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Review: Dulquer Salmaan's Kaantha

Review: Dulquer Salmaan's Kaantha

Movie Name : Kaantha

Release Date : Nov 14, 2025
123telugu.com Rating : 2.75/5
Starring : Dulquer Salmaan, P. Samuthirakani, Bhagyashri Borse, Rana Daggubati and others
Director : Selvamani Selvaraj
Producers : Rana Daggubati, Dulquer Salmaan
Music Director : Jakes Bejoy, Jhanu Chanthar
Cinematographer : Dani Sanchez-Lopez
Editor :  Llewellyn Anthony Gonsalvez

Related Links : Trailer

Kaantha is the latest Tamil film that features Dulquer Salmaan, Samuthirakani, Rana Daggubati, and Bhagyashri Borse in the lead roles. Debutant filmmaker Selvamani Selvaraj directs the film. It has also released in Telugu today along with the Tamil version. Read on to see how it turned out.

Story:

Set in the 1950s, Kaantha follows Ayya (Samuthirakani), a talented director who turns T. K. Mahadevan (Dulquer Salmaan) from an ordinary man into the star known as Nata Chakravarthy. A decade later, their relationship breaks down, yet they reunite for Ayya’s dream project titled Shaantha. Mahadevan’s ego disrupts the process when he changes the title to Kaantha and takes control of the direction. The debut heroine Raja Kumari (Bhagyashri Borse) listens only to Ayya, which increases the tension on the set. Conflicts grow every day, and during the climax shoot, a murder occurs. Who was killed? Who is responsible? Why did the murder happen on the set? Are the actor or the director involved? And what role does Phoenix (Rana Daggubati) play in this story? These questions unfold in the main film.

Plus Points:

Dulquer Salmaan gives a steady and convincing performance as T. K. Mahadevan and brings a controlled intensity to the role. Samuthirakani, as Ayya, maintains a consistently serious tone and his expressions work reasonably well throughout.

The emotional core of the film lies in Bhagyashri Borse’s portrayal of Raja Kumari. She gets good scope to perform, and her naturally expressive presence is a clear advantage. Her scenes with Dulquer and Samuthirakani are handled neatly and form some of the more engaging moments in the film.

Rana Daggubati adds moderate relief with his sarcastic delivery during the film’s serious moments. The supporting cast performs adequately.

A few sequences, such as Dulquer’s mirror-smashing scene, Samuthirakani’s emotional breakdown, and Bhagyashri’s innocence-driven moments, are fairly effective and leave some impact.

Minus Points:

The main drawback of Kaantha is its uneven execution and outdated narrative style. Although the film starts with the tone of an artistic drama, the emotional engagement drops quickly. Several scenes feel repetitive and come across as variations of the same conflict.

The second half turns noticeably sluggish, and the nearly three-hour runtime makes the screenplay issues more apparent. Even though the lead actors deliver competent performances, the slow pacing overshadows much of their work.

Casting choices like Ravindra Vijay and Gayathrie in underdeveloped roles feel misplaced, and Rana’s character becomes slightly exaggerated at certain points.

As the story moves forward, the drama loses impact, and viewers begin waiting for the climax instead of staying connected to the narrative. This reduces the effect of even the stronger performances.

Technical Aspects:

Director Selvamani Selvaraj brings together a capable cast, but the writing and direction do not make full use of their potential. A more focused narrative and stronger emotional layering could have given the film greater depth.

Jakes Bejoy’s background score gives an occasional lift to key scenes. Dani Sanchez Lopez’s cinematography is clean and visually stable. Editing by Llewellyn Anthony Gonsalves needed to be much tighter, especially for a slow-paced narrative. Jhanu Chanthar’s songs are pleasant but not very memorable due to the uneven flow of the screenplay.

Verdict:

On the whole, Kaantha is a somewhat functional crime investigation drama. The performances by Dulquer Salmaan, Bhagyashri Borse, and Samuthirakani are decent, and Rana Daggubati offers some timely relief. However, the flat writing, dull second half, repetitive scenes, and stretched pacing prevent the film from reaching its full potential. If you watch it mainly for the performances, the film works to some extent. If you expect a tight screenplay, strong character arcs, or consistent engagement, the experience might feel underwhelming. It is acceptable as long as expectations remain low.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team 

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Kothapallilo Okappudu Movie Review

Movie Name : Kothapallilo Okappudu

Release Date : July 18, 2025
123telugu.com Rating : 2.75/5
Starring : Manoj Chandra, Ravindra Vijay, Monika T, Usha Bonela, Benerjee, Bongu Satti, Phani, Premsagar
Director : Praveena Paruchuri
Producers : Gopalakrishna Paruchuri & Praveena Paruchuri
Music Directors : Mani Sharma, Varun Unni
Cinematographer : Petros Antoniadis
Editor :  Kiran R

Related Links : Trailer

Critically acclaimed C/o Kancharapalem producer Praveena Paruchuri has made her directorial debut with the new Telugu movie Kothapallilo Okappudu. Presented by Rana Daggubati, the village drama was released in theaters today. Here is our review.

