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Maa Inti Bangaaram Review

Maa Inti Bangaaram Review

Movie Name : Maa Inti Bangaaram

Release Date : June 19, 2026
123telugu.com Rating : 3/5
Starring : Samantha, Gulshan Devaiah, Diganth Manchale, Gautami, Sreemukhi and others
Director : Nandini Reddy
Producers : Raj Nidimoru, Samantha, Himank Reddy Duvvuru
Music Director : Santhosh Narayanan
Cinematographer : Om Prakash ISC
Editor : Dharmendra Kakarala

Related Links : Trailer

Samantha has now come up with the action family entertainer Maa Inti Bangaaram. The movie hit the big screens today with good hype, and let’s see how it is.

Story:

Set in the 90s, Swarna (Samantha) marries Anirudh (Diganth Manchale), a doctor from a joint family. Anirudh marries Swarna against his family’s wishes, and sometime after the marriage, he visits his home along with his better half. Swarna tries to win over her in-laws, but she doesn’t possess the qualities one expects from a daughter-in-law. At the same time, she is worried if the family gets to know about her hidden past.

What is Swarna’s backstory? Why is she trying to hide her details? What problems does the family face because of her? This forms the rest of the story.

Plus Points:

Samantha carries this not-so-greatly written family drama on her shoulders right from the first frame. Be it the fun moments or intense action sequences, the actress packs a solid punch. She taking on the goons with all her might will surely draw whistles and claps. Even when the narrative loses steam, the actress makes the movie watchable with her appealing performance. Her Chittoor diction is very good.

The leading lady’s efforts to win over her in-laws’ trust and affection in the first half generate ample laughs. This part of the movie is largely entertaining. The dynamic between Sreemukhi and Samantha, their funny battle to edge past one another, and the remix of the “Muthyala Muggu” song make the movie captivating.

The fight sequences are superbly designed and offer a solid theatrical experience. The car chase sequence and bus fight scene are brilliant to watch on screen. The climax, featuring fun moments in a chaotic fight scene, gives the film a good ending. Samantha’s dialogue differentiating herself from the villain is neat. Manjusha Mukkavilli who played Samantha’s friend is impressive.

Minus Points:

The makers have already set the right expectations by stating that Maa Inti Bangaaram follows the evergreen Baasha template. When a film follows a well-known storyline, the screenplay needs to be watertight to look past the familiarity. Though Nandini Reddy did well as far as the first half is concerned, she couldn’t handle the second half equally effectively.

The narrative slips into predictability for the most part here, and some scenes are stretched beyond what is necessary. For example, the scene where the villain enters Sam’s house is prolonged needlessly. Gulshan Devaiah is an excellent performer and he did well, but his track is the weak link of the film. The writing lacks depth, and the backstory doesn’t feature the needed emotional depth or impact.

The editing is below par in the second half, and close to 10–15 minutes could have been easily chopped off for a much better impact. There are also visible lip-sync issues.

Technical Aspects:

Santhosh Narayanan’s background score is serviceable. The “Thassadiyya” song looks neat on the big screen. Om Prakash’s cinematography is pretty good, while the editing needed more refinement.

Direction by Nandini Reddy is decent. Had the second half been executed well, the movie could have been a solid entertainer. Like a character in the film says, the movie settles for pass marks instead of aiming for distinction. Raj Nidimoru’s writing shines in the first half with simple and healthy humor.

Verdict:

On the whole, Maa Inti Bangaaram is a decent family drama that is single-handedly carried by Samantha. The first half is mostly amusing with good humor, and after the fun part, the action scenes are another highlight of the film. However, the second half turns slow and predictable, and had enough care been taken here, the overall impact could have been far better. Samantha remains the mainstay of the film and she makes it watchable with her impressive performance.

123telugu.com Rating: 3/5

Reviewed by 123telugu Team

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Balan-The Boy Review

Balan-The Boy Review

Movie Name : Balan-The Boy

Release Date : June 19, 2026
123telugu.com Rating : 3/5
Starring : Adhisheshan, Farzana Palathingal, Muhammed Zinaan, Dolly June, Tovino Thomas, Jean Paul Lal, Girish AD & Beena Antony
Director : Chidambaram
Producers : Venkat K Narayana, Shailaja Desai Fenn
Music Director : Sushin Shyam
Cinematographer : Shyju Khalid Isc
Editor : Vivek Harshan

Related Links : Trailer

Before its theatrical release, Balan: The Boy generated considerable excitement as it brought together two critically acclaimed filmmakers, Chidambaram as director and Jithu Madhavan as screenwriter. Their recent works have been widely appreciated, naturally raising expectations for the film. Today, Balan: The Boy has arrived in cinemas, including its Telugu dubbed version. Let us see how the film fares.

