Best of Tollywood movies 2024: A strong year for small and moderate budget movies

The year 2024 has mostly belonged to stories with interesting storylines rather than the big star vehicles. A very good example of this is Venky Atluri’s Lucky Baskhar.

Venky Atluri started as a romantic director with the likes of Varun Tej’s Tholi Prema (2018) and Nithin’s Rang De (2021). But Dhanush’s Vaathi (2023) marked a significant shift in his career.

With Lucky Baskhar the director pushed the envelope further with the financial thriller/drama. The tight writing coupled with Dulquer Salmaan’s fantastic act made it a major winner.

Prashanth Varma’s Hanu-Man starring young hero Teja Sajja like the film’s storyline was an underdog movie with fewer expectations. The film clashed with big star vehicles but it ended up being hugely profitable for everyone concerned. Hanu-Man is a perfect example of how sometimes an engaging script can transform an actor into a star.

35 Chinna Katha Kadu directed by Nanda Kishore Emani and presented by Rana Dagubbati also deserves a special mention. It was a small movie with a big heart.

Among the big-scale action films, Naga Ashwin’s Kalki 2898 AD managed to sail through mainly because of two aspects. The first one is the merging of a dystopian world with the events of Mahabharata, second, is Amitabh Bachchan’s towering act as Ashwatthama.

Sukumar’s Pushpa 2: The Rise on the other hand rode majorly on Allu Arjun’s histrionics and some well-crafted moments. A major highlight is Allu Arjun’s dance in a saree during a very moving jathara sequence, the film has seen extremely polarizing reviews still the movie managed to make big numbers.

Following are some of the most impactful Telugu movies of this year

Lucky Baskhar

A still from the film Lucky Baskhar
A still from the film ‘Lucky Baskhar’. (X)

Lucky Baskhar directed by Venky Atluri is a refreshingly different story for mainstream Telugu cinema. The theme of financial crimes in the backdrop of a bank is an extremely challenging subject given the intricate details. But Venky Atluri made sure that the movie didn’t become overly complicated.

The functioning of stock markets and the banking system was handled in such a way that even a layman could understand.

What also worked majorly for Lucky Baskhar was the layered characterization of the central character coupled with Dulquer Salmaan’s brilliant performance.

The journey of Baskhar from an honest employee to becoming a scamster and the subsequent changes took the viewers on a roller coaster ride. Apart from Dulqer’s solid act the film also had some impactful dialogues particularly the ones related to success, failure and greed.

35 Chinna Katha Kadu

Nivetha Thomas in 35 Chinna Katha Kadhu
Nivetha Thomas in ’35 Chinna Katha Kadhu’. (X)

35 Chinna Katha Kadu was a much-needed slice of drama amidst the ultra-masculine heroes. Director Nanda Kishore Emani created an authentic atmosphere whether it was the school portions or the husband and wife relationship going through many ups and downs.

The film made some pertinent points on the necessity of encouraging a child’s curiosity. The second half of 35 Chinna Katha Kadu was more engaging.

The portions of Nivetha Thomas Sarswati battling her own demons while making sure that her son gets passing marks in mathematics had many heart-warming moments. Nivetha Thomas delivered a breakthrough act getting into the skin of a traditional housewife who has to rise against all odds. Newcomer Vishwadev Rachkonda also shined bright.

Priyadarshi as the snooty teacher Chanakya does border on being a caricature but in the context of the story it completely works. Priyadarshi was majorly successful in making the audience hate him.

In spite of the slow pace and predictable scenarios, it was a heartwarming film exploring how parents and educators should explain concepts in an interesting manner rather than dismissing a child’s curiosity.

Hanu-Man

Teja Sajja in Hanu-Man
Teja Sajja in ‘Hanu-Man’. (X)

On the surface Hanu- Man is a typical good versus evil plot but what made the movie work was the perfect amalgamation of devotional, superhero and pop culture elements. The character graph of Teja Sajja’s Hanumanthu was another big plus for the movie.

He goes from being a carefree guy to eventually realising his powers and most importantly using them for the greater good, this was wonderfully written and enacted.

Apart from Teja Sajja Varalakshmi Sarathkumar as the strong elder sister also had a pivotal role, the brother and sister bond gave the movie an emotional gravitas.

Varalakshmi Sarathkumar also got her own delightful mass moment. The film’s budget is nowhere close to the likes of Adipurush but the special effects were far superior.

