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The Telugu language Indian action epic “RRR” (short for “Rise Roar Revolt”) has returned to US theaters for an exceptional one-night-only engagement on June 1st following its initial theatrical release. Some hindsight has made it easy to guess why writer/director S.S. Rajamouli has only now broken through to Western audiences with “RRR” despite his consistent box office success. Rajamouli’s latest is an anti-colonial fable and buddy drama about the imaginary combo of two real-life freedom fighters, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju ( Ram Charan ). “RRR” is also a fine showcase for Rajamouli’s characteristic focus on maximalist action choreography, overwhelming stuntwork and pyrotechnics, and sophisticated computer graphics.  

By the time he made “RRR,” Rajamouli had already developed his brand of Nationalistic self-mythologizing with some help from recurring collaborators like regular story writer (and biological father) Vijayendra Prasad and both co-leads, who previously starred in Rajamouli’s “Yamadonga” and “Magadheera,” respectively.

Set in and around Delhi in 1920, “RRR” pointedly lacks historical context so that Rajamouli and his team can transform a straight-forward rescue mission into a rallying cry for reunification and also cathartic violence. Bheem, the avenging “shepherd” of the Adivasian Gond tribe, visits Delhi to track down Malli ( Twinkle Sharma ), an innocent pre-teen who’s kidnapped from her Gondian mother by the cartoonishly evil British Governor Scott ( Ray Stevenson ) and his sadistic wife Cathy ( Alison Doody ).

Raju, a peerless Colonial police officer, befriends Bheem without realizing that they’re at cross purposes: Bheem wants to break into Scott’s fortress-like quarters to rescue Maali while Raju wants to catch the unknown “tribal” that Scott’s lackey Edward ( Edward Sonnenblick ) fears might be lurking about. Raju and Bheem immediately bond after they save an unrelated child from being crushed by a runaway train, as clear a sign as any of Rajamouli’s love for Cecil B. DeMille-style melodrama. (“Ben Hur” is an acknowledged influence for Rajamouli, as are the action/period dramas of fellow DeMille-ian Mel Gibson ).

It’s also fitting that “RRR” is Rajamouli’s big breakthrough since it's inevitably about Bheem as an inspiring symbol of quasi-traditional, boundary-trampling patriotism. Rajamouli has gotten quite good at incorporating potentially alienating elements, like his cheap-seats love of grisly violence and brash sloganeering, into his propulsive, inventive, and visually assured fight scenes and dance numbers.

Rajamouli has also already perfected the way he works with and uses his actors as part of his shock-and-awe style of melodrama. Rama Rao is ideally cast as the naively sweet-natured Bheem, whose messianic qualities are also effectively high-lit in a handful of rousing set pieces, like when a bare-chested Bheem wrestles a tiger into submission. Rama Rao’s performance isn’t the main thing, but it is the emblematic inspiration that, along with a “Passion of the Christ”-worthy scourging, understandably leads an assembly of Indian nationals to attack Scott and his bloodthirsty hambone wife in a later scene.

Likewise, Charan’s steely-eyed performance in “RRR” is limited, but strong enough to be credibly superhuman. Rajamouli knows exactly how to capture his best sides, as in an astounding opening action scene where Raju descends into a rioting mob just to subdue and apprehend one particular dissident. Rao and Charan’s bro-mantic chemistry and syncopated physicality have already made a viral success of the movie’s splashy “Naatu Naatu” musical number, but that scene’s infectiously joyful presentation is supra-human by design.

The spirit of the individual matters more than any single person in Rajamouli’s movies and “RRR” is a perfect expression of that notion. It’s also a decent reflection of Rajamouli’s fame, which Film Companion South ’s Sagar Tetali keenly suggests is “the triumph of directorial ambition over the actor-star—the triumph of a brand of storytelling over the South Indian star image.”

With “RRR,” Rajamouli repeats his preference for one nation under populist ubermenschen. Both Bheem and Raju are extraordinary men because they are, at heart, aspirational expressions of the people’s will. Their lives, their loved ones, and their relationships are all of secondary importance—check out Bollywood star Ajay Devgn ’s explosive cameo!—so it makes sense that the cast’s images and performances are also blown up to James Cameron-sized proportions.

Like Cameron, Rajamouli has earned a reputation for pushing the limits of industrialized pop cinema. In that sense, “RRR” feels simultaneously personal and gargantuan in scope. Film Comment ’s R. Emmet Sweeney is right to caution viewers regarding the towering streak of “Hindu-centric” Nationalism and characterizations at the heart of Rajamouli’s “Pan-Indian address.” Sweeney is also right to hail Rajamouli’s dazzling “technical innovation.” It’s not every day that a new Indian movie—which are typically not advertised to Western viewers beyond indigenous language speakers, and therefore largely ignored by Western outlets—is presented as an event to American theatergoers. Attend or miss out.

Available in theaters tonight, June 1st, and also streaming on Netflix.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Film credits.

