Bunny’s character impersonates a lorry driver, who is also a redwood smuggler. The plot revolves around a character named Srivalli played by South diva Rashmika Mandanna.
Pushpa is a jolly, family film, meant for mass entertainment. Pushpa revolves around the red sanders smuggling in the Seshachalam Hills of the Rayalaseema region of Andhra Pradesh.
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This film has given him wings, and here’s hoping he uses them well.Telugu FIlmnagar Watch Telugu Full Movies Here: Latest Telugu Movies He doesn’t let his face contort more than a certain degree, or pour his words out with anger as and when the scenes demand. Anand Deverakonda is still, perhaps, a bit camera-shy. Middle Class Melodies is a breath of fresh Guntur air. Similarly, he tackles the issues of casteism and superstition in hilarious ways. He makes room for a milkman who doesn’t actually have anything to do with the main plot. But Vinod Anantoju does it beautifully here. Telugu films do not usually treat their fringe characters with respect and dignity. If not for the pandemic, ‘ Ramuloo Ramulaa ’ would have been the perfect song to dance to in a crowd while ringing in the New Year.
#Telugu 2018 hit movie#
Also, this movie released before we all locked ourselves inside our homes. Allu Arjun ’s costumes and hairdo add panache to his screen presence. Trivikram takes care to showcase his hero as this larger-than-life man who can handle any situation under any circumstance. It has foot-tapping songs, eye-popping cinematography, and two protagonists who are in sync with the idea of entertainment. If there’s a genre called “wholesome masala”, you can easily fit Ala Vaikunthapurramuloo into that category. It’s not as broad-veiled as Agent Sai Srinivasa Athreya (2019), but it tries and succeeds to a great extent. In case the twists aren’t convincing enough, you can rely upon the comedic bits to keep you glued to the screen. There’s a sense of small town innocence that the former brings to the table in O Pitta Katha. It’ll definitely remind you of Reddy’s role in Ashta Chamma. If Nithya Shetty’s uncanny resemblance to Swathi Reddy is unbelievable, then, you should just sit back and watch her perform. This is a pleasantly surprising thriller that runs in different directions every now and then. Also, this movie sets a precedent for the upcoming Telugu remake of Ayyappanum Koshiyum. This is a remake that stands on its own feet. But Venkatesh Maha ’s Uma Maheswara Ugra Roopasya doesn’t take any of the pressure into account and wonderfully makes its actors - Satyadev, Roopa Koduvayur, Naresh, and Suhas - inhabit the small town in which the movie is set. Often, even if the writers manage to polish the adapted screenplays, the new actors may not be able to recreate the magic. Remakes come with many unposted disclaimers and they are weighed on the same scale as the originals. Nevertheless, the movie feels like it’s made with the intention to pull out your heart through your throat. For Vishwak Sen, this isn’t entirely new ground since he’s already played a man who has skipped anger management classes in Ee Nagaraniki Emaindhi (2018). But all the brushstrokes come together effectively in several places and that is important for a well-made thriller. HIT is pulpy - there are misleading suspects and diverging narrators. Though a large number of them follow a generic formula, some movies really stand out. There’s a spurt of investigative thrillers in the Telugu and Kannada industries. The final shot captures Mohan Rao (a Dalit man, played by Rakshith) walking into a prison cell voluntarily while BR Ambedkar pensively looks on through a portrait. But it enters a territory that not many Telugu movies would dare to even imagine. The depth in its storytelling isn’t supported by its accompanying materials - the action choreography, for instance, looks hazy and amateurish. Palasa 1978 isn’t perfect throughout its run time. Ramakrishna (Naveen Chandra) is always seen with a warm smile and a smudge of kumkum between his brows, whereas Bhanumathi (Salony Luthra) is seen trying to bury her resentment.Īt a time when laws are being made to hinder interfaith marriages in India, here comes a film that discusses the everyday struggles of Dalits. Nagothi also goes on to highlight the mismatches that occur between an urban-bred woman and a man raised in a small town. They are seen as outliers who don’t belong to the fast-moving world.
The people being attacked with a barrage of questions and barbs are in their 30s, and the outside world isn’t kind to them. Bhanumathi Ramakrishna inverses the rom-com trope and becomes a film about the difficulties of being single.
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