Saripodhaa Sanivaaram

Nani in Saripodhaa Sanivaaram
Nani in ‘Saripodhaa Sanivaaram’. (X)

Vivek Athreya’s Saripodhaa Sanivaaram was a quirky tale of two hot-headed men, presented in a commercial format. In many ways, the movie was a modern update of Salim-Javed’s Angry Young Man. What made the film engaging was the strong characterization of both the hero and the villain.

Vivek Athreya also added interesting quirks to the characters of both Nani and SJ Suryah. SJ Suryah’s character, for instance, had shades of sarcastic humour, where he could switch from being serious to jovial in the blink of an eye.

Nani’s character, on the other hand, is someone who suppresses his anger until Saturday, only unleashing it when he feels it is truly justified. These nuances added depth to the characters, and both Nani and SJ Suryah delivered impactful performances.

The dynamics between Nani and his father, played by Sai Kumar, were also a delight to watch. Their scenes were filled with numerous laugh-out-loud moments, while also showcasing warmth.

Ambajipeta Marriage Band

Suhas and Shivani Nagaram play the lead roles in Ambajipeta Marriage Band
Suhas and Shivani Nagaram play the lead roles in ‘Ambajipeta Marriage Band’. (X)

Suhas and Shivani Nagaram play the lead roles in ‘Ambajipeta Marriage Band’. (X)

Dushyant Kathikeni’s Ambajipeta Marriage Band carries a strong influence from Pa Ranjith and Vetrimaaran’s rustic Tamil dramas; nevertheless, the movie remains an engaging watch.

The story of Ambajipeta Marriage Band primarily revolves around the lives of a brother and sister. Suhas plays a barber, while Sharanya Pradeep portrays a government school teacher. The first half shows Suhas in his usual role as an underdog, while in the second half, his aggressive avatar takes the viewers by surprise.

Suhas was particularly impressive in these later portions. Sharanya Pradeep also made a significant impact with her fierce performance in the film.

Tillu Square

Siddhu Jonnalagadda delivered a blockbuster with Tillu Square
Siddhu Jonnalagadda delivered a blockbuster with ‘Tillu Square’. (X)

Siddhu Jonnalagadda’s follow-up to the 2022 popular film DJ Tillu was an entertaining comic thriller. The movie pretty much follows the same template as its predecessor.

A young man getting caught in a fresh tangle leading to various twists and turns, Anupama Parameshwaran played a morally dubious woman called Lily. The character of Lilly starts off as an innocent young woman but as the movie progresses the viewers get to see a different shade of her.

A major strength of Tillu Square was its fun-filled dialogues majorly enhanced by Siddhu Jonnalagadda’s wonderful comic timing. The actor’s energetic persona coupled with his specific style of speaking thoroughly entertained the viewers.

Anupama Parameshwaran was not only sensuous successfully breaking away from her girl-next-door image, but she also did a fine job in portraying Lilly’s grey shades.

Bhamakalapam 2 (AHA)

A still from the film Bhamakalapam 2
A still from the film ‘Bhamakalapam 2’. (X)

Bhamakalapam 2 directed by Abhimanyu Tadimeti was a delicious sequel with an in-form Priyamani. The fresh adventures of Priyamani’s Anupama kept the viewers thoroughly entertained.

The jugulbandi between Priyamani and Sharanya Pradeep playing Anupama’s business partner was a major highlight of the sequel too.

The scenes between them often left the viewers in splits. A particular mention must be made of the portions where the cooking competition and heist take place simultaneously. These scenes have both tension and situational humour in equal measure.

In spite of some lags in the pre-climax, director Abhimanyu Tadimeti did a fine job in setting up a good base for the 3rd part.

(Edited by Sumavarsha)

Kalki 2898 AD: A gutsy attempt at mixing dystopian world with Mahabharata

Nag Ashwin proves his capability as a versatile director, the movie works best when it focuses on Prabhas and Amitabh Bachchan

  • Starcast: Prabhas, Amitabh Bachchan, Kamal Haasan, Deepika Padukone, Saswata Chatterjee, Pashupathy, Anna Ben and others
  • Special appearances: Mrunal Thakur, Dulquer Salman, S.S Rajamouli, Vijay Devarakonda, Ramgopal Varma etc.
  • Story, direction, screenplay and dialogues: Nag Ashwin
  • Additional screenplay: Rutham Samar
  • Additional dialogues: Sai Madhav Burra and B.S Saewagna Kumar
  • Producer: C. Ashwini Dutt
  • Production Company: Vijayanthi movies
  • Cinematography: Djordge Stojilijkovic
  • Music: Santhosh Narayan
  • Genre: Science fiction
  • Running time: 3 hours and 1 minute

The track record of Indian cinema with science fiction/futuristic worlds is pretty abysmal. A major reason for it is the necessity of masala elements where the hero has to do romance, comedy and action while saving the world. Rakesh Roshan’s Krrish movies though not seamless did a good job in mixing Hollywood tropes with Indian Masala. Ayan Mukherjee’s Bramhastra was high on visuals, but a weakly written love story coupled with erratic characterizations made the movie just about an average watch. Last year Vikas Bahl made an attempt at directing a movie set in a futuristic world where the society is divided into two and poverty is at an extremely high level. Ganapath ended up being more about Tiger Shroff’s somersaults and was roundly rejected by the audiences.