Story:

Set in 1997 in the village of Kothapalli, near Paderu, Andhra Pradesh, a greedy financier, Appanna (Ravindra Vijay), is introduced. Ramakrishna (Manoj Chandra) works under him, an easygoing man who loves Savitri (Monika T), a rich girl from the same village. However, a couple of events occur – one of them turns Ramakrishna’s life upside down. What is the other event? What exactly happened in the village? That’s what the story gradually reveals on the big screen.

Plus Points:

The surprise package here is the fine performances from newcomers Manoj Chandra and Usha Bonela, who play Ramakrishna and Aadhi Lakshmi, respectively. Both perform with ease, as if they’re no strangers to the camera. Their dialogue delivery and expressions feel natural and grounded, making their characters feel real.

The most crucial character in the film is Appanna, played by Ravindra Vijay. After a long time, he gets a strong, impactful role and doesn’t miss a beat. He excels every time he appears on screen. Even though his character is mostly absent in the second half, his influence continues in some form and keeps the story moving forward.

Other actors such as Benarji, Prem Sagar, and Praveena Paruchuri herself are given meaningful scenes that contribute to the narrative.

Minus Points:

The entire film is built around one central idea: “We see the world, not as it is, but as we are,” a quote by Anaïs Nin. It’s a great quote, and the story certainly has the potential to explore this idea deeply. Unfortunately, the execution stumbles, and the message doesn’t come through as powerfully as intended.

The first half, which leans into comedy, works reasonably well. But when a major turning point occurs, the tone doesn’t shift with it. Trying to maintain the same light tone even after serious developments undermines the film’s emotional impact, and that’s exactly what happens in Kothapallilo Okappudu.

The lead character eventually voices the seriousness and meaning behind the central quote, but by then, the viewer’s emotional connection has already faded. Some scenes are totally unnecessary to the plot.

The heroine, Savitri, played by Monika T, has very little to contribute to the film, and several of her scenes feel pointless. The inclusion of a recording dance sequence, though reflective of real practices in the region, feels unnatural when performed by the heroine. Expecting her to rehearse and sing for it feels awkward and out of place.

Technical Aspects:

Director Praveena Paruchuri gives it an honest try, but she could have made the film much more effective by conveying the core theme with more clarity and the right emotions at the right time. Had the second half been shaped more thoughtfully, the film might have succeeded more.

Mani Sharma contributes little as the composer of the songs, and Varun Unni’s background score is passable. Petros Antoniadis’s cinematography is decent; he presents the village and its atmosphere naturally and convincingly. Kiran R’s editing needed to be sharper for a more gripping narrative. The production values are okay.

Verdict:

On the whole, Kothapallilo Okappudu is a rural drama that entertains in parts. Ravindra Vijay and Manoj Chandra’s performances are noteworthy, but the film falls short due to its unclear messaging, weak execution in the second half, unnecessary scenes, and underdeveloped characters. If you’re still interested in watching it, make sure to keep your expectations in check.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team

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baahubali-the-epic

baahubali-the-epic

S.S. Rajamouli’s legendary Baahubali saga is all set to return to theatres, this time as a single film titled Baahubali The Epic, releasing on October 31, 2025. Yes, both parts of the blockbuster are being re-released as one epic experience. And fans are already buzzing with excitement, wondering how this new cut will feel on the big screen.

The promotional campaign has kicked off in a fun and clever way. The official Baahubali handle recently posted, “What if Kattappa didn’t kill Baahubali?” Naturally, the internet went wild with responses. And the cast jumped right in. Rana Daggubati, who played Bhallaladeva, replied, “I would have killed him instead.” Classic Bhalla energy.

Then came Prabhas with a perfect comeback. He quoted Rana’s post on Instagram and wrote, “I let it happen Bhalla… for this,” attaching the now-iconic Rs.1000 crore gross poster of Baahubali 2. Just like that, the campaign went viral.

Now fans are eagerly waiting for the rest of the cast, especially Anushka Shetty, Sathyaraj, and Ramya Krishnan, to join in. If they do, this playful promo could become a full-on reunion event.

Meanwhile, over on BookMyShow, interest is exploding. The film has already crossed 81,000 interests, showing that the magic of Baahubali is still very much alive, even after nearly a decade. Baahubali The Epic will release worldwide in Telugu, Tamil, Malayalam, and Hindi, giving fans across languages a chance to relive the story in a new way.

baahubali

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