Kingdom

I expected too much this time from Vijay. Actually, Vijay's is totally steal the show. I appreciate hin. But, somewhere storyline lacks.

Kingdom Movie Review: An intense action drama grounded in emotion and craft.

Story: During the British era in the 1920s, a group of people living along the Srikakulam coast fall victim to brutal killings by the colonial forces. A handful manage to escape to an island near Sri Lanka. Seventy years later, Suri, a police constable haunted by the long-lost memory of his brother Shiva, agrees to take up a covert spy mission in the hope of finding him. His journey leads him to the treacherous shores of Jaffna, now under the control of smuggling cartels. But destiny has other plans, seemingly written long before his time.

Review: Gowtam Tinnanuri, known for his emotionally engaging storytelling in Jersey, brings a similar sensibility to Kingdom. Though mounted on a broader canvas with action and fictional history woven in, the film never loses sight of its emotional core. Kingdom taps into a classic saviour myth, where a displaced people hold on to ancestral belief that one day, someone bearing the signs of their ancient wisdom will lead them home.

Vijay Deverakonda dials down the swagger and delivers a performance grounded in restraint, emotional depth and simmering rage. As Suri, he convincingly portrays a man carrying the weight of grief and unanswered questions. His scenes with Satyadev are some of the most affecting moments in the film. Satyadev, as Shiva, brings his natural acting flair. Bhagyashri Borse makes a sincere attempt as Madhu, though her character arc could have benefited from stronger motivations. Venkitesh VP, as Murugan, the antagonist, is a show-stealer. He brings charisma, brooding intensity and calm menace, serving as a strong narrative counterweight.

The supporting cast, including Manish Chaudhari as the steely handler Jayaprakash, Ayyapa Sharma as the intimidating Divi Bhairagi, Rohini as Suguna, Babu Raj as Odiyappan, and Ajith Koshy, Bhoomi Shetty, Ravi Krishna, Navya Swami, and Mahesh Achanta, all leave an impression.

The film excels in its visual and aural language. Cinematographers Girish Gangadharan and Jomon T John craft a rich visual palette, capturing the moody landscapes of coastal Sri Lanka and the earthy grit of its conflict zones. Naveen Nooli's editing keeps the narrative coherent and pacy. Anirudh Ravichander's background score rises to the occasion, amplifying key emotional beats, though traces of familiarity with his past compositions from Devara and Vettaiyan remain.

The action in Kingdom is not over the top. Instead, it is functional and well-choreographed, mostly serving the emotional stakes of the story. The film's strength lies in how the physical confrontations and conflicts are grounded in personal choices, with a maturity in the staging-whether it is Suri or Shiva making a pivotal decision. Tinnanuri's control over tone ensures that the story never veers into melodrama or spectacle for its own sake.

Kingdom is not about flashy heroism or exaggerated showdowns. It is an action drama that finds strength in its emotional weight. It marks a return to form for Vijay Deverakonda, who finds the right balance between intensity and vulnerability. It's a well-crafted action drama with emotional integrity and visual flair. Nitpicking aside, Kingdom delivers an impactful cinematic experience.

Verdict : Below Average.

The first half of the movie was somewhat watchable. But the second half was extremely slow, which was completely unexpected! The movie ended up being a total disappointment. I had thought this would be Vijay Deverakonda's comeback film after Liger-but I was disappointed once again.

Lately, it seems that no matter how average a movie is, people are desperately trying to make sequels-2nd, 3rd, or even 4th parts!

Perhaps the director thought he was creating a masterpiece, but instead, he made garbage.

If you have extra time on your hands, you can give it a watch.

Thank you, everyone.

This movie begins on a promising note, as if another director from Andhra Pradesh were about to conjure the magic of Baahubali through the well-worn trope of reincarnation. But halfway through, the promise caves in. The movie slumps so badly in the last fifteen minutes that a narrator's voice-over is introduced to keep the movie from falling apart at the seams. Unfortunately, the Telugu industry's fascination with sequels is partly to blame: the second half feels less like a story than a prologue to a sequel that will never see the light of day after the cold reception of this movie. Another chink in the armour is its depiction of female characters. A noticeable pattern in successful Telugu movies is that women are written as powerful presences. However, this movie is fixated on masculinity, articulated through male violence -- which itself lacks grace and panache. To crown all, the movie lacks a decent musical score. Without one, it should give up its dream to become a saleable commodity in the Telugu industry.

Anirudh Ravichandran's initial impression of "Kingdom," stating that the first 40 minutes looked great, holds true; however, had he seen the entire film, his statement might have been different. The movie felt disjointed, as if two different screenwriters worked on the first and second halves. The opening act effectively established a proper spy thriller atmosphere, building tension and intrigue. Unfortunately, the latter half abruptly shifted into a generic "saviour temple" narrative without a cohesive blend, losing the focus and tension that made the initial spy phase so engaging.

The film missed several crucial opportunities to elevate its narrative. Firstly, the villain and their motivations remained underdeveloped, leaving it unclear whether their actions stemmed from regional discrimination or simply a problematic psyche. This lack of depth prevented the audience from building any genuine hatred or understanding towards them. Secondly, the emotional stakes felt low, particularly before the pivotal revolt scene, which needed more emotional groundwork. Furthermore, the relationship between the hero and heroine, as well as the bond between the hero and his brother's Family, lacked sufficient development, diminishing their impact on the story.

Finally, the movie's approach to setting up a sequel felt heavy-handed. Instead of a background voice explicitly detailing future events, a more visual display would have been preferable, allowing the audience to interpret and discuss possibilities. This approach would leave room for reviewers to analyze and break down potential plotlines, fostering a more engaging post-viewing experience. Additionally, certain scenes felt abruptly cut, and the "AI shots" in the second half were noticeably strange, further detracting from the overall cinematic flow.

Positives: Excellent camera work, Vijay Deverakonda's presence, some good Anirudh music, initial Hyderabad constable scenes, high production values, authentic Sri Lankan/South Indian locations, and an attempt to blend an old template with a new visual style.

Negatives: Overly layered, confusing screenplay with illogical plot developments; unclear character motivations; lack of detail and clarity; clichéd and ineffective heroine track; frustrating and silly proceedings in both halves; routine plot tropes (tribal/saviour/chosen one); ineffective sentiment; nothing new musically from Anirudh; too many familiar elements; unrealistic makeovers for a period drama.