Story:

Set in Kannur, the story follows a mother (Farzana Palathingal) who serves a prison sentence for murder along with her young son (Adhisheshan KR) in a special sub jail. After her release, she begins living under different identities, moving from place to place and taking up various jobs. Her son has grown accustomed to this unusual lifestyle but remains unaware of the truth behind it. When she joins a household as the caretaker of a 70 year old woman, an inmate from her past discovers her whereabouts, setting off a series of unexpected twists. Why is she living this way? Will her son learn the truth? Who are they really? The answers form the rest of the story.

Plus Points:

The story itself is quite intriguing. While the core plot is relatively simple, Jithu Madhavan’s screenplay elevates it significantly. The narrative unfolds at a measured pace, gradually drawing the audience into the world of the characters. Much like the young boy who has become accustomed to his mother’s fabricated stories and shifting identities, the audience slowly settles into the film’s rhythm.

One of the film’s biggest strengths is its unpredictability. Several situations appear to be heading in a familiar direction, only to take an entirely different turn. The writers cleverly use character setups and audience expectations to create these surprises. The interval block, the police station episode early in the second half, and the climax twist are particularly impressive and well executed.

Adhisheshan KR delivers a remarkable performance. He convincingly portrays both the innocence and intelligence of his character. His expressive eyes and subtle reactions add considerable depth to several tense moments. Farzana Palathingal is equally outstanding as the mother. The film gradually reveals layers to her character, constantly altering the audience’s perception of her. Her behaviour and emotional complexity add an unsettling edge to the narrative, making her one of the film’s strongest assets.

Shyju Khalid’s cinematography and Sushin Shyam’s music significantly enhance the film’s atmosphere and keep the narrative engaging. Jean Paul Lal is effective in his role, while Tovino Thomas makes a noteworthy extended cameo that leaves an impact.

Minus Points:

The film’s biggest drawback is its pacing. While the deliberately paced narration suits the story, the leisurely progression may test the patience of some viewers. Despite the high stakes, the film demands considerable investment from the audience.

At nearly 147 minutes, the film occasionally feels stretched. A few scenes that could have conveyed the same information more concisely are prolonged unnecessarily. Tighter editing in these portions would have improved engagement and reduced the feeling of drag.

Technical Aspects:

Director Chidambaram delivers another commendable film after Manjummel Boys. Rather than functioning as a regular thriller, the film explores psychological trauma and emotional complexities, giving it a distinctive identity. Jithu Madhavan’s screenplay remains one of the film’s greatest strengths and plays a major role in keeping the audience invested.

From a technical standpoint, the cinematography, music, production design, and casting choices are impressive and contribute positively to the overall experience. The Telugu dubbing, which faced criticism when the trailer was released, has been improved considerably and works well in the final product. However, Vivek Harshan’s editing could have been sharper, especially in the film’s slower stretches.

Verdict:

On the whole, Balan: The Boy is a decent psychological thriller elevated by the outstanding performances of Adhisheshan KR and Farzana Palathingal. Jithu Madhavan’s screenplay and Chidambaram’s direction complement each other well to create an emotionally layered experience. However, the slow paced narration and a few unnecessarily prolonged sequences dilute the overall impact. Viewers who enjoy unconventional psychological thrillers and character focused storytelling are likely to appreciate the film, while others may find it a decent one time watch.

123telugu.com Rating: 3/5

Reviewed by 123telugu Team

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Vanda-Devullu-Review

Vanda-Devullu-Review

Movie Name : Vanda Devullu

Release Date : June 19, 2026
123telugu.com Rating : 2.75/5
Starring : Vijay Antony, Swasika, Ajay Dhishan, Lijomol Jose, Karunaas, Sakthi, Kavya Anil
Director : Sasi
Producer : Meera Vijay Antony
Music Director : Balaji Sriram
Cinematographer : Viji Satheesh
Editor : Harish Yuvaraj

Related Links : Trailer

Vanda Devullu (Nooru Saami) marks the reunion of Bichagadu (Pichaikkaran) actor Vijay Antony and director Sasi. Their previous collaboration earned appreciation from audiences, creating a fair amount of curiosity around this film. With the movie hitting theatres today, let’s find out whether it lives up to the expectations.

