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Pushpa 2: The Rule has stormed the box office, smashing records with a historic opening. Directed by Sukumar and led by Allu Arjun, the film earned an unprecedented Rs 175 crore on its first day, setting a new benchmark for Indian cinema. According to Sacnilk, it is now the highest-grossing Indian movie on day one, surpassing all prior records.

Pushpa 2 Creates History on Day 1

The film surpassed RRR (Rs 156 crore) to become India’s biggest opener. It also achieved a rare milestone by earning over Rs 50 crore in two languages—Telugu and Hindi—on the same day. The Hindi version contributed Rs 65-67 crore, breaking the previous record held by Shah Rukh Khan’s Jawan.

On December 5, 2024, Pushpa 2 recorded 80.14% occupancy in Telugu and 51.53% in Hindi. Analysts predict Friday collections will remain strong, ranging between Rs 120 crore and Rs 140 crore. The Hindi version, buoyed by mass appeal and spot bookings, could contribute another Rs 50 crore or more.

Allu Arjun Shines as Pushpa Raj

The movie continues the thrilling story of Pushpa Raj, a red sandalwood smuggler. Allu Arjun’s powerful performance has received widespread acclaim, solidifying his status as 2024’s biggest star. Fahadh Faasil returns as the menacing SP Bhanwar Singh Shekhawat, while Rashmika Mandanna reprises her role as Srivalli. Jagapathi Babu’s addition to the cast adds intensity to the narrative.

Critics Applaud Sukumar’s Vision

Critics have praised the film as an “adrenaline-pumping ride,” lauding Sukumar’s direction and the stellar performances by Allu Arjun and Fahadh Faasil. The gripping storyline and high-octane action sequences have been described as crowd-pleasers.

Also Read: Pushpa 2: The Rule – 200 Days to the Grand Unveiling of Pushpa Raj’s Dominance

The Phenomenal Pushpa Franchise

The first installment, Pushpa: The Rise (2021), was a global sensation, earning Rs 326.6 crore despite the pandemic. It also won Allu Arjun a National Award for Best Actor. Pushpa 2 has taken the franchise to greater heights, setting new records and redefining box office success.

Magics won't happen too often in life. There is no reason for a coincidence to be reasonable. Yet, when we see such magical coincidences on screen, it may come off as too superficial, or rather pretentious. But, Kiruthiga Udhayanidhi’s treatment of the characters is so pleasant and acceptable at a glance. The suspension of disbelief becomes alive as you watch the cinema as you pleasantly enjoy the breeziness of this musical.

Shreya Chandramohan (Nithya Menon) and Siddarth (Jayam Ravi) both work at architect firms, waiting for that perfect moment in the screenplay for them to meet. Till then, we are given just enough time to get into the characters and you might already start rooting for them, especially Nithya Menon’s role. She wants to be a mother but her partner cheats her. So, she decides to be a mother through IVF of a random sperm donor. That sperm donor happened to be our hero, whose lover leaves him on the day of their engagement. The hero and heroine meet and greet but very soon leave. Yet, they meet again after 8 years. And, there begins the pursuit of love, happiness, football and a family. 

The biggest asset of the film–apart from upbeat melodious AR Rahman’s music– is the characters that are progressive without any signalling. Yes, there are a few generational differences shown. But, they are largely thrown out as tongue in cheek humor. We get the scenes where Siddarth and his friends, Gowda (Yogi Babu) and Sethu discuss about gay parenting and freezing of sperms. It is a pleasant welcoming move to have these casual discussions without signalling about the so-called taboo topics. 

Initially, the sudden return of Nirupama (Siddarth’s Ex-girlfriend, played by T. J. Bhanu) into the happy-going life of Sid and Shreya came off as taking too much creative liberty to inject too many coincidences. But, the character of Siddarth, filled with low self-esteem, needed someone to push him, someone to tell him what is the right thing, someone to keep him in a situation. So the realisation hits him– of leaving the job to start a new firm and being with Parthiv (Shreay’s son). Therefore, the choices are cleanly justified retrospectively. But still, it doesn’t feel out of place despite being a rehash of an old idea. The short-spanned and quick movement of scenes edited by Lawrence Kishore aided a lot to the breezy flow of the film. 

