Vishwak Sen – Rigobertha Reviews

February 14, 2026February 14, 2026

Funky: A low voltage Jati Ratnalu with sporadic moments of humor

Some of the industry related jokes do land like filmmakers’ obsession with splitting movies into two parts. There is also a good emotional scene featuring Vishwak Sen and the on-screen mother Eashwari Rao. But for most part Funky feels like an assemblage of skits rather than a free-flowing screenplay. Also, it lacks the energy of Anudeep’s first movie

Starcast: Vishwak Sen, Kayadu Lohar, V K Naresh, Easwari Rao, Sampath Raj and others

Genre: Comedy

Director and writer: Anudeep KV

Cinematography: Suresh Saragam

Music: Bheems Ceciroleo

Producer: Naga Vamsi

Production banners: Sithara Entertainments and Fortune banners

Running time: 2 hours plus

Anudeep KV’s first movie Jati Ratnalu had a nonsensical plot. But the film was a whacky and enjoyable ride majorly riding on Naveen Pollishetty’s entertaining act as well as the well written quirky scenarios. Since then, Anudeep has been trying to replicate that format but has been thoroughly unsuccessful. His latest Funky is a perfect example of this. The focus is too much on industry related workings and the humor generated out of that rather than genuine wit.

In one way the plot of Funky can be described as a fictional take on the Hatrick director Nag Ashwin and Ashwini Dutt’s daughter Priyanka. Vishwak Sen is Komal the director of the movie titled Funky. The constant budget increase has a toll on the producer played by V K Naresh. Kayudu Lohar playing Naresh’s daughter takes over the production. How Komal manages to complete the movie overcoming different hurdles along with a blossoming love story forms the main core of Funky.

As already mentioned Funky has sporadic moments of humor. The portions featuring V K Naresh as the stressed producer does raise some chuckles. This is mainly because of Naresh’s comic timing though the part is underwritten. The scenes are relatable for numerous production heads.

Similarly, a scene featuring filmmaker Harish Shankar giving advice to an upcoming director is fun too. This portion takes a clever dig at directors splitting their movies into two parts. The sequences involving Sampath Raj as a goon/financer also raises some chuckles. The conviction brought by Sampath Raj is a big reason for this.

The love story between Vishwak and Kayudu Lohar has its moments too. To give credit the two actors share a good chemistry. Kayudu Lohar as the producer’s daughter delivers a feisty performance, she perfectly captures the tough nature of Chitra as well as a slightly soft side. Vishwak as the bumbling director tons down his usual mannerisms and comes up with a fun act.

However more than a bumbling director Vishwak does a better job in the portions of Komal dealing with two faced relatives. A key sequence where Vishwak talks about being wired differently while having an emotional side is a solid example of good writing coupled with acting.

A major problem with Funky is the overreliance on humor. The industry related jokes soon get tiring in the absence of a coherent screenplay. Funky also suffers from a major hangover of Jati Ratnalu’s brand of comedy. What felt fresh there feels highly repetitive here.

A subplot involving Anudeep, Kalyan Shankar etc is in bad taste. Their comments on Kayudu Lohar’s Chitra and suddenly becoming responsible people has no head or tail. Similarly the role of Jai Krishna who was so good in Little Hearts is a major bummer here.

Bheems Ceciroloe’s music also makes matters worse. The songs only add to the running time instead of enhancing the plot in any way. Suresh Sangaram’s cinematography though gives the movie a vibrant look.

Final word: Funky works best for those looking for time pass stuff

May 1, 2025May 1, 2025

Hit 3: Nani’s mass jathara

Nani as the psycho cop from Hit The Third Case

The rooted texture of the first two Hit movies is absent here. The third part comes across as more of an ultra mass showreel for Nani, nevertheless the actor’s intense performance coupled with his swag as well as Sanu Varghese’s cinematography makes it a delightful watch for fans of violent investigative dramas, for the rest it might feel like an ovedose

Starcast: Nani, Srinidhi Shetty, Samuthrikani, Rao Ramesh and others

Genre: Action

Director and writer: Sailesh Kolanu

Producer: Prashanti Tripirneni

Production Companies: Wall Poster Cinema and Unanimous Productions

Music: Mickey J Meyer

Cinematography: Sanu Varghese

Running time: 2 hours and 30 minutes

Sailesh Kolanu’s directorial debut Hit 1 also called as Hit- The First Case released with minimal expectations but surprised everyone with its taut storytelling. It was a major success for its leading man Vishwak Sen who hasn’t been to capitalize on the strong foundation given by the movie. In spite of the logical loopholes and a weak climax it came across as a fresh of breadth air from the formulaic storytelling. The second part of Hit with Adavi Sesh was an ever bigger success, now you have the third part with Nani. Over the last few years Nani’s stardom has increased significantly thanks to his versatile roles and overall persona. Among the mid budget heroes Nani has made rapid strides establishing himself as a star actor. An outsider who has risen to the top with sheer handwork.

Vishwak Sen, Adavi Sesh and Nani from the first three Hit movies and now Karthi in the upcoming Hit 4

The one line story for all the Hit movies would be police officers belonging to the Homicide intervention team dealing with twisted criminals. The third installment of this growing franchise is no different. Nani plays Arjun Sarkar a psycho cop with his own methods, he treats criminals in an extremely brutal manner often indulging in custodial violence. According to him a criminal who cannot reformed should be buried under the ground. The movie focuses on a series of murders following a similar pattern and how Arjun Sarkar infiltrates a particular psychotic gang.

