Vaa Vaathiyaar Movie Synopsis: Even as he keeps up an appearance of following in the footsteps MGR in front of his grandfather, a die-hard fan of the legend, Ramu is actually a corrupt cop, who’s helping in a mission to nab activists exposing the government. What happens when an incident triggers the Vaathiyaar in him? Vaa Vaathiyaar Movie Review: In his interviews about the film, director Nalan Kumarasamy repeatedly stressed on the fact that he planned Vaa Vaathiyaar as an attempt at recreating the old-school masala film in his own style. And that’s exactly what he delivers with his film. The simplicity of the MGR film formula meets the new-age-y plot device of Maaveeran in this fond, fun, funky throwback to the masala films of an earlier era. The film does take a while to get going with the beats of the initial set-up coming across as little too familiar. The narrative rhythm, too, is slightly off, with far too many songs popping up at frequent intervals. Though, it helps that Santhosh Narayanan’s songs are short and groovy. And the composer delivers a score that superbly elevates the emotional moments. But once we get into the main conflict, things perk up. An anonymous group of hacker-activists exposes a shootout plot by power broker Periasamy (Sathyaraj) and the chief minister (Nizhalgal Ravi) at a Sterlite-like protest. The government decides to nab them before they can cause further damage to a 142 million euro business deal. How does Ramu – a corrupt cop, who is keeping up a facade of being a do-gooder for the sake of his grandfather (Rajkiran, who has become the default casting choice for such well-meaning boomer roles), a die-hard MGR fan – gets involved in this and where does the OG Vaathiyaar figures in this scheme of things?Vaa Vaathiyaar shows that in this age of hyper-masculine action – and even romantic – films, it’s still possible to make a rousing commercial entertainer with a star without relying on guns and gratuitous bloodshed. The film’s action set-pieces have the hero taking on dozens of henchmen (and cops, too!), but it’s all done in swashbuckling MGR style. And in Karthi, it has an actor who is brave enough to take on a risky role, given the stature in which MGR is held by the Tamil people. Rather than merely mimicking him, which would have ended up as a spoof, the actor wonderfully captures the spirit of the legend’s onscreen image and creates moments that are genuinely heartfelt. Credit should also go to Nalan for finding the right pitch at which the actor should play these portions. While there are quite a few throwbacks to iconic MGR scenes, the filmmaker even succeeds in his modern take on the iconic song, Raajavin Paarvai Raaniyin Pakkam.The film would have been even better with a stronger villain. The film initially builds up Periyasamy to be ruthless and powerful, and with someone of Sathyaraj’s calibre playing this role, we expect more only to be deceived in the end. There’s also some build up to Nivas, a rival cop, who’s keen on nailing Ramu, but this arc, which could have added tension, is left incomplete after a while.That said, Nalan’s bold move to call back to MGR’s real-life hospitalisation and resurgence in the climax leaves the film on an emotional high.

Movie Name : Bhartha Mahasayulaku Wignyapthi

Release Date : Jan 13, 2026
123telugu.com Rating : 2.75/5
Starring : Ravi Teja, Ashika Ranganath, Dimple Hayathi, Sunil, Satya, Vennala Kishore, Tarak Ponnappa, Muralidhar and Others
Director : Kishore Tirumala
Producer : Sudhakar Cherukuri
Music Director : Bheems Cecireleo
Cinematographers : Prasad Murella
Editor :  A Sreekar Prasad
Related Links : Trailer

Mass Maharaja Ravi Teja returns to the big screen with Bhartha Mahasayulaku Wignyapthi, which has released today as a Sankranthi special. Ashika Ranganath and Dimple Hayathi play the female leads. Read on to know how the film fares.

Story:

Ram Satyanarayana (Ravi Teja), who manufactures the alcohol brand Anarkalee, travels to Spain after it is rejected by a wine company owned by Manasa Shetty (Ashika Ranganath). The trip leads to a romance, but Ram returns to India to his possessive wife, Balamani (Dimple Hayathi). Problems begin when Manasa arrives in India, leaving Ram Satyanarayana caught between the two women, and the film follows how he navigates the situation and brings it to a resolution.

Plus Points:

Ravi Teja steps away from his usual mass persona and opts for a calm, restrained role laced with style and situational comedy. While this is familiar territory for him, his effortless screen presence and comic timing make the character work once again.

Ashika Ranganath looks appealing and gets a role with a fair emotional arc. Her scenes with Ravi Teja are pleasant and register well. Dimple Hayathi, cast as the possessive wife, does an average job and fits the requirement of the role.

Comedy is largely driven by Satya in the opening portions, and his track works effectively. After his exit, Sunil takes charge and delivers humour in his trademark style. Together, their portions ensure a fairly engaging first half. Vennela Kishore also contributes with his reliable comic timing.

