Khiladi movie review highlights : Ravi Teja, Dimple Hayathi, Meenakshi Chaudhary-starrer is high on style, less on logic – Times of India
Ramesh Varma’s heist film Khiladi starring Ravi Teja, Dimple Hayathi and Meenakshi Chaudhary in the lead roles hit screens this Friday.
The film tells the story of Mohan Gandhi (Ravi Teja), a seemingly innocent man facing trial for the murder of his sweet little family. Criminologist Pooja (Meenakshi Chaudhary) meets him in jail to submit a thesis and ends up going on a self-righteous journey to set him free. Or at least get him out on bail. But when high stakes, lies, deceit and lots of money are involved – it’s obvious that nothing is as it seems.
The first half of Khiladi plays to the gallery and even tests your patience. Numerous mass songs, a cliché love story, jokes that hardly make you laugh dilute the seriousness of the story that simmers beneath the surface. And when the director makes the odd narrative choice of beginning the story with the predicament Gandhi is supposedly in, it makes the viewer impatient whenever the whole love track with Dimple Hayathi that focus more on her body and less on her character traits plays out on-screen.
But things pick up right before the interval and Ramesh does manage to pull the carpet right from under you. Does it make any logical sense when you begin connecting the dots? Absolutely not. Is it high on style? Sure. And now that the story seems to have come unto it’s own, it makes one hope for a better narrative in the second half.
The film tells the story of Mohan Gandhi (Ravi Teja), a seemingly innocent man facing trial for the murder of his sweet little family. Criminologist Pooja (Meenakshi Chaudhary) meets him in jail to submit a thesis and ends up going on a self-righteous journey to set him free. Or at least get him out on bail. But when high stakes, lies, deceit and lots of money are involved – it’s obvious that nothing is as it seems.
The first half of Khiladi plays to the gallery and even tests your patience. Numerous mass songs, a cliché love story, jokes that hardly make you laugh dilute the seriousness of the story that simmers beneath the surface. And when the director makes the odd narrative choice of beginning the story with the predicament Gandhi is supposedly in, it makes the viewer impatient whenever the whole love track with Dimple Hayathi that focus more on her body and less on her character traits plays out on-screen.
But things pick up right before the interval and Ramesh does manage to pull the carpet right from under you. Does it make any logical sense when you begin connecting the dots? Absolutely not. Is it high on style? Sure. And now that the story seems to have come unto it’s own, it makes one hope for a better narrative in the second half.
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