenchman in that there appears to be something that occasionally peeks out of his nose or ear. Before you can say “burn it with fire,” the monster that was inhabiting the poor soul has jumped ship to John (Adams) and set out to wreak more havoc.

The main twist of the body possession tale here is a sort of male pregnancy narrative in that the creature is inhabiting men as a host for growth. Where’s mom? And what happens when it comes to term? The Adams Family has a lot of fun with some of their most out-there ideas, such as when the creature in a human host realizes it’s under threat and basically just flees by turning its current home into a pile of bloody goo. “Hell Hole” is a marvelously goopy movie with a whole lot of slimy red stuff and tentacles slicing through the air. It’s also a consistently funny movie, playing almost more like dark comedy than the foreboding work the family has made in the past.

On that note, I’m happy to see Adams and Poser kind of spreading their wings and trying something different here, but it’s hard to shake the feeling that this one doesn’t have the same teeth as their best films. It’s more of a lark. Sure, there’s some commentary about how f-ing with Mother Nature will eventually lead to carnage, but it’s very loosely sketched, and the characters have too few traits to be actually memorable. And, yes, it’s a bit clever that Emily used to be a hippie, and there’s some decent character work by Olivera Perunicic, but the people here are naturally forced to cede interest to the enemy they face, giving the whole thing a bit of shallowness that even great body horror avoids. It’s sporadically fun enough, but just not that deep a cinematic hole.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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‘Incoming’ Review: Not Another Teen Movie

Freshman engage in some fairly predictable debauchery in this routine high school gross-out comedy streaming on Netflix.

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By Calum Marsh

“Incoming,” a bawdy teen comedy from the directors Dave and John Chernin, opens with a familiar gag: an awkward adolescent boy (Mason Thames) delivers a speech to the camera professing his love, only for a cut to reveal that he’s actually rehearsing in the mirror. In a genre rank with cliché, this is not a very promising start — it suggests that the Chernins, who also penned the screenplay, are satisfied with whatever joke is closest to hand.

The rest of the movie does little to dispel that impression. Its story of high school freshmen navigating a libertine house party follows exactly the trajectory you would expect, with few laughs and even fewer surprises. If there’s a cute girl incoming, she’ll be introduced in a slow motion montage. If a couple leans in for a kiss, they’ll be interrupted by a lewd gag. Will the dork score with the hottie? Will the rowdy teacher get out of hand? Cue the record scratch sound effect!

A generous interpretation is that “Incoming” is derivative as an act of loving homage. In practice, it just feels old hat. The movie is heavily indebted to the teen gross-out comedies of the late 1990s and early 2000s, like “American Pie” and “Van Wilder,” which were themselves indebted to the teen sex comedies of the 1980s, like “Porky’s” and “Screwballs,” and it’s so far from an original idea or point of view that it’s hard to see the point.

All it offers is ribald escalation: Instead of beer bongs, there are lines of ketamine; instead of fart jokes, there’s diarrhea in a Tesla. Maybe that’s progress. But I’d say the filmmakers flunked.

Incoming Rated R for strong language, drug use, sexual innuendo, mild violence and “Porky’s”-style shenanigans. Running time: 1 hour 31 minutes. Watch on Netflix.

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Movie Review: ‘The Crow’ reimagined is stylish and operatic, but cannot outfly 1994 original

This image released by Lionsgate shows Bill Skarsgård in “The Crow”. (Larry Horricks/Lionsgate via AP)

This image released by Lionsgate shows Bill Skarsgård, left, and FKA twigs in “The Crow”. (Larry Horricks/Lionsgate via AP)

Bill Skarsgard attends “The Crow” world premiere at the Village East by Angelika on Tuesday, Aug. 20, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

Rupert Sanders, from left, FKA twigs, and Bill Skarsgard attend “The Crow” world premiere at the Village East by Angelika on Tuesday, Aug. 20, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

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One of the first things you see in the reimagined “The Crow” is the sight of a fallen white horse in a muddy field, bleeding badly after becoming entangled in barbed wire. It’s a metaphor, of course, and a clunky one at that — a powerful image that doesn’t really fit well and is never explained.

That’s a hint that director Rupert Sanders will have a tendency to consistently pick the stylish option over the honest one in this film. In his attempt to give new life to the cult hero of comics and film, he’s given us plenty of beauty at the expense of depth or coherence.

The filmmakers have set their tale in a modern, generic Europe and made it very clear that this movie is based on the graphic novel by James O’Barr, but the 1994 film adaptation starring Brandon Lee hovers over it like, well, a stubborn crow.

Brandon, son of legendary actor and martial artist Bruce Lee, was just 28 when he died after being shot while filming a scene for “The Crow.” History seems always to repeat: The new adaptation lands as another on-set death remains in the headlines.