I don’t want to use the word “progressive” for the characters in the movie for the reasons of polarised understanding of that idea. But, the characters in the film are very rooted for an urban class society. Shreya discovers his partner cheating on her, and you expect that too. He wasn’t made the bad-boy of the story. Yes, she throws a bottle of wine at his face. But, Kiruthiga handled these characters with the dignity of a human who made a mistake, not a never-forgivable crime. The same kind of delicacy can be seen when Kiruthiga was writing Shreaya’s mother role (played by Lakshmy Ramakrishnan). The role– which is devoid of stereotypical sentimentality–behaves as a typical Tamil-Brahmin mother who can allow only to a certain level. That's why it's rooted in its own world. 

The world of Kadhalikka Neramillai is also something you often don't see in Tamil cinema. The scenic design of the production done by Shanmugaraja is very fresh for a Rom-com in Tamil cinema. The music by A R Rahman also feels like nothing you’d hear in relationship cinemas of Tamil. The music is very modern and has a very nice upbeat mood to it, especially the Yennai Izhukkuthadi, Lavender Neramae and If you Hear Me Now tracks that come off into the movie effortlessly, again, like a breeze. 

Kadhalikka Neramillai very calmly explores the relevant questions of marriage, husband, kids, homosexuality, single-parenting etc. Kiruthiga Udhayanidhi achieved all these with such an ease that makes you feel comfortable like a cool breeze on a sunny evening. 

TF Rating: 3.5/5

Actor-turned Director Joju George’s debut as a director plays to the strengths of contemporary Malayalam dialogue-heave dramas of revenge fused with the fad of gore on screen. 

The slowburner of character introductions starts with Don Sebastian and Sijottan murdering in daylight on a crowded street. That murder could have been the easiest way to weave a revenge drama, especially after IPS of Thrissur announcing the arrival of newbies into the established God-Father-like-world of Thrissurites: Giri and his associates, who are also a family. But, Joju George doesn’t choose the convenient way. He walks the path of Malayalam cinema that it is known for, for all the right reasons. The protective husband’s ego is clashed with highly egoistic  duo, Don and Siju, who thinks less and act more, who fear less and courage more. 

“Fear is a reaction; Courage is a decision” declares Joju George as the film starts. That is the same psyche of all major characters in the movie, excluding the police. The police system has the least influence in the power hierarchy among the Gangs of Thrissur. Yet, even the almighty have to succumb to the bravest of stupidity. The acts of intruding into the home of Giriyetta and exploiting his is the stupidest act ever. However, the two newbie amateurs had made it possible. Thus the saga begins. 

Pani is a regular ego-driven intense drama. The world of Thrissur, where the classical-music loving family– the one that calls the shots of Thrissur’s real estate, makes it a more compelling and interesting world. However, Pani falls flat where it tries to make a move in the story to elevate the brave idiocy of Don and Siju. When it becomes evident that the unknown newbies and wanna-be dons of Thrissur are attempting, as well as successfully killing, one by one in the family, why doesn’t the family stay united and protect each other? Rather, they isolate each other, giving space for the killings of Don and Siju. Of course, the story might progress as intended. But, the established legacy of calling the shots in Thrissur and their expected level of tactfulness is compromised in the pursuit of running the story.

Sam CS’s music deserves the attention, but it also doesn’t push the punches that the intense drama deserves. However, it was compensated for through Ajayan Adat’s sound design. Dinesh Subbarayan’s stunt choreography and Jinto George & Venu Isc’s cinematography of racing in the streets of Thrissur are interesting to watch. A little bit of focused characterisation would have saved Pani by a lot. Despite its minor flaws of underwriting, Panu successfully engages through its intense drama throughout the film. 

Shankar’s overuse of his ambitious socio-fantasy of frustrations of a common man is middled with flawed writing and his never-ending-hangover of war against corruption. 

Shankar has garnered his own reputation for making cinematic social responsibility (CSR) films. Right from his revolutionary debut with Gentleman to the recent debacle of Indian 2/Bharateeyudu 2, he propagated against the corrupt politicians and insincere government officers. He was just a few miles away to get the recognition as an auteur of social responsibility films. Then, the continuous downfall and disappointments casted the doubts on Shankar that are now once again reaffirmed with Game Changer’s overambitious flawed writing. 

