Uppu Kappurambu

This movie takes a little time to draw you in, but as a fan of The Office, I didn't mind the gradual setup. Once it finds its rhythm, the music makes a striking entrance, almost as if you're watching a play where the score itself is narrating the story.

In a world dominated by the action sequences, enhanced by seamless CGI and VFX, this movie feels so refreshing-like a cool breeze in the world of ACs. While this genre is packed with similar films, this one confidently earns its place among them.

I thoroughly enjoyed the film-the characters were vibrant and lived up to their potential, keeping the fun alive from start to finish. Beyond the entertainment, it offers a subtle yet thoughtful commentary on modern-day mindsets, something worth reflecting on. Technically, the film is polished, with no compromises in execution.

Rana's narration in the beginning was particularly engaging, setting the tone perfectly. The storytelling, backed by Vivek Sagar's brilliant work, shines throughout. The entire cast delivered, bringing the crew's vision to life with authenticity.

You'll find yourself smiling through most of the film, but by the end, there's a lingering weight-a bittersweet touch that stays with you.

A well-crafted blend of humor, action, and heart-definitely worth a watch!

Uppu Kappurambu is one of those rare films that makes you question not just its content, but its very existence. With a wafer-thin plot - if you can even call it that - and writing that seems to defy logic at every turn, this Amazon Prime exclusive leaves you wondering how it ever got a green light, let alone a platform like MGM behind it.

The film stumbles right from the start. Instead of a coherent story, we get a chaotic string of scenes that are either painfully unfunny or bafflingly irrelevant. Attempts at humor fall flat, and what's worse, the film doesn't even try to make up for its lack of substance with style or heart.

It feels like the writers threw logic out the window and filled the gaps with frivolous nonsense that neither entertains nor moves the story forward. You keep waiting for the film to redeem itself - maybe a twist, a clever moment, or at least a laugh - but it never comes. The pacing drags, the dialogue grates, and the entire viewing experience feels like a test of endurance.

One has to wonder: who at MGM looked at this script and said, "Yes, let's make this"? It's baffling.

Being released straight to Amazon Prime might have saved it from box office embarrassment, but the platform's real danger is its audience having a remote handy. And trust me, they'll use it - to pause, fast forward, or more likely, exit entirely.

If you actually manage to sit through the entire film, congratulations - you deserve an award. Not for understanding the plot, but for your sheer patience and perseverance. Uppu Kappurambu is a forgettable, frustrating mess that's best left unwatched.

Uppu Kappu Rambu is a film that thrives on its performances and storytelling, and honestly, Keerthy and Suhas have absolutely killed it in the acting department. Both bring such natural charm and depth to their characters that you're hooked every time they're on screen.

As a big Keerthy Suresh fan, I can say it's always a delight to watch her perform, but here, she feels even more refreshing-balancing grace, emotion, and comic timing with ease. Suhas, on the other hand, matches her beat for beat, proving yet again why he's one of the most exciting talents in Telugu cinema today. Their chemistry doesn't just carry the film, it elevates it.

The writing deserves equal praise. The story is tight, engaging, and layered with emotions without losing its entertainment value. What really stands out, though, are the comedic portions. They're not the typical forced "filler comedy" you see in many films; instead, they flow naturally within the story. Honestly, some of the comedy scenes in this film are among the best we've seen in Telugu cinema this year-they land perfectly, make you laugh out loud, and still serve the plot.

Overall, Uppu Kappu Rambu strikes the right balance between solid performances, witty comedy, and engaging storytelling. It's the kind of film that keeps you smiling long after the credits roll, and for fans of Keerthy (like me), it's an absolute treat.

A rural story set in an earlier period, featuring a woman as the lead who becomes the leader of a village and resolves a problem. The main conflict arises when a shortage of burial space in the village graveyard enters the plot, and the solution stands out because it goes against the village's traditions. The plot goes as finding solution to the problem. A slow run story, but this film might not disappoint viewers looking for a fresh or engaging story. It's a decent film that stands on uniqueness of different characters and keeps engaging in unexpected scenes. This movie successfully balances entertainment and depth, would be better if the beginning scenes shorten.

