Movie Name :  Cheekatilo
Streaming Date : Jan 23, 2026
Streaming Platform : Amazon Prime Video
123telugu.com Rating : 2.75/5
Starring : Sobhita Dhulipala, Viswadev Rachakonda, Chaitanya Visalakshmi, Esha Chawla, Jhansi, Aamani, Vadlamani Srinivas, Ravindra Vijay
Director : Sharan Koppisetty
Producer : D. Suresh Babu
Music Director : Sricharan Pakala
Cinematographer  : Mallikarjun
Editor : KSN

Related Links : Trailer

After a long gap, actress Sobhita Dhulipala has returned to Telugu cinema with Cheekatilo, a web original that marks her debut in the Telugu OTT space. The series is directed by Sharan Koppishetty. Cheekatilo was released today in Telugu, Hindi, and Tamil, on Amazon Prime Video and here is our take on how it fares.

Story:

Sandhya (Sobhita Dhulipala), a journalist who quits her job over TRP-driven ethics, starts her own podcast. When her colleague Bobby (Aditi Myakal) and Bobby’s boyfriend are murdered, Sandhya uncovers a pattern linking multiple similar killings. Determined to expose the truth, she investigates the case and shares details through her podcast Cheekatilo, with support from Amar (Vishwadev Rachakonda). Who is behind the murders and why forms the core of the story.

Plus Points:

Sobhita Dhulipala takes on a role that is relatively new for her and handles it with ease. She convincingly portrays the inner pain of a woman haunted by unresolved truths. Vishwadev Rachakonda has limited screen time, but he makes good use of the scope given and leaves an impression.

While crime thrillers often reveal the antagonist early, Cheekatilo keeps the culprit hidden until the pre-climax. However, although the mystery is preserved, the film does not generate the tension required to make that reveal truly gripping.

Director Sharan Koppishetty attempts to explore the idea of unknowingly suppressing trauma through a few scenes, and the narrative from pre-climax to the climax works reasonably well. Aamani, despite limited screen presence, performs effectively. Vadlamani Srinivas gets a neat role, and seeing him in a different shade is refreshing.

Minus Points:

The core issue with Cheekatilo lies not in its concept but in its execution. In serial crime thrillers, sustained tension is crucial to keep viewers engaged. While the story offers ample scope for suspense, the narrative unfolds in a largely flat manner.

Because of this approach, the sense of urgency, what happens next and who could be the next target, rarely comes through. Scenes follow one another, but very few moments create genuine anticipation.

The police investigation, in particular, lacks seriousness and feels artificial, reducing its impact on the narrative. Similarly, the film does not convincingly establish how Sandhya’s podcast gains massive popularity in such a short span, making certain developments feel rushed and overly cinematic.

Several supporting characters, including those played by Ravindra Vijay, Jhansi, Suresh, and Vishwadev, are underwritten, limiting the emotional depth the story could have achieved. At certain points, repetitive scenes make the narrative feel stagnant, as though the film is reluctant to move forward.

Technical Aspects:

While Srikanth Pakala’s background score attempts to create a tense atmosphere, the flat writing prevents those moments from fully landing. Editing by KSN is passable, though trimming a few portions could have improved the pacing. Mallikarjun’s cinematography is adequate and suits the mood of the film. Production values are decent.

Director Sharan Koppishetty, along with co-writer Chandra Pemmaraju, presents a familiar story in a different setup. However, inconsistent execution and the lack of engaging narrative beats make the final result feel routine.

Verdict:

On the whole, Cheekatilo is a crime thriller that works in parts. Sobhita Dhulipala delivers a sincere performance, and the underlying message is clear and well conveyed. However, weak execution in a few portions, a lack of sustained tension at places, and some repetitive moments prevent the film from becoming a compelling thriller. If you enjoy thrillers, you may give it a try, but keep your expectations in check.

123telugu.com Rating: 2.75/5
Reviewed by 123telugu Team 

Oscar nominations are out, kicking off seven weeks of conversations about what the Academy got right (and wrong) today and predictions about what voters might still get wrong during the awards on March 15.

Here’s what struck me when the lists were announced this morning.

Sinners dominated, followed by One Battle After Another 

Before this year, no movie had ever gotten more than 14 Oscar nominations. Three films — All About Eve, Titanic and La La Land — shared the top spot. This year, Ryan Coogler’s brilliant vampire story Sinners bested that by two, landing 16 nominations. If it had been 15, you could argue that the new category honoring best casting (in which Sinners, yes, was nominated) was the difference. But with 16, that’s a straight-up record-breaker. Of course, nomination numbers do not always equal wins, let alone wins for a big category like best picture.

One Battle After Another, with 13 nominations, is also formidable on numbers alone. But Sinners was nominated in every category in which it was competing, which is a stunning accomplishment. Since each branch of the Academy votes on its own nominees (and everyone votes for best picture nominees), that suggests that the film has strong support across every single group of Oscars voters. And it’s fair to ask: If every element of a movie is top-notch, from its design to its performances to its script to its music, how does it not deserve to be best picture?

