Krack Film Review: Movie Ravi Teja-Gopichand Malineni Never Gives Enough Reason To Stage in Tales

Ravi Teja loves playing a cop on screen as if that’s all one would expect. In fact, despite his film fortunes, he seems to enjoy these roles. In the Gockhand Malineni gap, he is a cop with a negative reputation, especially when he hears the word “background”. And this madness surrounds the film as a necessary evil. Let’s face it. If you name your movie Krak, you have to justify it.

But why write with “K” instead of “C”? Maybe he has a nice ring.

This lack of intelligence is quite common in movies. A lot speaks for it, especially in terms of Ravi’s performance, action sequences, graphics, and background music. But at the same time, there is never enough reason to immerse yourself in storytelling completely.

To justify why Ravi took advantage of the role of another police officer, writer and director Gopichand tried to make the character of Veera Shankar (Ravi) something extraordinary. This can be seen from the way the character itself is presented. For the record, this film has not one but three character introductions! Why? Because this is a story that revolves around a 50 rupee note, mango and metal nails.

Veera Shankar is a common factor. One is about how brilliant Shankar is, another is about his true abilities, and the last is about what can happen if you forget the lessons from the previous two stories. Do you see it now? The leg is like a 3-in-1 movie that offers many “masala” moments. Those are tiring because there are too many things to do. You never know what will happen next. You are confident of keeping going more than anticipated because Shankar will go crazy when he “Kracks”. It happens often, and production continues.

Thanks to Gopichand, he has an exciting story to tell in this film.

And he saves his best for the confrontation between Shankar and Katari Krishna (Samutirakani). The latter is the infamous scandal in Ongol, and together with Jama (Varalaksmi Saratkumar), he keeps the entire system under his control. We even saw a group of savages who liked to drink donkey blood and hunt people to death, like the Qatari Krishna cohort. Samutirakani and Varalaksmi did their part quite well.

This section on Krack is characterized by well-ordered cascade sequences, camera work by GK Wisnu and captivating background music by Thaman. The Ravi is in great shape and fits easily into the hero’s shoe. And he carried the entire film on his shoulders until the end. Shruti Haasan, who plays Ravi’s wife, is her sensible voice, and she comes with a big surprise in the second half of the story. But then the film doesn’t introduce the duo subsystem at its core. No wonder everyone

There are many other problems with this film, both in storytelling and how much is shown in each scene. Feet are rough and sometimes unnecessary. The most brutal series in the entire film isn’t even a series where a group of savages slit their throats and chase after people like a pack of wolves. This is one of the third-degree torture methods in the police station.

The film praises the forms of violence perpetrated by police officers:

Especially when Shankar threatens other scammers that he won’t think twice about cutting off body parts when he gets moody. Violence is often celebrated in action dramas like this because we are told that the police must save the world in the end, and there is no need to soften with anyone. But in the context of the Krack, they might have crossed the line. Maybe Gopichand and his team will determine if all this is necessary to justify Shankar’s character and mission in life.

Krack’s most enormous rift, however, shows in its quest to build a compelling narrative. Each sequence is full of details, some of which look cool without adding anything to the story that sometimes makes you lose your temper. It seems like a lot going on, but don’t add to it.

There is not enough emotion to support the big moments in the story. And when you want to give up, the background music for Parks or other action series catches our eye. A long gap separates the story Gopichand wants to tell and the focus on each segment. For a story that has so much potential. You want it to be a little better than it is, even if the film is fit enough to last.