‘Ugram’ movie review: Allari Naresh’s action sequences cannot save this collapsing thriller – The Hindu

After taking up police brutality within the 2021 crime thriller Naandhi,director Vijay Kanakamedala groups up with Allari Naresh but once more, and turns critique on its head by presenting the viewers with the character of Ok. Shivakumar (Allari Naresh), a Circle Inspector who has 4 murders to his title and dishes out custodial torture liberally in his quest for ‘justice’.  

Very early within the movie, we’re pressured to imagine that Shivakumar is an upright cop after he busts an unlawful drug smuggling enterprise and refuses to present into the jaws of corruption.

Nevertheless, the ‘honest’ cop additionally has his share of romance to muddy the chaotic thriller; Aparna (Mirnaa Menon), the daughter of a rogue politician provides in to marry Shivakumar after he stalks her for months and the director appears comfy in passing it off as love. Quickly sufficient, the viewers is given a lesson in respecting ladies by Shivakumar himself after he rescues women dwelling in a gurukul from the clutches of males excessive on marijuana. Whereas the director is obvious that weed is just for the villains, he’s unable to make up his thoughts in regards to the therapy he dishes out to the ladies in his movie, typically constructing his hero into a personality with a large saviour advanced.  

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Later, tragedy strikes Shivakumar when his spouse and daughter go lacking and he’s left to unravel their case. The honest cop has little regard for authorized protocol and infrequently takes satisfaction in violating it whereas fixing the case. 

The movie is neatly divided into two distinct halves the place the primary half works as a typical cop drama with the protagonist addressing a number of social ills and educating the criminals a lesson in morality by virtually making an attempt to kill them, whereas the second half is spent looking for his lacking spouse and daughter. Submit-interval although, the movie appears like a drag and the clues the hero makes use of to unravel the case, whereas actively contaminating them, come throughout as trivial and lazy to the viewers. 

Kanakamedala makes use of too many plot factors, haphazard narrative breaks, and pointless track and dance sequences which dilute the depth of an already collapsing story. His option to introduce “duplicate hijras” (in accordance with him, these are males who cross-dress to commit crimes) to lewd sounds reinforces the dangerous stereotypes related to the neighborhood, and Shivakumar’s monologue on the struggles of the third gender in India comes throughout as mere lip service to keep away from backlash from the viewers.

The one saving grace is Allari Naresh’s efficiency. He’s honest and agile in decently-choreographed motion sequences and his physique language as a furious cop interprets effectively on-screen regardless of his common dialogue supply.

The viewers may begin feeling relieved and begin rooting within the climactic motion sequence, as was the case in my theatre — not out of adoration for the hero — however on the thought that we had been near the credit rolling throughout the display screen. 

Ugram is presently working in theatres.

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