Non-English language features continued their strong showing

Four non-English language acting performances were nominated this year, three from Norway’s drama Sentimental Value (Inga Ibsdotter Lilleaas, Renate Reinsve and Stellan Skarsgård) and one from the Brazilian political thriller The Secret Agent (Wagner Moura). That’s a record. Both of those films were nominated for best picture as well, which continues the pattern from recent years of non-English-language films like Parasite, I’m Still Here, Emilia Pérez, Drive My Car and others earning nominations in the top category. Consider this: 10 such best picture nominations happened between 1938 and 2017; 12 have now happened between 2018 and 2026. (On the other hand, it’s worth noting that the highly-regarded Korean movie No Other Choice from filmmaker Park Chan-wook was shut out, disappointing its many supporters.)

F1 overperformed

The car-racing movie F1, which felt a lot like a promotional film for F1 racing itself, received what will be, for some, an eyebrow-raising best picture nomination in addition to nominations for editing, sound and visual effects. Both the Broadway drama Blue Moon and Iranian thriller It Was Just An Accident received original screenplay nominations, Blue Moon landed a lead actor nomination for Ethan Hawke, and It Was Just An Accident was nominated for best international feature (for France, which submitted it); neither appeared on the best picture list. People really like cars going vroom vroom, apparently.

New Avatar and Wicked stories lost steam 

The first Avatar received nine Oscar nominations; the second, Avatar: The Way of Water, received four; this morning, the third, Avatar: Fire and Ash, received only two, for costume design and visual effects. A year ago, Wicked received 10 nominations; this year, Wicked: For Good received zero. Avatar: Fire and Ash still made a mountain of money and Wicked: For Good made plenty, but the one-two punch of big box office and awards sparkle has worn off for both.

Diane Warren is Diane Warren, now and forever

The least-surprising possible news on Oscar nomination morning is a nomination for Diane Warren, who received her 17th nod, this time for the song “Dear Me” in the documentary Diane Warren: Relentless. She has never won — except for an honorary award in 2022 — which perhaps makes her the Susan Lucci of best original song, in honor of the All My Children actress nominated 21 times for a Daytime Emmy for playing Erica Kane. But one fact should be foremost in the mind: Susan Lucci eventually won. Yes, it took until her 19th nomination, but it happened. This year, Warren is nominated for a song she wrote for a documentary about herself; wouldn’t it be fun if this were her year? If not, she should not lose heart, because let’s be real: She will be nominated again next year.

Jockey Movie Synopsis: In Madurai’s traditional goat fighting circuit, two rival trainers wage war through their four-legged champions.Jockey Movie Review: The goats in Jockey settle their differences more decisively than their owners, though not by much. Director Pragabhal’s film enters a world Indian cinema has seldom documented: the kida fighting tradition of the Madurai belt, where men stake reputation and honour on horned athletes trained to butt heads until one relents. It took over three years to capture these sequences on camera, and the effort shows. Getting real goats to perform convincingly is no small feat.Ramar (Yuvan Krishna) arrives late to a fight in Usilampatti, riding a share-auto that gets him mocked before he even enters the arena. His black goat Kaali faces off against Anugundu, the champion belonging to the arrogant Ghabra Karthi (Ridhaan Krishnas). After seventeen fierce rounds, Kaali breaks one of Anugundu’s horns, earning Ramar the title of Madurai’s Jockey. Karthi doesn’t take the loss well. What follows is a cycle of humiliation, revenge, and escalating violence, with Karthi resorting to increasingly dirty tactics to reclaim his standing: a hidden hook during a rematch, a midnight threat to Ramar’s sister, destroyed trophies. The rivalry consumes both men, even as Ramar tries to step away from the circuit after inadvertently causing Anugundu’s death.The goat fights themselves are where Jockey earns its keep. Raw, intense, shot with real animals in a way that makes you equal parts curious and queasy. NS Uthayakumar’s cinematography captures the dust, the sweat, the older Madurai gangster energy that pulses through these arenas. The climactic battle was a definite standout, with the live sync-sound adding a powerful edge. This is a film built on blood, sweat, and tears, and you sense Pragabhal’s sheer labour behind every sequence, days of coordination to align animals, cameras, and actors into something coherent.The humans, unfortunately, don’t match their four-legged counterparts. Yuvan and Ridhaan are cut from the same cloth: hotheaded, impulsive, ready to throw fists at the slightest provocation. One’s just two shades darker than the other. Their supporting casts function as cheerleaders rather than characters. Madhu Sudhan Rao plays the peacemaking elder who shows up to break up confrontations, delivers the same lecture, watches them part ways, then repeats the routine three more times. The romance with Meenu (Ammu Abhirami) feels grafted on to break the monotony rather than woven into the narrative. You can tell when the script was assembled around the spectacle rather than through it. Sakthi Balaji’s music is dependable.Jockey works best as a window into a tradition most viewers won’t know exists. The curiosity factor alone carries it.Written By: Abhinav Subramanian