187 minutes

N.T. Rama Rao Jr. as Komaram Bheem

Ram Charan as Alluri Sitarama Raju

Alia Bhatt as Sita

Ajay Devgn as Venkata Rama Raju

Ray Stevenson as Scott Buxton

Alison Doody as Cassandra Buxton

Olivia Morris as Jennifer 'Jenny' Buxton

Samuthirakani as Venkateshwarulu

Shriya Saran as Sarojini

Chatrapathi Sekhar as Jangu

Makrand Deshpande as Peddanna

• S. S. Rajamouli

Writer (story)

• Vijayendra Prasad
• S.S. Rajamouli

Cinematographer

• K.K. Senthil Kumar
• Sreekar Prasad
• M.M. Keeravaani

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Common sense media reviewers.

Epic blockbuster studies colonialism, has brutal violence.

A Lot or a Little?

What you will—and won't—find in this movie.

The movie does promote the idea that you match vio

Komaram Bheem and Alluri Sitarama Raju are incredi

The film is set in India and the majority of the c

The uprising at the core of the film is very viole

Language used includes "bastard" and "wanker." Der

Characters are seen smoking cigars. At a party, ch

Parents need to know that RRR is a hugely entertaining Indian blockbuster with violent scenes throughout and some racist language. The central theme is that of an uprising, standing up and showing courage in the face of tyrannical rule. Set in 1920s colonial India, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri…

Positive Messages

The movie does promote the idea that you match violence with violence. But it also shows the strength in community and teamwork.

Positive Role Models

Komaram Bheem and Alluri Sitarama Raju are incredibly courageous in the face of prejudice and evil. They both realize that teamwork and putting aside their differences will help their cause.

Diverse Representations

The film is set in India and the majority of the cast are native to the country, including the heroes of the piece. The film is very much male-led however, with few female roles of any real note.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

The uprising at the core of the film is very violent. There are brawls and bystanders are hit over the head with rocks and bats. Several brutal deaths. The cracking of bones and bloody faces. Women and children get caught up in the crossfire, being shot and even abducted. There are many explosions and a multitude of weaponry including crossbows, arrows, and cannons. Characters are tortured for information, and are whipped in front of the public as punishment. There are fights between wild animals and humans, the former shot at, the latter mauled. The colonialists beat up helpless Indians, and refuse to use bullets as they are too expensive, killing innocent people using brute force, such as being hit over the head with a branch.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Language used includes "bastard" and "wanker." Derogatory language used toward the Indians include them being called "brown buggers," "filth," "rats," and "monkeys."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Characters are seen smoking cigars. At a party, characters are seen drinking alcohol.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that RRR is a hugely entertaining Indian blockbuster with violent scenes throughout and some racist language. The central theme is that of an uprising, standing up and showing courage in the face of tyrannical rule. Set in 1920s colonial India, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju (Ram Charan Teja) begin as enemies but realize that in order to defeat the British they must join forces. The uprising itself is incredibly violent, but cinematic in its execution. There are fights between humans and wild tigers, with animals being killed and humans mauled. There are also countless deaths -- including innocent women and children -- some of which are brutal and graphic. Characters are also tortured and whipped. There is some use of "bastard" and "wanker," as well as racist language. Characters are referred to as animals and "brown buggers." This Indian production has a diverse cast -- both Telugu and English are spoken -- though it's fair to say the majority of characters, and the heroes of the piece, are men. It has a runtime of over three hours. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (4)
• Kids say (8)

Based on 4 parent reviews

BLOODY AMAZING

What's the story.

RRR is a fictitious story about real events, focusing in on the colonialism of India at the hands of the British. Set in the 1920s, when a young girl is abducted, and her mother callously murdered, family member Komaram Bheem (N.T. Rama Rao Jr.) seeks vengeance against the perpetrators, though he is coming up against a brutal, tyrannical regime. What doesn't help, is that fellow countryman Alluri Sitarama Raju (Ram Charan Teja) is working for the enemy, and he himself proves an indestructible force.

Is It Any Good?

This Indian action-drama offers viewers about as much fun as you can have with a movie. RRR is pure cinema, at times completely over-the-top and ridiculous, but remaining grounded by its historical context. The credit must go to director S.S. Rajamouli for this ambitious undertaking. He truly is a master of his craft, with some spellbinding sequences -- scenes that you may say out loud in the planning stage, but to actually bring them to life is another matter. He may not have the budget of a major Hollywood production, but it matters little such is the strength in storytelling, and his ability to create such epic set-pieces. RRR combines fantasy with realism in a striking way, and while the film tells an important tale, above anything else, it's just purely, and utterly entertaining.

Talk to Your Kids About ...

Families can talk about the violence in RRR . How did it make you feel? Did it add to the story? Do some types of media violence have different impact than others?

The movie is set in the 1920s during colonial India. What do you know about this period? Why is it important to look back on the past? What can we learn from it?

Discuss some of the racist language used. What purpose did it serve the story? How did it make you feel hearing these things in the film?

The movie has very little female representation . Did you find this problematic? Why, or why not?

The film is a fictitious account of real events. What other movies have you seen that has taken this approach?

