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Suhas

Movie Name : Mandaadi

Release Date : September 10, 2026
123telugu.com Rating : 2.75/5
Starring : Soori, Suhas, Mahima Nambiar, Sathyaraj and Others
Director : Pugazhendhi Mathimaran
Producer : Elred Kumar
Music Director : G. V. Prakash Kumar
Cinematographer : S. R. Kathiir
Editor : Pradeep E. Ragav

Related Links : Trailer

Mandaadi is the latest Tamil drama to blend competitive sport with raw human emotion. Tamil actor Soori and Telugu actor Suhas play the primary roles in this film, which released in cinemas today. Here is an overview of how this coastal rivalry fares on the big screen.

Story:

Twenty years ago, Muthukaali (Soori) and Sattapuli (Suhas) from Kalingapatnam were thick friends and skilled traditional boat sailors. A bitter fallout shatters their bond, turning the companions into lifelong adversaries who dominate opposite sides of the village. The core narrative traces why Muthukaali abandoned the sport, the roots of Sattapuli’s local hegemony, and the high-stakes boat race that forces them to clash again.

Plus Points:

Tamil cinema explores yet another rural drama grounded in gritty realism. The lives of traditional seafaring communities and their rugged lifestyle are depicted with refreshing authenticity. Furthermore, competitive boat sailing is a rare theme on the big screen, making the sports aspect an immediate asset.

Soori has been making bold acting choices lately, and accepting this nuanced script is easily among his finest decisions. His performance is admirably subtle, allowing heavy emotional restraint and quiet presence to carry the weight. His silence throughout several crucial stretches proves far more impactful than lengthy dialogues.

Suhas proves to be an equally compelling counterpart in an intense antagonist role. Stepping into a menacing gray character is a sharp addition to his versatile filmography. His commanding vocal delivery and fiery screen presence make Sattapuli a magnetic figure to watch.

The psychological friction and war of words between the leads generate solid dramatic tension. The narrative gathers steady momentum through a well-staged exposition, peaking with a gripping pre-interval stretch and an interesting climax. Backed by solid action choreography and an energetic musical score, supporting performances from Mahima Nambiar, Sathyaraj, and Ravindra Vijay anchor the narrative.

Minus Points:

Despite several strong technical and dramatic elements, the narrative falters noticeably during the middle act. While the first half moves with purpose, the second half succumbs to formulaic predictability. The scenes advance on familiar genre beats, gradually dampening the viewing momentum.

The hostility between Soori and Suhas is well-established, yet the writing fails to dig deep into their fractured emotional history. Exploring their lost camaraderie with more emotional depth in the later portions would have lent greater weight to the final showdown. Without that emotional resonance, some of the high-stakes drama feels superficial.

While the boat-racing sequences are neatly mounted, injecting a few more clever narrative twists would have made the competition far more electrifying. In addition, Sathyaraj’s character feels visibly underutilised despite his steady presence in a brief role. A tighter edit and richer secondary conflicts could have elevated these undercooked sequences.

Technical Aspects:

Director and writer Mathimaran Pugazhendhi takes a commendable creative swing with an unconventional sporting backdrop. He succeeds in staging the central rivalry, though his writing falters when sustaining intrigue across the latter half. A tighter, more inventive screenplay could have transformed a decent drama into an exceptional one.

The technical crew provides sturdy support to keep the coastal atmosphere vivid. GV Prakash Kumar’s background score infuses raw momentum into the aquatic action, while SR Kathir’s camera work captures the rugged seascape handsomely. Pradeep E. Ragav’s editing is largely functional despite a few lingering scenes, and the Telugu localisation team ensures seamless dubbing that retains the film’s regional flavour.

Verdict:

On the whole, Mandaadi works in parts, blending a traditional water sport with a clash of pride and ego. Committed performances from Soori and Suhas, energetic boat-racing episodes, and a thunderous score work in its favour. However, the film struggles to maintain the same impact throughout, with a predictable second half and uneven writing holding it back. Some stretches manage to engage, but the film never quite comes together as a consistently compelling watch. Go with expectations in check if you consider watching it.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team

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Hey Balwanth

Hey Balwanth

Movie Name : Hey Balwanth

Release Date : Feb 20, 2026
123telugu.com Rating : 2.75/5
Starring : Suhas, Shivani Nagaram, Naresh Vijaya Krishna, Sudarshan and others
Director : Gopi Atchara
Producer : B.Narendra Reddy
Music Director : Vivek Sagar
Cinematographer : Mahi Reddy Pandugula
Editor :  Viplav Nyshadam

Related Links : Trailer

Hey Balwanth, the Telugu comedy drama starring Suhas, Naresh, and Shivani Nagaram, has finally reached theatres after building reasonable anticipation through its promotions and title change. Here is the review examining how it fares.

Story:

Since childhood, Krishna Balwanth (Suhas) dreams of taking over his father Rao Balwanth’s (Naresh) business, yet he has no idea what the business actually is, as his father deliberately keeps him away from it. When Krishna finally discovers the truth, he is left shocked and conflicted, and decides to put an end to it. However, unexpected developments complicate his decision, drawing two politicians and Mithra (Shivani Nagaram), Krishna’s lover, into the situation. What exactly is this business, why has Rao Balwanth continued it despite facing criticism, and how these events change Krishna’s life form the crux of the story.

Plus Points:

Suhas takes on a role that aligns well with his strengths. He handles the comedy with ease and performs the emotional moments with sincerity. His presence keeps the narrative engaging for a major part of the film.

Naresh delivers a dependable performance as the father. His experience and timing elevate several scenes, especially the interactions between him and Suhas.