Ram Nandan (Ram Charan) is an honest IPS turned IAS in Visakhapatnam, who decides to become an IAS officer upon the suggestion from Deepika (Kiara Advani). Deepika is nothing but a typical misfit for a heroine forced into the story just to be the catalyst for the honest angry hero to become the cool-minded honest hero. And, of course, for the songs too, the underwhelming and unnecessary songs drummed by SS Thaman. 

SJ Suryah as the main villain performance is just limited to the eccentric caricaturish performances that he had been delivering. Srikanth as Bobbili Sathyamurthy, a corrupt CM turned to do good in his final days, has relevance in the story, but it lacks the depth that is needed. Both of the villains lack the heft. SJ Suryah is just bad because he is a greedy murderous politician, Srikanth is bad because he became a greedy murderous politician. Naveen Chandra as a wingman of SJ Suryah and weed-selling classmate of Ram Nandan is ignorable at the best. 

Not-so-very-fun-fact: Priyadarshi has a guest appearance in Game Changer. Lucky, if you can spot him! Sorry, if you wonder ‘why’.

Appanna’s character, father of Ram Nandan, starts off with an excitement. He fights against the corporate’s exploitation of natural resources. Therefore, people demanded him to be their political leader and established the Abhyudaya Party with an ideal to do only money-less politics, which the party members, Sathyanarayana (Srikanth), expectedly abandons the ideals the moment the sweet-taste of greed is savoured. Therefore, Appanna is murdered and Anjali, his wife, is hit with some unnamed neurotic disease that doesn’t allow her to look straight, except to look at villian, Srikanth and the hero, Ram Nandan at her convenience. The parts of Ram Nandan’s ethical dilemma dealing with accepting Anjali as his mother in front of Chief Election Commission and the following sequence are quite interesting emotional moments in the movie despite its illogicity.

The flaws of Shankar are not his themes that he chose. But, subjects he chose. The theme of continuing his CSR films with the subjects of corrupt political leaders of ‘note for vote’ voters is the matter that has become irrelevant now. A Chief Election Commissioner asking the voters to demand 20 times more money than what politicians offer right after urging the voters that he has to arrest the voters for taking the money for voting is neither cinematic nor heroic. The same mess is repeated again when the hero casually uses the helicopter as an uber to drop off at highways to stop money-carrying trucks and at the SJ Suryah’s residence/office. First of all, who gives a helicopter to an IAS? 

You might be wondering why I should be nitpicking the logical details in a “commercial mass masala” movie. But, in the same mass masala movie, Ram Nandan nitpicks, for all the right reasons. He demolishes the building in HYDRA-style when the fire extinguishing compliances are not followed by building the narrow lanes that doesn’t allow the fire extinguisher truck. And, what is that rule of law that prohibits an IAS officer from visiting the neighbouring district? Ram Nandan doesn’t enter the old-age residence that Deepika runs just because it is just a few meters away from Visakhapatnam’s mile-stone. Because it is forbidden. When did India revoked the right to mobility from its fundamental rights? 

Shankar’s overuse of his commonman’s frustrations of the real world and offering socio-fantasy solutions to those problems in his own style is middled with flawed writing and his never-ending-hangover of war against corruption is extremely tiring due to the lack of novelty compared from his previous films of similar kind. 

TF Rating: 2/5

Marco, which came as a year-ender, alongside the gigantic Pushpa 2, is one of the goriest cinematic celebrations of bloodiest bloodbaths in Indian cinema. 

Marco, which is rumoured to be the spinoff of Nivin Pauly’s Mikhael, is nothing but the extreme violence and the stylistic class of Hollywood. The writing has its flaws; and those flaws ought to be forgiven if one decides to enjoy the most violent film ever to be made. 

Marco, played by Unni Mukundan, is the step-brother of Adattu George (Siddique) and he is not not yet fully accepted into the family. There are a few who love him. There are a few who hate him. But, he loves the whole family unconditionally. The villains– the business partners of their syndicate–  kill the hero’s brother. The hero is now hunching to kill them, brutally. 

The storyline is not what makes Marco a special movie. It is a special movie for its quality of representing the most violent scenes in a choreographed style and the swagger of a class action flick. The stunt sequences choreographed by  Kalai Kingson look like a video game. The graphicness of the violence is so extreme that there isn’t a single shot in fights where the blood isn’t splashing around the faces and the flesh isn’t sloppying on your screen. The last 30 minutes is the best part of the movie. 