Lee’s “The Crow” was finished without him and he never got to see it enter Gen X memory in all its rain-drenched, gothic glory, influencing everything from alternative fashion to “Blade” to Christopher Nolan’s “Dark Knight” trilogy.

Bill Skarsgård seizes Lee’s role of Eric Draven, a man so in love that he returns from the dead to revenge his and his sweetheart’s slayings in what can be best called a sort of supernatural, romantic murderfest. (The tagline, “True love never dies,” clumsily rips off Andrew Lloyd Webber’s “The Phantom of the Opera.”)

William Schneider, who co-wrote the screenplay with Zach Baylin, has given the story a near-operatic facelift, by introducing a devil, a Faustian bargain, blood-on-blood oaths and a godlike guide who monitors the limbo between heaven and hell, which looks like a disused, weed-covered railway station. “Kill the ones who killed you and you’ll get her back,” our hero is told.

The first half drags at it sets the table for the steady beat of limbs and necks being detached at the end. Eric and his love, Shelly (played by an uneven FKA Twigs), meet in a rehab prison for wayward youth that is so well lit and appointed that it looks more like an airport lounge where the cappuccinos are $19 but the Wi-Fi is complimentary.

Eric is a gentle loner — tortured by a past the writers don’t bother filling in, who likes to sketch in a book (universal cinema code signaling a sensitive soul) and is heavily tattooed (he’s often shirtless). His apartment has rows of mannequins with their heads covered in plastic and his new love calls him “brilliantly broken.” He’s like a Blink-182 lyric come to life.

Shelly is more complex, but that’s because the writers maybe gave up on giving her a real backstory. She has a tattoo that says “Laugh now, cry later,” reads serious literature and loves dancing in her underwear. She clearly comes from wealth and has had a falling out with her mom, but has also done an unimaginably horrible thing, which viewers will learn about at the end.

Part of the trouble is that the lead couple cast off very little electricity, offering a love affair that’s more teen-like than all-consuming. And this is a story that needs a love capable of transcending death.

There are lots of cool-looking moments — mostly Skarsgård in a trench coat, stomping around the desolate concrete jungle in the rain at night — until “The Crow” builds to one of the better action sequences this year, albeit another one of those heightened showdowns at the opera.

By this time, Eric has donned the Crow’s heavy eye and cheek makeup. He adds to this ensemble a katana and an inability to die. As he closes in on his target, mowing down tuxedoed bad guys as arias soar, the group movements on stage are echoed by the furious fighting backstage. A few severed heads might be considered over the top at curtain call, but subtlety isn’t being applauded here.

If the original was plot-light but visually delicious, the new one has a better story but suffers from ideas in the films built on its predecessor, stealing a little from “The Matrix,” “Joker” and “Kill Bill.” Why not create something entirely new?

“The Crow” isn’t bad — and it gets better as it goes — but it’s an exercise in folly. It cannot escape Lee and the 1994 original even as it builds a more allegorical scaffolding for the smartphone generation. To use that very first metaphor, it’s like the trapped white horse — held down by its own painful past, never free to gallop on its own.

“The Crow,” a Lionsgate release that hits theaters Friday, is rated R for “strong bloody violence, gore, language, sexuality/nudity and drug use.” Running time: 111 minutes. Two and a half stars out of four.

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How to Make Millions Before Grandma Dies

A man quits work to care for dying grandmother, motivated by her fortune. He schemes to win her favor before she passes. A man quits work to care for dying grandmother, motivated by her fortune. He schemes to win her favor before she passes. A man quits work to care for dying grandmother, motivated by her fortune. He schemes to win her favor before she passes.

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Rotten Tomatoes Launches New ‘Verified Hot’ Badge for Audience Reviews

'Deadpool & Wolverine,' 'Twisters,' 'Inside Out 2' among first films to receive new metric.

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Rotten Tomatoes , the industry’s largest film review aggregation site, has launched a new badge to honor fan-favorite films with a high score rating.

The new “Verified Hot” badge will complement the popular “Certified Fresh” Tomatometer badge. The latter is given to the highest praised films by critics, and the latest badge will be awarded to films with verified audience scores of 90% or higher.

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The”Verified Hot” badge will be installed retroactively on over 200 films with a verified audience score of 90% or higher since the launch of Rotten Tomatoes’ verified audience ratings in May 2019.

“Top Gun: Maverick” and “The Color Purple;” award-circuit favorites like “Parasite” and “Oppenheimer” and box office smashes liked “Dune: Part Two,” “Godzilla x Kong: The New Empire” and “Spider-Man: No Way Home” all get the sticker.

Rotten Tomatoes has also introduced brand enhancements around audience scoring for all its movies and TV shows, as well as timing around the designations to more accurately reflect fan and critic sentiment. Read about the updates here .

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