Story:

Vaasavi (Swasika) is a middle-aged single mother raising her two sons, Baskar (Ajay Dhishan) and Vivek (Sakthi). As the sole breadwinner of the family, she shoulders every responsibility on her own. At one stage in her life, she wishes to remarry and start afresh. However, Baskar strongly opposes the idea, believing that marriage at her age would be inappropriate and socially unacceptable. Years later, Baskar undergoes a change of heart and realises that his mother deserves companionship and happiness. He begins encouraging her to remarry, but by then, Vaasavi herself is unwilling to take that step. This emotional conflict becomes the foundation of the story. Will she eventually agree to remarry, or will she spend the rest of her life alone? How do the villagers react when they learn about the situation? What is the response from her relatives? And how is Yedu Kondalu (Vijay Antony) connected to these developments? The film answers these questions as the narrative unfolds.

Plus Points:

Swasika delivers a remarkable performance and proves to be the film’s biggest strength. At first, one may wonder why she chose to portray a character much older than her real age. However, as the story progresses, it becomes evident why she accepted the role. The character is emotionally demanding and carries the weight of the entire narrative. Swasika embraces the challenge wholeheartedly and delivers a performance filled with conviction, maturity, and emotional depth. Her expressions, body language, and dialogue delivery elevate several scenes.

The film’s central premise is engaging. While the concept itself is not entirely new, the fact that it is inspired by a real-life incident involving a mother from a conservative village adds authenticity and emotional weight. Director Sasi presents the struggles faced by Vaasavi and the reactions of her relatives in a realistic manner. Many situations feel genuine because they mirror how people in similar circumstances might actually behave.

Ajay Dhishan performs adequately in his role and does what is required. Vijay Antony enters the narrative in the latter half and brings noticeable energy to the proceedings. His scenes with Swasika are among the film’s highlights and contribute significantly to the emotional impact. The second half, in particular, succeeds in keeping the audience invested, as the film effectively builds curiosity about how Vaasavi’s journey will ultimately conclude.

Minus Points:

The biggest drawback of Vanda Devullu is its sluggish first half. The narrative repeatedly circles around the same emotional conflict between the mother and her sons, making the proceedings feel repetitive. Instead of creating anticipation about where the story is heading, several scenes give the impression that the film is moving in circles. As a result, the audience is left waiting for the story to progress meaningfully before the interval.

The drama also needed stronger writing. Given the emotional potential of the subject, the film could have explored the conflicts with greater intensity and generated stronger emotional stakes. While the core idea is compelling, the screenplay often settles for a surface-level treatment instead of extracting maximum impact from crucial moments.

Another issue is the underutilisation of several supporting characters. The film introduces multiple characters who appear important initially but ultimately have very little influence on the narrative. Better usage of these roles could have added more depth to the story.

A number of scenes in the first half and a few in the second half feel stretched beyond necessity. Tighter narration and sharper editing would have significantly improved the overall pace. Additionally, the frequent insertion of comedy during emotionally charged moments weakens the dramatic impact. This tonal inconsistency affects several scenes that could have otherwise landed with greater effectiveness.

Technical Aspects:

Director Sasi deserves credit for handling the emotional core of the story with sincerity. His strength lies in portraying human relationships and social realities with authenticity. However, the screenplay lacks the urgency required to keep the audience consistently engaged, especially during the first half. Stronger writing and a more focused narrative could have elevated the film considerably.

Darshan Kirlosh’s cinematography effectively captures the rural setting and lends authenticity to the proceedings. The village atmosphere feels natural and believable throughout. Harish Yuvaraj’s editing is one of the weaker aspects of the film, as several sequences could have been trimmed for better impact. Balaji Sriram’s music serves the narrative reasonably well, though portions of the background score occasionally evoke a sense of familiarity. The Telugu dubbing is decent and blends well with the narrative. Bhashyasree’s Telugu dialogues are sharp and suit the emotional nature of the story.

Verdict:

the whole, Vanda Devullu works to an extent, thanks to its emotionally driven storyline and Swasika’s outstanding performance. She is the film’s biggest strength, while the second half delivers several engaging moments and emotional payoffs, with Vijay Antony adding value through his presence. However, a slow and repetitive first half, underutilised supporting characters, and an uneven screenplay hold the film back from reaching its full potential. Despite these flaws, its strong emotional core and realistic portrayal of a sensitive subject make it just a passable watch for fans of character-driven dramas.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team

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