If you feel that the whole review isn’t talking anything extra except the violence, that is because the film offers too little anything other than the bloodbath. The slow burning dramatic portions before the bursting out of action are quite interesting as well. However, the lack of a unifying strong element of the story is a huge drawback and might be another warning call for the industry that is relying more on violence excessively than that is required. Marco is that watchable product of these genes– only if you have the bearable ability that Marco strictly demands. 

TF Rating: 2.5/5

The highly anticipated movie Lenin, starring Akhil Akkineni and Sreeleela, has officially begun shooting. The production kicked off at the renowned Ramanaidu Film City (RFC) in Hyderabad. Fans are buzzing with excitement, as Sreeleela has been confirmed as the female lead, marking a major milestone in her career.

Lenin: A Romantic Journey Across Boundaries

Lenin promises to be an exciting romantic journey, with the tagline “Love Beyond Boundaries” hinting at a story that transcends distance and barriers. Akhil Akkineni, known for his versatile performances, is expected to impress with his portrayal in this highly anticipated film. Sreeleela, who gained significant popularity with her hit song “Kissik” in Pushpa 2, will star opposite Akhil, further raising expectations among fans.

Sreeleela’s Rising Stardom

Sreeleela’s career is currently on a remarkable upward trajectory. After her standout debut in Pelli Sandadi, she quickly became one of Tollywood’s most sought-after actresses. Her back-to-back successful films like Dhamaka and Guntur Kaaram solidified her status in the industry. Although she faced a brief dip after a few flops, her strong comeback with Pushpa has revived her momentum.

Akhil and Sreeleela’s Exciting Collaboration

In Lenin, Sreeleela will play a key role alongside Akhil. The film is produced by Akkineni Nagarjuna under the banners of Annapurna Studios and Sithara Entertainments. Thaman, the renowned music director, is providing the film’s music, which is already generating significant buzz.

Akhil Akkineni’s Exciting Announcement

The excitement surrounding Lenin is palpable. Akhil Akkineni himself has added to the anticipation by sharing a poster on social media. His caption, “Aata Modhalu… Biggest Blockbuster Loading,” along with fire emojis, has further fueled fans’ excitement.

Sreeleela’s Busy Film Schedule

Sreeleela is keeping herself busy with multiple projects. Along with Lenin, she is working on a film with Naga Chaitanya, directed by Virupaksha fame Karthik Varma Dandu. She is also set to star in a movie with Ravi Teja under the Sithara Entertainments banner, and she will appear opposite Siddhu Jonnalagadda in another upcoming project. With so many major roles lined up, Sreeleela’s career seems unstoppable.

What’s Next for “Lenin”?

After a series of unimpressive movies, KIchcha Sudeep delivers a strong mass masala action thriller

Inspector Arjun Mahakshay goes with the name Max– the name no one barely calls him but recognised by only one of the many villains. Max comes with the track record of multiple suspensions and transfers due to his unabashed sincerely. The typical honest police officer role. However, MAX is not about Arjun. MAX is a one-night crime cover up thriller; an escaping drama from two powerful ministers and their men after the death of the minister’s son in the police station. 

Writing strong villain characters and making the hero overcome the obstacles and dangers set by the villains is a perfect template for a mass masala action thriller that doesn’t treat its characters as just tools to elevate the heroism of the hero. But, MAX does use all the characters as tools for the sake of the hero. Sunil playing the gangster Guna is the main villain, Varalakshmi Sarathkumar as an insider cop working for Guna gets an interesting entry into the story with the hyped heftiness of a fox-like cunning cop. But, that doesn’t hold for long. We are made to believe that the villains are too powerful only through the shivering fears expressed by incompetent police officers. Vijay Kartikeyaa should have taken a bit more care to craft the intelligence of the characters rather than just telling the audience to believe that the politicians and gangsters are really powerful and dangerous. 