It goes without saying that Nani’s histrionics is the biggest asset of Hit 3. The actor completely imbibes the intensity of Arjun Sarkar starting from the aggressive and ruthless body language. Arjun Sarkar is someone who comes with a streak of short temperedness making him very volatile and Nani absolutely nails the different nuances. At the same time he also raises ample chuckles even in serious situations. Nani’s use of Hindi language in a scene involving a Kashmiri criminal deserves a specific mention. In the action sequences the actor truly comes across as a one man army with the ferocious attitude.

Nani as the violent cop

However there is also a different side to Arjun Sarkar in the portions with the leading lady Srindhi Shetty. There is a visible softness in the scenes of understated romance and Nani completely turns the charm on.

Apart from Nani’s first rate act Sanu Varghese cinematography is also of a very high order whether it is the Kashmir portions or the second half when the movie moves into a survival drama. The way he has captured the high voltage action sequences of the second half is a delight for action junkies. The location of a dense forest set in Arunachal Pradesh becomes an important character in itself too. Mickey J Myer’s songs are all right but his background music is more impactful in the intense moments.

Srindhi Shetty starts off as a typical love interest but the way Sailesh integrates her track into the main one with a certain twist makes their portions more than just your standard love story. Srindhi Shetty gives a good account of herself. Samuthrikani as Nani’s father gives the movie some much needed light moments. The sequences of banter between Nani and Samuthrikani is fun to watch. Adavi Sesh in an extended special appearance makes his entry at a critical juncture, he reprises his role of KD from the second part. The actor is usual charismatic self.

Nani and Srinidhi Shetty

Talking about the portions of custodial violence on some occasions Arjun Sarkar is questioned about his brutal methods by his boss specifically in the Kashmir segment. A major unrest happens in Kashmir due to Arjun Sarkar’s handling, this eventually leads to him being transferred as well. Sailesh Kolanu doesn’t dig deep into the criticism that Arjun Sarkar faces and on numerous occasions the movie seems to be celebrating the violent attitude of Arjun. However the purpose for which Arjun is fighting makes a huge difference unlike SJ Suryah in Saripodhaa Sanivaaram an unhinged cop who takes out his frustrations on a group of innocent people.

A major problem with Hit 3 is the lack of a strong villain. Pratik Babbar as the leader of a twisted online gang is suitably psychotic but fails to make a major impact due to the weak characterization. Sailesh attempts to make a social comment on the consumption of violence with the scenarios resembling the Korean web show Squid Games but this track needed more texture.

February 16, 2025April 16, 2025

Laila: Vishwak Sen’s latest is a sour experience

‘Laila’ briefly comes alive in the second half when Vishwak Sen dons the lady get up but the weak writing plays a major spoilsport. The major problem is its over-reliance on crass humour and less on emotions.

Laila (Telugu), 14-02-2025, Drama, 2 hours 16 minutes U/A, Theatre

Main Cast: Vishwak Sen, Akanksha Sharma, Abhimanyu Singh, and Babloo Prithiveeraj
Director: Ram Narayan
Producer: Sahu Garapati
Music Director: Leon James
Cinematography: Richard Prasad
Rating: 2/5

Over the years numerous leading men have successfully transformed into female avatars. Whether it is the legendary Kamal Haasan in the rollicking entertainer Avvai Shanmugi (1996) (in Telugu Bhamane Satyabhamane).

In the Telugu film industry too, both Rajendra Prasad and VK Naresh experienced huge success with Madam (1994) and Chitram Bhalare Vichitram (1992). These movies have outlandish scenarios but they are backed by cohesive writing and a strong emotional core.

Talking about Hindi actors Ayushmann Khurrana tasted major success with his female get-up in the Dream Girl 2 (2023). And now, actor Vishwak Sen has tried something similar, how did he fare?

Synopsis

Laila directed by Ram Narayan had the potential of being a good Valentine’s treat but the treatment makes it a tedious watch for most of its running time.

Vishwak Sen is a capable young actor, but his selection of scripts has been getting worse and Laila is a perfect example.

The storyline of Laila focuses on Sonu Model (Vishwak Sen). Sonu runs a beauty parlour in the area of the old city. Sonu is extremely popular among the ladies for both his makeup skills and also his helpful nature.

Sonu’s helpful nature is reflected when he allows a customer to use his name for an oil brand. However, this decision leads to a dramatic shift in his life. Due to certain circumstances, Sonu is forced to transform into Laila. The rest of the story revolves around why Sonu undergoes this transformation and the events that follow.

What works and what doesn’t

Laila has very few redeeming qualities and one of them is Vishwak Sen’s avatar as a female. He brings in a certain charm while seducing the men around him particularly Abhimanyu Singh— the comic villain.

Vishwak Sen in Laila — Vishwak Sen in ‘Laila’. (X)

The way he portrays femininity, starting from the body language showcases Vishwak’s capability in attempting different roles. The scenes between him and Abhimanyu are an absolute riot even though it borders on farce.

As Sonu Model, Vishwak Sen does a fair job, particularly in the scenes where Sonu talks about his emotional attachment towards the parlour. Abhimanyu Singh as a married man lusting after Laila gives the movie some much-needed energy.

The way he adores Laila brings a smile to the viewers’ faces, the viewers feel that he is genuinely in love with Laila.

The major problem with Laila is too much emphasis on crass humour. Most of the dialogues are way below the belt producing more groans than laughs. Sonu’s connection with the parlour and him being a makeup artist is a very novel concept but this angle isn’t sufficiently developed.

The love track between Vishwak Sen and Akansha Sharma has also been haphazardly written. Portions involving Akansha’s interactions with Sonu majorly pull down the movie.

The songs composed by Leon James are another downer. None of them come close to standing out. The movie also has some unnecessary references to megastar Chiranjeevi’s films.