Akhanda Review - Story

Murali Krishna (Balakrishna) and Akhanda (also Balakrishna) are twins who are separated at birth. They take completely contrasting paths. But destiny plays its part and they are bought together to avert a major crisis to their family and as well as those around them. Can they do so?

Akhanda Review - Analysis

The last two times Boyapati Sreenu and Nandamuri Balakrishna joined hands, they rolled out Simha and Legend, both of them emerging as box office blockbusters. Now, the expectations are pretty high on Akhanda.

The fact that Balakrishna played two roles in the film, with one of them being an Aghora added to the hype. Balakrishna is at ease in both these roles. The surprise package is the way he portrays the Aghora character. He exudes aggression and masculinity in this complex role. Possibly, no other mainstream Telugu actor could have played this role with so much conviction. High-octane action thrillers are like bread and butter for Boyapati Sreenu and he loads Akhanda with as many action blocks as he possibly can. His grip over commercial aspects is still intact. That said, he overplays the action card a tad too much. There is excessive bloodshed and heavy-duty action in the film. Akhanda, right from the outset, is a film clearly intended to enthrall the masses. The storyline is single-layered and there is very little scope for logical narrative. All the film boasts of is pure unfiltered mass and it is powered by a stellar Balakrishna who exudes swag and aggression all the way through. The introduction fight and the interval block are the real standouts. The climax is overdone and it turns out melodramatic. Thaman is the star of the show with his explosive background score. His soundtrack is loud but that is what is needed for a full-blooded actioner like Akhanda. The cinematography is top-notch and so are the production values.

Akhanda Review - Verdict

Akhanda is strictly for the master and it offers very little other than that. The story is outdated and logic is out of the equation. All we are served is a commercial potboiler that banks on Balakrishna’s outstanding performance. You either love the film or you absolutely hate it. There is no in between.