MAX is not a flawless movie. It has its flaws, far too many from the standpoint of characterization. However, MAX works well because of Kichcha Sudeep’s heroic screen presence as an all-powerful big-brain strategic cop who never loses his cool unless he is talking on a phone call. The Lokesh Kangaraj’s Khaidi like plot-line of one-night actioner and goons of powerful men covering up the entire isolated police station gives MAX an immediate sense of tense urgency that keeps the audience hooked for the next moves. And, the positioning of the police station– designed by  Shiva Kumar– in an isolated place is also a bit less convincing but it had to be that way for the plot to progress as Karthikeyaa had written it. 

The heroic swagger of Kichcha Sudeep fired up by the background score of Kantara-fame Ajaneesh Loknath saves this underwritten escape thriller that engages you throughout the film.

Nandamuri Balakrishna is set to thrill audiences with his upcoming movie Daaku Maharaj, a highly anticipated release for Sankranti 2025. The film, a period action entertainer, will hit screens on January 12, 2025, competing with Ram Charan’s Game Changer and Venkatesh’s Sankranthiki Vastunnam. Despite this intense clash, Daaku Maharaj promises to deliver a cinematic treat.

A Unique Characterization Inspired by John Wick

Director Bobby has shared intriguing details about Balakrishna’s role in the movie. He explained that the character combines subtlety and intensity, similar to Keanu Reeves’ portrayal of John Wick. Much like the Hollywood icon, Balakrishna’s character exhibits a calm demeanor but unleashes powerful and controlled violence when required. Bobby emphasized that this unique characterization, paired with minimalistic yet impactful background music, will captivate fans like never before.

Bobby further revealed that Balakrishna plays a role with three distinct variations, showcasing his versatility as an actor. The film is designed to offer an action-packed spectacle while maintaining a deep emotional connection. Fans can expect a perfect balance of style, drama, and high-energy sequences.

Also Read: Daaku Maharaaj: Balakrishna Completes Dubbing, Aggressive Promotions to Kick Off Soon

No Dupes, All Real Action

One of the standout features of Daaku Maharaj is Balakrishna’s commitment to performing all his stunts without the use of body doubles. Bobby praised his dedication, stating that every intense scene was completed by Balakrishna himself. This authenticity, coupled with meticulously crafted action sequences, promises to leave fans in awe.

Special Song Launch in Dallas

Adding to the excitement, the makers have planned a grand event in Dallas on January 4, 2025, where a special song from the movie will be unveiled. According to Bobby, this track has been created specifically for fans and will serve as a highlight of the film. The team believes this launch will generate even more buzz ahead of the release.

Renowned filmmaker Trivikram Srinivas unveiled the much-anticipated book Mana Cinema: First Reel, written by celebrated journalist and Nandi Award-winning cine critic Dr. Rentala Jayadeva. The launch event was held at the Boyi Vijayabharathi venue during the Hyderabad Book Fair and drew eminent personalities from diverse fields.

The book, published by Emesco Publications, is the result of Jayadeva’s meticulous 25-year research on the history of South Indian cinema. It delves into the early days of filmmaking, tracing the evolution of cinema across Telugu, Tamil, Kannada, and Malayalam languages.

A Star-Studded Launch Event

Trivikram Srinivas presented the first copy of the book to IRS officer Krishna Koundinya and the second copy to Emesco’s co-chairman Vijay Kumar. The event witnessed participation from notable figures such as:

Mamidi Harikrishna, Director of Telangana Language and Culture Department

Acharya D. Chandrasekhar Reddy, a mentor to Jayadeva

Afsar, a poet and critic

Kalpana Rentala, Jayadeva’s sister and an accomplished writer

Dasharath, director

Indira Parimi, senior journalist

Trivikram fondly recalled his first meeting with Jayadeva in Chennai during his early struggling days. Praising Jayadeva’s passion for cinema, he said, “Jayadeva’s writing captures the essence of films with rare authenticity. His new book is gripping, much like the first reel of a great movie.”

Insights into “Mana Cinema: First Reel”

The book offers a compelling narrative, providing insights into South Indian cinema’s formative years. Trivikram noted that the book captivates readers within the first ten pages, akin to how a film draws audiences into its story. Despite its 500-page length, the director remarked he found it easy to read and immensely engaging.

Jayadeva’s detailed research even clarified the release date of India’s first Telugu talkie, Bhakta Prahlada. Emesco’s Vijay Kumar and IRS officer Krishna Koundinya lauded Jayadeva for his groundbreaking research.

