KCR, a political drama set against a Telangana backdrop, features comedian-turned-actor Rakesh in the lead role. Known for his appearances in the popular TV show Jabardasth, Rakesh not only stars as the protagonist but also produces the film under his home banner. Directed by Garudavega Anji, the movie released in theaters on November 22 and is now streaming on Aha. Despite its ambitious concept, KCR struggles to deliver a gripping experience.

Plot
The story begins in Rangabai Tanda, a village in Kesavaravupally, Warangal district. The protagonist, Keshavachandra Ramavath (Rakesh), is a middle-class youth who idolizes Telangana Chief Minister K. Chandrashekar Rao (KCR). His unwavering admiration earns him the nickname “Chota KCR.” Keshava is romantically pursued by Manju (Ananya Krishnan), a girl from the same village, who dreams of marrying him.

However, Keshava’s joy over his village’s agricultural prosperity is short-lived when he learns that their land is marked for acquisition to construct a ring road. Shocked and determined to protect his community, Keshava refuses his arranged marriage with Manju and instead declares that he will marry a city girl. During a heated family discussion, he challenges his elders, vowing to bring KCR himself to his wedding or cancel it altogether.

The second half chronicles Keshava’s journey to Hyderabad to fulfill this promise. What happens next? Does Keshava succeed in inviting KCR to his wedding? The answers form the crux of the narrative.

Analysis
The story unfolds during two key periods: the time leading up to the formation of Telangana and its aftermath. It highlights the struggles of K. Chandrashekar Rao (KCR) in achieving statehood and his subsequent governance. The first half focuses on the protagonist’s deep admiration for KCR, while the second half revolves around his determination to invite the leader to his wedding, setting the stage for his journey to the city.

The director ensures that equal importance is given to the roles of both the hero and heroine, as well as their families. The integration of the village as a significant element in the story is commendable. However, the characterization falters as the hero, initially portrayed as a proud and content village youth, suddenly declares his preference for a city girl and urban life, creating inconsistencies in his arc.

The comedy scenes involving the hero and his friends fail to land effectively, feeling forced and uninspired. While the film attempts to convey emotional depth, many sequences come across as overacted, especially those featuring Rakesh. Furthermore, the minor characters, portraying villagers, lack impactful performances, leaving the narrative underwhelming.

Although Rakesh’s intent in crafting the content is evident, the lack of thorough preparation and rushed execution diminishes the film’s overall potential.

Performances
Rakesh: As both actor and producer, Rakesh demonstrates sincerity, but his comedic strengths don’t translate well into this film. Emotional scenes feel overacted, detracting from the film’s impact.
Ananya Krishnan: Delivers a decent performance as Manju but is limited by her character’s development.
Supporting Cast: Notable names like Thanikella Bharani and Thagubothu Ramesh make brief appearances but fail to elevate the narrative.

Technical Aspects
Direction: Garudavega Anji captures the rural essence of Telangana through impressive visuals but struggles to weave a compelling story.
Music: Charan Arjun’s compositions and background score are average, lacking memorable tunes.
Cinematography: Rural settings are beautifully depicted, thanks to Anji’s expertise behind the camera.
Editing: Madhu ensures a decent pace, but the screenplay limits the overall experience.

Verdict
KCR aims to tell a heartfelt story about a village youth’s passion for his community and hero-worship for KCR. While the intent is commendable, the execution falls short in connecting with audiences. The narrative lacks the emotional depth and comedic charm necessary to make it engaging. With better writing and stronger characterization, this film could have been more impactful.

Hudson Meek, an actor who appeared in “Baby Driver” and voiced Bada in the preschool-age series “Badanamu Stories,” has died after falling from a moving car. He was 16.

Meek fell “to the roadway from a motor vehicle in motion” in Vestavia Hills, Ala., on the night of Dec. 19, the Jefferson County coroner’s office said Thursday in a statement to The Times. Meek sustained blunt force injuries and was admitted to the University of Alabama at Birmingham Hospital, where he died from his injuries two days later.

The Vestavia Hills Police Department is investigating the circumstances surrounding the death, the coroner’s office said.

Representatives for the Police Department did not immediately respond Thursday to The Times’ request for comment.

“Our hearts are broken to share that Hudson Meek went home to be with Jesus tonight,” Meek’s family wrote Saturday in a statement on his Instagram page. “His 16 years on this earth were far too short, but he accomplished so much and significantly impacted everyone he met.”