Nellore Sudharshan contributes effective humour with his energetic dialogues, while Vennela Kishore adds additional comic relief. The suspense built around the father’s business maintains curiosity and works reasonably well when revealed.

Certain sequences, particularly those involving the women connected to the business, attempt to add emotional perspective. The interval segment provides entertaining moments, and portions of the climax aim to leave an emotional impact. The supporting cast performs adequately within their roles.

Minus Points:

Although the central idea has potential, the screenplay becomes less cohesive in the second half. The introduction of a political angle and a crime-related development shifts the tone and affects the smooth flow established earlier.

Some scenes in the latter half feel prolonged and could have been more concise. A tighter screenplay might have enhanced the overall impact. The emotional portions, while sincere in intent, could have been presented with greater depth and clarity.

The attempt to justify the father’s actions is understandable, though it may not resonate equally with all viewers. The black comedy elements show promise but could have been explored more effectively. Certain character roles, including that of Shivani Nagaram and Harsha Vardhan, have limited scope within the narrative.

Technical Aspects:

Gopi Atchara makes his directorial debut with a film that blends comedy and social commentary. While the intention behind the narrative is appreciable, the execution occasionally lacks consistency, particularly in the latter half. Vivek Sagar’s music supports the film but does not stand out significantly. The cinematography by Mahi Reddy Pandugula is functional. Editing by Viplav Nyshadam could have been sharper to maintain pacing. Production values are satisfactory.

Verdict:

On the whole, Hey Balwanth is a comedy drama that offers moderate entertainment but does not fully capitalise on its potential. The performances of Suhas, Naresh, Sudarshan, and Vennela Kishore provide a few enjoyable moments, especially in the lighter segments. However, the film loses momentum in the second half, where the narrative feels stretched and less cohesive. The central theme, which leans into adult-oriented humour, may connect with a specific section of the audience. With controlled expectations, viewers who prefer light situational comedies may find it a passable watch.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team 

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Oh Bhama Ayyo Rama Movie Review

Movie Name : Oh Bhama Ayyo Rama

Release Date : July 11, 2025
123telugu.com Rating : 2.25/5
Starring : Suhas, Malavika Manoj, Anita hassanandani, Ali, Ravinder Vijay, Babloo Prithiveeraj, Prabhas Sreenu, Raghu Karumanchi, Moin, Sathvik Anand, Nayani Pavani and Others
Director : Ram Godhala
Producers : Harish Nalla
Music Director : Radhan
Cinematographer : S Manikandan
Editor :  Bhavin M Shah

Related Links : Trailer

Oh Bhama Ayyo Rama is the latest Telugu movie starring Suhas and Maalavika Manoj (Tollywood debut) in the lead roles. The film hit the big screens today, and here’s our review on how it fares.

Story:

Ram (Suhas) hates movies to the core. One day, Satyabhama (Maalavika Manoj), a rich, yet simple and mischievous young woman, enters his life. Her presence brings unexpected changes in Ram’s world, and soon, the two fall in love. Just when everything seems to be going smoothly, Satyabhama places a strange condition before Ram, and he is left with no choice but to accept it. What exactly is this condition? What happened between them? Who is Satyabhama really? Does she share a hidden connection with Ram from the past? The rest of the story reveals the answers.

Plus Points:

Maalavika Manoj does a decent job in her Telugu debut. She looks graceful on screen, and her expressions, especially in scenes with Suhas, are convincing.

Some of the comedic moments involving Sathvik and the heroine work out well in places. Suhas is just okay in his role. The rest of the cast members are passable and do what’s expected of them.

Minus Points:

The story itself becomes a major drawback. Though the basic plot carries potential, the weak and disengaging screenplay makes it hard to stay interested.

The emotional aspects fail to land effectively. While a few scenes might seem decent on their own, the long and tiresome journey leading up to them drains the viewer’s patience. Such is the lack of emotional payoff and pacing.

The film suffers from a predictable plotline, repetitive scenes, and lack of progression. The screenplay doesn’t offer enough high points to hold the viewer’s attention, and the slow narrative adds to the fatigue.

The first half is somewhat tolerable, but that’s only in hindsight after sitting through a stretched and meandering second half. Even with a familiar storyline, a film can still work if it’s supported by a well-balanced mix of romance, emotion, and humour. Unfortunately, none of that comes together here. The pacing remains sluggish throughout.

Suhas’ potential feels wasted in this setup. His chemistry with the heroine, the bonding with his friends, and the flashback segments all feel underdeveloped and poorly executed.

Songs too fail to make a mark, and their placement in the narrative adds little value. Characters like Ali, Babloo Prithviraj, and others appear on screen but fail to leave an impression.

Technical Aspects:

Director Ramu Godhala fails to create an engaging film despite working with a plot that could have been turned into a decent romantic entertainer. The lack of freshness in narration and screenplay weakens the entire experience.

Manikandan’s cinematography is okay in parts. Music director Radhan’s work is neat, but the songs don’t really stand out. Editing by Bhavin M Shah is disappointing. The film feels long and loose, and even trimming 30 minutes might not have helped much. Production values are average overall.

Verdict:

On the whole, Oh Bhama Ayyo Rama is a painfully dull and entirely forgettable film. Despite Maalavika Manoj showing some promise in her debut and the occasional comedic moment landing mildly, the film is dragged down by a lifeless screenplay, shallow emotions, and dated storytelling. The narrative lacks energy, the writing feels lazy, and even Suhas appears miscast and unconvincing. The second half, in particular, turns into a tedious slog with no payoff. It is a tiresome, uninspired attempt at romance that fails on almost every level. Skip this one without a second thought.

123telugu.com Rating: 2.25/5

Reviewed by 123telugu Team

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