Words of Gratitude

Dr. Rentala Jayadeva expressed heartfelt thanks to his family, particularly his sister Kalpana Rentala, who inspired him to write this book. He dedicated the work to the many mentors and figures who shaped his career.

The Indian government has recently blocked 18 OTT platforms for promoting obscene and vulgar content. This action was taken under the Information Technology (IT) Rules of 2021, which aim to regulate online content. Minister of State for Information and Broadcasting, L. Murugan, shared this information during a session in the Lok Sabha on December 18, 2024.

Details of the Blocked Platforms

Murugan confirmed that the Ministry of Information and Broadcasting took action to block these platforms on March 14, 2024. The OTT platforms were found to be displaying content that violated the guidelines for online publishers. Some of these platforms were even involved in airing pornographic material, which prompted the Ministry to step in and enforce the rules.

List of Blocked OTT Platforms

The following platforms have been blocked: Dreams Films, Voovi, Yessma, Uncut Adda, Tri Flicks, X Prime, Neon X VIP, Besharams, Hunters, Rabbit, Xtramood, Nuefliks, MoodX, Mojflix, Hot Shots VIP, Fugi, Chikooflix, and Prime Play.

IT Rules and Code of Ethics

The IT Rules of 2021 impose due diligence obligations on online content intermediaries, urging them to actively prevent the spread of harmful and inappropriate content. The rules also include a Code of Ethics for news publishers on digital media and those in charge of online curated content, which applies to platforms like OTT services. These provisions hold content distributors accountable for any violation of ethical guidelines.

The Minister further explained that these OTT platforms were blocked for violating these standards, and the action was coordinated with various intermediaries to ensure compliance. Murugan emphasized that the guidelines are in place to protect users and ensure that content aligns with India’s cultural and ethical values.

Oversight of Digital News Publishers

In addition to OTT content, the Code of Ethics also regulates digital news publishers. These publishers must follow the Norms of Journalistic Conduct outlined by the Press Council of India. Additionally, digital content must adhere to the Program Code specified under the Cable Television (Network Regulation Act, 1995). The IT Rules also cover news channels on platforms like YouTube, including channels like Bolta Hindustan and National Dastak, ensuring they comply with the regulations.

India’s official entry for the Best International Feature Film category at the 97th Academy Awards, Laapataa Ladies, has been eliminated from the Oscars race. Directed by Kiran Rao, the Hindi-language film did not make it to the shortlist of 15 films announced by the Academy of Motion Picture Arts and Sciences (AMPAS) on Wednesday.

UK’s ‘Santosh’ with Indian Actors Secures Spot

While Laapataa Ladies missed out, British-Indian filmmaker Sandhya Suri’s “Santosh”, featuring Indian actors Shahana Goswami and Sunita Rajwar, has been shortlisted. Representing the UK, Santosh joins other strong contenders such as:

Emilia Pérez (France)

I’m Still Here (Brazil)

Universal Language (Canada)

The Girl with the Needle (Denmark)

The Seed of the Sacred Fig (Germany)

Other films in the competition include Iceland’s Touch, Ireland’s Kneecap, and Senegal’s Dahomey, among others.

What is ‘Laapataa Ladies’ About?

The film, known as “Lost Ladies” in English, takes place in a rural Indian setting during the early 2000s. It tells the story of two brides, Phool (played by Nitanshi Goel) and Jaya (Pratibha Ranta), who are mistakenly swapped during a train ride on their wedding day. The groom, portrayed by Sparsh Shrivastav, embarks on a chaotic search for his wife.

The screenplay and dialogues were written by Sneha Desai, based on a story by Biplab Goswami. The movie features additional dialogues by Divyanidhi Sharma. It is a feminist drama told with humor and subtle commentary on gender roles.

The film premiered at the 2023 Toronto International Film Festival (TIFF) and received positive reviews after its theatrical release on March 1. It was produced by Kindling Productions, Aamir Khan Productions, and Jio Studios.

India’s History with the Oscars

India has had limited success in the Best International Feature Film category. The last Indian film to secure a nomination was Lagaan (2002). Other finalists include Mother India and Salaam Bombay!

Although Laapataa Ladies didn’t make the cut, Naatu Naatu from RRR and The Elephant Whisperers brought India Oscars glory last year in other categories.