Now you have Nag Ashwin’s Kalki 2898 AD also set in a futuristic world. The two-film old director has already created a niche for himself with Yevade Subramanyam and the biopic Mahanati on the legendary actress Savitri. Mahanati in particular is a challenging movie given that it is based on a very beloved actress who is admired by many, but he did complete justice to her life. With Kalki 2898 AD the director has pushed himself even more and let his imagination fly high. For example, he makes you believe that there would be a future where women would have zero autonomy over their bodies and the need for capitalistic gains will wipe out cities. In spite of obvious similarities to Dune and the Mad Max films Nag Ashwin delivers an impressive concoction of sci fi elements with mythology. But the women characters are a major weak spot, and the random love story of Prabhas with Disha Patani is a major speed breaker.

Kalki 2898 AD moves along multiple timelines starting from the Kurukshetra war. Amitabh Bachchan is Ashwatthama who is cursed with immortality by lord Krishna. On the other hand, there is the dystopian landscape of Kashi, the world’s last city. However, it is in complete shambles. The mighty Ganges is in a parched state and food is naturally scarce. There is a towering structure called Complex governed by Yaskin played by Kamal Haasan. He rules the place with an iron fist. Inside the Complex there are many fertile women who have been put on an experiment. Deepika Padukone’s SUM-80 alias Sumathi is an employee who is supposed to make sure that these fertile women get sufficient food and medicine. But there is a twist here; Sumathi who has been considered infertile for ages is now five months pregnant. Then you have Shambala a place for refugees from different faiths and cultures. They are putting their lives at stake for a better future.

Bhairava (Prabhas) wants to escape from the dreariness of Kashi and get into the Complex. He has AL car Bujji (with a fun voiceover by Keerty Suresh). There is a constant banter between them which gradually develops into a strong bond. Bhairava is a selfish man who is unaware of his destiny. As the story progresses Bhairava’s life gets intermingled with Ashwatthama, Sumathi and the people of Shambala.

For a movie like this a seamless blend of special effects and cinematography is very necessary and Kalki 2898 AD scores full marks in this department. The high-octane action sequences between Amitabh Bachchan and Prabhas in particular is a major highlight. Thankfully Nag Ashwin doesn’t show Bhairava as invincible, on more than one occasion we see him getting hurt. These scenes are also sprinkled with humour that bring a smile. Nitin Zihani Choudary’s production design also deserves a particular mention in how he creates an imaginary landscape that immerses the audiences.

Director Nag Ashwin also deserves distinction marks for how he integrates the Kurukshetra episode in the film. The emotional turmoil of Ashwatthama and his quest for repentance strikes a chord. Amitabh Bachchan delivers a stellar act overshadowing Prabhas on occasions.

Prabhas as Bhairava has a role that comes with different shades. There is humor, and he also comes across as not so likeable. Prabhas does complete justice to both. His interactions with Keerty Suresh’s Bujji add a lot to the movie.

Kamal Haasan as the evil Yaskin has a brief role but he sends down a chill with his intimidating act.

Santhosh Narayanan’s music lacks good songs but he more than compensates it with a powerful background score.

Kalki 2898 AD has many cameos from actors and directors. Out of these Ramgopal Varma and S.S Rajamouli are fun to watch. There is a Baahubali reference where Prabhas jokingly says about how he gave 5 years to that project, it definitely raises a chuckle. Among others Mrunal Thakur is impressive in her brief role.

A big flaw of Kalki 2898 AD are the two female leads. Disha Patani is only used for glamour and one completely out of place song. Deepika Padukone on the other hand plays a pregnant woman mirroring her real life. She is mostly required to look petrified, and the expressions irritate after a point.

The movie’s runtime could have been crisper with lesser cameos. For example, Dulquer Salman and Avasarala Srinivas don’t add anything significant with their presence.

A caution: Too many good directors going into the dystopian landscape is something that the industry should be careful about.