Minus Points:

The biggest drawback is the story itself. The core conflict of a man trapped between his wife and girlfriend has been explored countless times, and this film offers little novelty beyond fresh casting. The narrative, humour, and emotional beats follow a predictable pattern. The second half, in particular, had ample scope to deepen the conflict between Ravi Teja, Ashika, and Dimple Hayathi, but the writing fails to capitalise on it.

Director Kishore Tirumala manages the first half competently, but the film loses momentum after the interval. The drama feels artificial, and the comedy turns ineffective. Predictability becomes a major issue as the film progresses.

While the humour is reasonably engaging in the first half, it falls flat in the latter portions. The second half struggles to generate laughs, and the climax is simplistic with minimal emotional payoff. A stronger blend of comedy and drama could have at least elevated the film to a passable level.

Tarak Ponnappa’s track brings nothing new and feels like a filler in the narrative. The Vammo Vayyo song and the remix of the Karthika Deepam and Pinni serial tracks are aimed at mass audiences but appear suddenly and do not flow well with the story.

Technical Aspects:

Kishore Tirumala attempts to package a routine storyline with humour and emotion, but the execution remains inconsistent. While a few moments click, the overall impact, especially in the second half, is underwhelming.

Prasad Murella’s cinematography is serviceable. Sreekar Prasad’s editing needed to be sharper, as trimming several redundant scenes would have improved the film’s pace. Bheems Ceciroleo’s music is passable, though the background score fails to leave a strong impression. Production values are adequate.

Verdict:

On the whole, Bhartha Mahasayulaku Wignyapthi ends up as a familiar drama with sporadic moments of entertainment. Ravi Teja delivers a composed performance, Ashika Ranganath looks good, and Satya, Sunil, and Vennela Kishore provide some relief. However, the predictable narrative, forced drama, and weak second half significantly dilute the impact. With tempered expectations, the film can be watched for its performances and humour.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team 

Un Paarvayil Movie Synopsis: When her twin sister dies under mysterious circumstances, Bhavya goes on a hunt to find the murderer, but the fight isn’t easy as she loses her vision.Un Paarvayil Movie Review: The opening sequence of Un Paarvayil reminds one of a few finely written scenes from films about twins like Charulatha (2012) or Thadam (2019) where we learn about their special bond. In Un Paarvayil, Bhavya (played by Parvati Nair) gets on stage to receive the Best Business Woman award. Parallely, her twin, Dhivya (also played by Parvati Nair), is stuck in a dangerous situation. As the latter faces difficulty, Bhavya, who is on stage, also feels like she is being choked and struggles to breathe – an instant telepathy of sorts that suggests her sister is in danger. Without a lot of words or too many scenes, this one sequence conveys the bond between the sisters Bhavya and Dhivya. However, this narrative creativity is never seen on screen again throughout the film’s run time.Everything about Un Paarvayil is right on paper. With a textbook formula, Un Paarvayil has the right recipe for a psycho thriller – a scary bungalow, a loving but mysterious husband, and a psycho killer. But that’s about it. The stage is set, writing is done, and actors deliver the dialogues, but these don’t come together cohesively. In most scenes, the dialogue delivery is bland, and the writing becomes increasingly predictable. For instance, Bhavya is informed very early on in the film that Dhivya has a best friend with whom she shares all her secrets. However, the writing is so contrived that until the last moment, Bhavya never thinks about reaching out to this friend to learn more about her sister. It’s as though Bhavya forgot that piece of the puzzle.Which is why it feels like the film suffers from progressive amnesia. For instance, at one point, it looks like the cops give lethargic explanations for a murder, but we are not sure if they are just lethargic or are partners-in-crime with the psycho killer. And we keep wondering – but we never get to know that because the film has forgotten such a sequence existed. Likewise, Bhavya learns about an important CCTV evidence and pursues it. Still, before she uncovers the truth, she begins to track down another clue, and the CCTV evidence is never mentioned again. Remember how we see the twins share a unique connection in the opening sequence? It is also depicted only once and gets forgotten. Just like this, the film keeps jumping from one sequence to another, with all the old clues left behind and forgotten, before another new clue randomly reaches Bhavya. So, the next time we find a missing puzzle, we are no longer curious about it.That said, the film did have some interesting scenes. Whenever the psycho killer is on screen, the tension rises, and we are hooked to what’s next – but such sequences are very few. By the book, it might look like the film has a perfect premise, and some really good performances from Parvati Nair and Mahendran do make things intriguing, but the film turns a blind eye to its basic cinematography and contrived writing, leaving us in the dark for the most part.