Oscar Timeline

The final nominations will be announced on January 17, and the Academy Awards will take place on March 2 at the Dolby Theatre in Los Angeles, hosted by Conan O’Brien.

Actor Allu Arjun has approached the Telangana High Court, seeking to quash a First Information Report (FIR) registered against him. The FIR, filed by Chikkadpally police in Hyderabad, named the actor as one of the accused following the death of a woman during a stampede at Sandhya 70mm theater. The tragic incident occurred on December 4, the premiere day of Pushpa 2: The Rule, in which Allu Arjun stars as the lead.

The actor’s petition requests the court to stall all proceedings, including his possible arrest, connected to FIR 376/2024, until a final decision is made. He argued that the accusations against him are baseless and lack factual evidence. The petition also highlighted that the FIR does not specify any direct allegations linking him to the tragedy.

Also Read: Revathi’s Husband Reacts for the First Time After Her Death in Pushpa 2 Stampede: Here’s What He Said

Incident Details: Stampede During Pushpa 2 Premiere

On December 4, a massive crowd gathered at Sandhya Theatre during Pushpa 2‘s premiere to see actor Allu Arjun, who was visiting the venue with his family. Tragically, 39-year-old Revathi died from asphyxiation in the resulting stampede, while her eight-year-old son, Sreetej, sustained serious injuries and was hospitalized. According to the actor’s counsel, Arjun was inside the theater when the stampede occurred and was unaware of the situation at the time.

The production house had reportedly informed the theater management and police about the actor’s planned visit to ensure crowd control. Despite this, the theater management claimed that only limited police personnel were deployed, leading to a failure in managing the large gathering.

Also Read: Pushpa 2 Stampede: One Dead, Child Critical After Premiere Chaos in Hyderabad

Legal Proceedings: FIR Filed Under Bharatiya Nyaya Sanhita

Following the tragedy, the Chikkadpally police filed the FIR under Sections 105 and 118 (1) of the Bharatiya Nyaya Sanhita. The complaint was lodged by Revathi’s husband, who held the actor and theater management accountable. Police arrested the theater’s senior manager, a co-owner, and a staff member responsible for the lower balcony.

Allu Arjun, through his petition, contended that his presence at the event does not justify criminal liability. His plea emphasized that the accusations lack concrete evidence and are an attempt to misuse legal processes. The High Court is expected to hear the matter soon.

Upendra is one of very few original voices of India. His films often get cult status. Ahead of the release of his latest UI on December 20th, let’s revisit UI’s spiritual prequel released in 2010, Super. 

Super is a story about Subhash Chandra Gandhi, the man who made utopian India possible with his unthinkable political philosophy. The story starts in 2030’s India where English-speaking foreigners, especially Britishers and Americans, are begging in front of the Warangal International Airport. The world economics are flipped in 2030: the dollar’s value has plummeted, Indian ethnic wear is seen as fashionable over the western wear, public spaces are filled with Hindu gods, Indians are considered as well cultured and foreigners are seens as only Rupee grabbing opportunists. As usual, the first thirty minutes was taken solely to position Upendra’s ideas of India in 2030 leaving the rest of the film to the quiet not-so-very-genetic plot of how he did what he did. 

Also Read: UI The Movie 1stSingle Set to Unveil a Musical Marvel

Aptly named, Subhash Chandra Gandhi, is a rich sentimental nationalist living in Britain, only to realise that his love for India as it is not worth it, the harsh reality hits him as he tries to solve the simple pension problem of a poor man. He also realises that the woman, Indira (Nayanthara) he married turns out to be a dupe set out to take vengeance for the injustice Gandhi allegedly caused to her elder sister Mandira. These realities make him a bad person from a good person and he sets out to teach a lesson to the whole India by becoming the Chief Minister of Andhra Pradesh. 

Also Read: Real Star Upendra Commands Dubbing for the Magnum Opus “UI: The Movie” in Hyderabad

Let’s get real. Upendra as a filmmaker is not for everyone. Upendra’s ideas are very eccentric. He is no less than an auteur. His cultural commentaries through the films like Upendra and A are quite problematic in the real sense. However, what makes Upendra a true genius is his borderline-satire fused with preaching of ideals, HIS ideals. His views on democracy, women, monogamy, sex, public decency etc might not be accepted by all. He never imposes his ideas as preachiness. He preaches. But, not through the spectrum of black and white, but through the true essence of character itself. To make thighs more difficult, he plays both the good and the bad in his movies. Oftentimes, the character transformation is not from bad to good, but from good to bad to good (the conclusion depends on U). Therefore, it becomes frustratingly difficult to understand if the filmmaker Upendra is speaking or the character that is passing on the message. 