'Uppu Kapurambu' movie review: An interesting idea undone by an overdrawn narrativeKeerthy Suresh and Suhas anchor a partly-entertaining dramedy on life, death and everything in between. It is a scenario straight out of the wildest dreams, or nightmares. An entire village, dressed in festive finery, gathers around a specially constructed stage. There is anticipation in the air, a celebratory mood. But the master of ceremonies (Vishnu Oi), a man summoned from a neighbouring town, is left stunned when he learns the purpose of the event: a lucky draw to determine who will win slots in the village burial ground, now perilously close to running out of space. Director Ani IV Sasi, who previously helmed the offbeat Telugu romance Ninnila Ninnila, returns with Uppu Kapurambu - a madcap satire that takes on the politics of death, land, and legacy. Screenwriter Vasanth Maringanti weaves in layered subtexts touching upon gender, caste, money, and power, exposing the absurdity of fighting over land meant for one's final rest. Set in the fictional village of Chitti Jayapuram in 1990s undivided Andhra Pradesh, the film creates a universe that feels both outlandish and uncannily believable. The absurdity is deliberate, but the attention to detail - be it in Sri Nagendra Tangala's production design, Poojita Tadikonda's pitch-perfect costumes, or Divakar Mani's earthy cinematography - grounds the story in a very real milieu. Sweekar Agasthi's music, too, hits the right notes, adding whimsy without overplaying its hand. It takes a while to settle into the film's farcical, morbid tone. One early scene sets the stage following the death of a village head - his burial becomes less a solemn occasion and more a social gathering, complete with idle gossip, performative weeping and irreverent humour. His daughter, Apoorva (Keerthy Suresh), is reluctantly thrust into the spotlight as the heir to the post - a role passed down through generations. Things spiral when Chinna (Suhas), the caretaker of the village graveyard, discovers that burial space is rapidly running out. This simple logistical issue triggers a snowballing crisis of power, privilege, and pettiness. Apoorva, woefully inexperienced, fumbles through her newfound responsibilities. Her bungled attempts at diplomacy are laced with biting satire, particularly in a scene where she tries to deflect scrutiny by bringing up the Iran war and tomato prices in the same breath. Babu Mohan as a well-off, elderly aspirant for her position, and Shatru as a fiery young challenger, embody the absurd politicking that underpins this death-centric tale. Sasi and Maringanti craft a village that thrives on absurdity over logic, but after a point, the humour turns laboured. The whimsy that starts off fresh begins to feel overly exaggerated and even cartoonish in tone. Amid the chaos, it is Chinna and his mother (played by a grounded Talluri Rameswari) who emerge as the film's conscience. Years of working as the graveyard's caretakers has given them the wisdom about death being the great equaliser, or is it? After all, the elite still manage to secure premium burial plots and ornate headstones. As the film sprawls into multiple subplots, Uppu Kapurambu loses some of its sharpness. The 2-hour-14-minute runtime begins to drag, weighed down by gags and a wavering tone. However, the narrative regains some traction in its final act. The film ends on a poignant note, reflecting on how status and pride, often derived from power and wealth, can prove futile in the face of mortality. Apoorva's evolution into a village leader is conceptually compelling, but her arc lacks emotional heft. Keerthy Suresh gives it her best, yet the comedic beats written for her character rarely land. It's only in the final scenes, when she muses on the symbolism of the film's title, that she finds her footing. Suhas, ever dependable, brings nuance and relatability to Chinna. His performance, understated yet effective, carries the emotional weight that the film sometimes fumbles elsewhere. Uppu Kapurambu has an intriguing premise and flashes of brilliance, but its inconsistent execution stops it from becoming a truly memorable satire.