Sarat Chandra

Akhanda Thandavam is not an easy film to make — especially when it follows a phenomenon like Akhanda. But what stands out here is the honesty of the effort. Yes, there are creative liberties, as there often are in stories of this scale. Yet the intention shines through. The interval sequence alone has the kind of power that gets people out of their homes and into the theatre. Throughout the film, there are moments that lift you, scenes where you can almost feel the cosmic energy flowing through NBK — and they give you real goosebumps. At its core, this film is a tribute — to Sanatana Dharma, to the heritage and spirit of ancient India, to a way of life that continues to inspire. And NBK delivers it with a conviction that’s hard to match. I have to say, it’s rare to see a film like this, and even rarer to see someone pull it off the way he has.

In a dimly lit single-screen theater, I surrendered to the primal pulse of *Kantara* (Telugu), a cinematic beast that roared to life in a way my first multiplex viewing—stifled by a late-night haze at 10:30 PM—failed to capture. This time, unshackled from exhaustion, I was devoured whole by Rishab Shetty’s masterful creation, a film that doesn’t just tell a story but carves it into your soul with the precision of a shaman’s ritual. Unlike bloated franchise flicks that often trade authenticity for glossy visuals and star power, *Kantara* remains fiercely rooted, its narrative as raw and unyielding as the forest it inhabits. Rishab’s vision commands reverence, weaving a tapestry so vivid that the Telugu audience around me—young and old—sat spellbound, their gasps and cheers a testament to a hunger for cinema that feels like a cultural resurrection. The film’s heartbeat echoes in its forest sequences, where every rustle and shadow pulses with life. The tiger’s shared screen time with Berme is a dance of myth and menace, each frame a painting of primal tension. The climax and interval erupt like thunderclaps, while the background score—haunting, divine—lifts the soul into a trance. War scenes blend seamlessly with concealed plot twists, and when the divine possesses the protagonists, it’s as if the theater itself trembles with otherworldly energy. *Kantara* isn’t just a movie; it’s a heritage, a cinematic hymn that binds you to its roots. I walked out proud, not just of the film, but of being part of a legacy that dares to tell stories this bold, this unforgettable. A second watch only deepened my awe—Rishab Shetty has crafted a masterpiece that demands to be felt, not just seen.

*Daku Maharaj* has finally hit theaters today, perfectly timed just a day before the Sankranti festival. The first half is an absolute treat, leaving an indelible impression with its top-notch production quality and refreshing visuals. The high-octane background score perfectly complements the subtle yet impactful dialogues, while the emotional scenes add depth to the narrative. The arrival of the Daku is crafted with remarkable intrigue and hype, setting the stage for an explosive storyline. NBK's looks and style are a standout, meticulously designed to elevate his on-screen presence. The elevations land perfectly, amplifying the intensity of his character. It’s evident that whenever NBK's character is imbued with implosive subtlety and charisma, the result is a surefire commercial blockbuster. With such a promising first half, I’m eagerly anticipating the second half to see how the narrative unfolds! When it comes to heavyweight, larger-than-life characters, NBK has repeatedly proven that he is worth his weight in gold, especially when paired with the right directors. *Daku Maharaj* is no exception. The transformation of a civil servant into the lifeline for desert inhabitants is portrayed with remarkable depth, and the intricate plot twists are bound to leave audiences pleasantly surprised. The high points of the Daku character are unforgettable and will linger in your mind for days. NBK's look as Daku is a striking homage to the legendary NTR in *Sardar Paparayudu*, exuding power and charisma. This movie is a stylish action spectacle with a protagonist who fights for a purpose. The second half delivers satisfying payoffs to seemingly minor moments from earlier, making for a truly rewarding viewing experience. It’s clean, cool, and undeniably stylish. Expect violence in beast mode as *Daku Maharaj* takes the stage. Here’s wishing success to all the films releasing this Sankranti! *బాలయ్య బాబు పేలిస్తే పీలే కొన్ని బాంబులు. ఐ ప్రామిస్. ఇది జస్ట్ ఒక శాంపుల్ మాత్రమే. :* 1. వార్నింగు చంపేవాడు ఇవ్వాలి, చచ్చేవాడు కాదు. 2. బాంబులు గనులు నువ్వు పెద్దవాడివయ్యాక చూసావేమో. మాది రాయలసీమ. 3. ఎవడ్రా నువ్వు? మైకేల్ జాక్సన్. 4. నువ్వు అరిస్తే బార్కింగ్. నేను అరిస్తే ..... 5. వాడిని చంపాలంటే సైన్యం సరిపోదు, వ్యూహం సరిపోదు, నేనే ఉండాలి. 6. సీఐ సాబ్, హమారే లియే జాన్ లేనే వాలే దుష్మన్ కం, జాన్ దేనివాల ఫాన్స్ జ్యాదా హైన్ 7. కొందరు చదవడంలో మాస్టర్ చేస్తారు. నేను చంపడంలో మాస్టర్ చేశాను. ఐ హావ్ అన్ మాస్టర్స్ ఇన్ మర్డర్స్. NBK is the only Big 4 who delivered 4 Hundred Crore Plus movies in succession, in this hyper competitive, OTT and post COVID era.

The film is a delight for cinema enthusiasts, featuring thrilling action sequences, visually stunning aesthetics, fashionable costumes, clever dialogues, and a dramatic plot twist. The performances, particularly that of NBK, Varalakshmi Sarath Kumar and Honey Rose are particularly noteworthy and make the film well worth the cost of admission.