Meek’s family described his death as a sudden and tragic loss. In his official obituary, the family noted that the teen was an organ donor and his family was comforted “by knowing that he will continue to help others for years to come.” His family did not mention his cause or manner of death in the obituary.

Meek played a younger version of Ansel Elgort’s Baby in the 2017 action-drama “Baby Driver.” He also appeared in the CW’s “Legacies,” Hulu’s “Genius” and NBC’s crime drama “Found.” Some of his other projects are slated for release in 2025, his family said.

“He absolutely loved spending time on set and having the chance to learn the names and stories of every member of the cast and crew,” his family said.

Hudson Joseph Meek was an Alabama resident and a sophomore at Vestavia Hills High School, where he played for the Vestavia Hills Rebel football team. Meek was also part of the Fellowship of Christian Athletes and honor choir and loved gathering with friends outside of school, doing water sports and “anything in the woods,” traveling and acting, the obituary said. He also loved binge-watching “The Simpsons,” playing and watching sports — particularly football, basketball and boxing — and “anything involving the Auburn Tigers.”

“Hudson was reflective and thoughtful, however he was tenacious when he set his mind to something,” the obituary said. He became a certified open water scuba diver at 13 and obtained his advanced open water certification later that year. He visited all 50 U.S. states and had set his sights on visiting all seven continents. The actor was also an active member of the Dawson Memorial Baptist Church, where he often attended youth events.

“Hudson’s personality was one of a kind. He was confident, convicted in his beliefs, spontaneous, and quick-witted. He never let the facts get in the way of a funny story, and he loved friendly banter. He was a prankster, loved a good joke, and was happiest when he was making others laugh,” the obituary said. “Hudson thrived in settings that allowed him to meet and serve new people. Hudson was a vibrant and dynamic person who lived life to the fullest.”

Meek is survived by his parents, Derek Firth Meek and Lani Wells Meek, and older brother, Tucker Firth Meek, his grandmothers, several aunts, uncles and cousins.

The family is planning a celebration of life ceremony on Saturday and has set up the Hudson J. Meek Memorial Scholarship at Vestavia Hills High School. They are asking mourners to make donations to the fund in lieu of flowers.

“The Crossroads” is the sort of movie you get when you park two attractive but bland young actors on a modestly scenic piece of real estate and take romance pretty much off the table.

A stunningly dull chat-a-thon of silences, evasive question-and-answer conversations, abrupt, contrived arguments, literary name dropping and cliched third act “diagnoses” explaining much of what’s come before, it’s as good an argument as any against “keeping things simple,” tuning out the outside world and such.

You’d die of boredom.

Emily Coupe arrives at the titular filling station/convenience store/diner on the border between Arizona and New Mexico, jumps out of a car with her backpack, guitar, torn tight jeans and pink hair extensions, only to be “rescued” by “a cowboy” played by Nick Ballard.

“Star” is her name. She wants to be a singer-songwriter. But she’s fled LA, heading for “Dubuque.” Not that she gives this away any time soon.

Logan isn’t especially friendly, but he offers her a lift in his ancient Ford pickup, talks about “weather comin’” (We can see the skies. Nope.) and takes her to his remote farmhouse.

Don’t get your hopes up. This isn’t a horror movie.

Star is closed-off, working out some things. Logan is shut-down, dealing with his own issues. The script has them spend 95 minutes doling out even the tiniest hint of information about their names, their backgrounds, the time setting we’re dealing with and the problems they’re struggling to overcome.

Director Douglas A. Raine and screenwriter Ginia Desmond break that fundamental convenant they’re honor bound to take with the audience. Tell us what your movie is about, tell us who the characters are and don’t bore us to death waiting around for something — ANYthing — to happen.

Only somebody who thinks leaving LA for Dubuque is a fun idea could conjure up a leading lady dense enough to say “A clothesline? I’ve never used one.” Even if you haven’t, honey, there’s no danged sense admitting it.

Only a “cowboy” who hides his rodeo trophies in haystacks, who actually farms “hemp” now (not that we see “work” of any sort) when he isn’t reading “The Invisible Man” (H.G. Wells, 1897), with the Quran and select works of Carl Jung on his DIY bookshelves, could offer up this as a comeback.

“You’ll have to figure it out.”

Rating: profanity, adult subject matter

Cast: Nick Ballard, Emily Coupe

Credits: Directed by Douglas A. Raine, scripted by Ginia Desmond. A Desktop Entertainment release on FreeVee, Amazon Prime, etc.

Running time: 1:35