Upendra’s utopian Super set in 2030 is a must-watch ahead of the release of his UI, the dystopian political drama set in 2040.

The long-rumored tensions within the Manchu family have now escalated into a public dispute, with veteran actor Mohan Babu and his son Manchu Manoj filing police complaints against each other. Both have alleged threats to their safety, marking a dramatic turn in their family feud.

Mohan Babu’s Allegations Against Manoj and Monika

On December 9, 2024, Mohan Babu filed a detailed police complaint that has since gone viral on social media. The veteran actor accused his younger son, Manoj, and daughter-in-law, Monika, of using intimidation tactics to take control of his home. He referred to them as “anti-social elements” and sought legal intervention for his safety.

Key Allegations by Mohan Babu

Disturbance at Home: On December 8, Manchu Manoj, who had returned to the house four months ago after leaving, caused a disturbance by bringing hired individuals to Mohan Babu’s property.

Child Abandonment: Manoj and Monika left the house that evening, leaving their seven-month-old daughter in the care of house staff.

Trespassing and Threats: The next morning, around 30 hired individuals allegedly entered Mohan Babu’s house, forcibly removed his staff, and declared the property off-limits to anyone without their permission.

Fear for Safety: Mohan Babu expressed fears of being harmed by Manoj and Monika, who he believes are trying to force him to abandon his residence.

The actor, who is 78 years old, emphasized his vulnerability as a senior citizen and requested the police to:

1. Take legal action against Manoj, Monika, and their associates.

2. Remove them and the hired individuals from his property.

3. Provide protection to ensure his safety and access to his home.

Manoj’s Counter-Complaint

On the same day, Manoj filed a separate complaint with the Pahadi Shareef Police, alleging an attack by 10 unidentified individuals on December 8. According to Manoj, he suffered blunt trauma to his spine, neck, abdomen, and calf. His complaint included a medical report to support his claims. However, Manoj’s complaint did not mention any involvement of his father or other family members.

Longstanding Family Tensions

The feud appears to be the result of deep-rooted issues. Manoj’s relationship with his brother, Vishnu, has reportedly been strained for years. Vishnu did not attend Manoj’s wedding, which fueled speculation about their disagreements. In 2023, Manoj shared a video showing Vishnu physically attacking relatives, further highlighting the family discord.

Vishwak Sen’s latest Mechanic Rocky is a routine thriller in terms of treatment of the story, character, humour; yet the sudden spin in the story of the second-half saved this boring, uncreative mess a lot.

Nagumomu Rakesh alias Rocky is a goofy, chilled guy with backlogs in B.Tech, forced to be a mechanic by his father, Naresh. There are two actresses, Meenakshi Chowdary playing Priya and Shraddha Srinath playing Maya. Right at the moment when you begin to wonder why the filmmaker has been stretching Mays’s part as something beyond believability, the unexpected twist of spin in the character’s motives kicks in. And, the movie begins right there. 

The good part of Mechanic Rocky is its formulaic scripting, the bad part of Mechanic Rocky is also the same, its formulaic treatment of a commercial cinema. The songs, action, chases, and simpleton humour is all done and dusted elements of a stereotypical commercial cinema. Mechanic Rocky is just saved by what was not revealed through trailers and through the first-half. So, the praise must be given to the debutant writer-director Ravi Teja Mullapudi for the clever writing without revealing essential information that is required for the intended thrill in the second-half. 

Music composed by Jakes Bejoy has his signature over it; the signature of heavy fusion of many instruments. However, it never hits the roof. The songs never even register your attention. The songs are just crass trying to follow the troupe of commercial cinema’s format as a rulebook. The inclusion of Sunil just for the convenience of the hero’s plan to bring the evil down is also a commercial formula without any essence. The cinematography by Manojh Reddy Katasani also is decent, if the urge to overuse the similar drone shots over chase scenes was curtailed.