Movie Details

• In theaters : March 25, 2022
• On DVD or streaming : May 20, 2022
• Cast : N.T. Rama Rao Jr. , Ram Charan Teja , Alia Bhatt
• Director : S.S. Rajamouli
• Inclusion Information : Female actors, Indian/South Asian actors
• Studio : Variance Films
• Genre : Action/Adventure
• Topics : Friendship , History , Wild Animals
• Character Strengths : Courage , Perseverance , Teamwork
• Run time : 187 minutes
• MPAA rating : NR
• Award : Golden Globe
• Last updated : April 7, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Critic’s Pick

‘RRR’ Review: A Hero (or Two) Shall Rise

Scenes of glorious excess make the screen hum with energy in S.S. Rajamouli’s action epic set in British colonial India.

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By Nicolas Rapold

It’s not long in “RRR” before a tiger and a wolf collide midair during a brawl with one of the film’s two musclebound heroes. Scenes of glorious excess make the screen hum with energy in the latest feature from S.S. Rajamouli, the director of the “Baahubali” blockbusters.

Set in 1920s India before independence, “RRR” pairs two of the country’s biggest stars, N.T. Rama Rao Jr. (known as “Jr. NTR”) and Ram Charan, as superfriends from either side of a bloody colonial divide. A goofily gallant Jr. NTR plays Bheem, a warrior from the Gond tribe, while Charan smolders as Ram, a fearsome police officer who is underestimated by his white superiors. (The characters are inspired by two rebel heroes from the era, Komaram Bheem and Alluri Sitarama Raju.)

Bheem journeys to Delhi to rescue a Gond girl enslaved by the British governor and his wife, a couple of sadists. Ram has orders to identify and capture Bheem by going undercover with revolutionaries. Instead, the men unwittingly make fast friends when they save a child stranded on a river that’s on fire. (As one does.)

But their missions get inevitably entangled, and Rajamouli (who collaborated on the story with his screenwriter father, Vijayendra Prasad), stirs in an aw-shucks courtship between Bheem and the governor’s not-racist niece (Olivia Morris).

Rajamouli shoots the film’s action with hallucinogenic fervor, supercharging scenes with a shimmering brand of extended slow-motion and C.G.I. that feels less “generated” than unleashed. Here-to-there plot filler in “RRR” is instantly forgiven with each wild set-piece: Ram furiously tunneling through a hundred-strong mob outside his garrison, or the rumbling dance-off (the “Naatu Naatu” musical number) where Bheem and Ram giddily exhaust the British cads and delight the ladies.

The rousing anticolonialist battle royal concludes with one final fist-pump: an end-credit song celebrating political figures from across India.

RRR Rated PG-13 for violent sequences, some intense language and general mayhem. With subtitles. Running time: 3 hours 7 minutes. In theaters.

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If you haven't been back to the movies yet, Indian epic 'RRR' is the reason to go

John Powers

Ram Charan stars in RRR, an action-packed bromance set in India in the 1920s. Raftar Creations hide caption

Ram Charan stars in RRR, an action-packed bromance set in India in the 1920s.

If you're over the age of, say, 40, you will surely remember the 1975 cult phenomenon The Rocky Horror Picture Show . Weekend after weekend, year after year, decade after decade, audiences turned up at theaters — often dressed in corsets, fishnets and other costumes — to shriek out lines ahead of the characters and sing along with the songs.

I've never seen anything like it — until now. A few nights ago, I went to a packed screening of RRR , an epic action-picture bromance from India. The screening had 900 people — some of whom had already seen the film 10 times — clapping and dancing from the opening credits.

Made by box-office titan S.S. Rajamouli, RRR induces such unabashed giddiness in its audience that Hollywood is witnessing a push to get it nominated for the Oscars. Forget Best International Feature Film, folks are talking Best Picture, Best Director, Best Actor. And having seen RRR twice myself, I'm part of the bandwagon.

Pop Culture Happy Hour

'rrr' is an interrrnational phenomenon.

Set during the British Raj in the 1920s, the movie tells the story of two heroes with impressive physiques and super-charged abilities. The tightly wound Ram — played by Ram Charan — works for the British as a crack military officer who we see quash a mass Indian uprising single-handed. His tiger-hunting counterpart, Bheem, played by N.T. Rama Rao, Jr., is a tribal villager who has come in disguise to Delhi to reclaim a young girl from his village who has been capriciously snatched by the evil wife of the evil British governor.

Ram and Bheem meet heroically while working in tandem to save a child from a train crashing into a river. Kindred in their bravery, they instantly become fast friends. But they don't know one important thing. While Bheem secretly opposes the governor, Ram is secretly working for him. They're bound for a head-on collision.

RRR — the title stands for Rise Roar Revolt — is populist filmmaking. Its emotions are simple, its anti-colonial politics broad. Rajamouli makes the British rulers of India even worse than they actually were, and they were mighty bad. But his mega-star lead actors play their roles with such ardent conviction that we don't merely believe in Ram and Bheem's friendship, we're moved by it. Rajamouli unfolds the many twists and turns of their story with such confidently rampaging energy that, by comparison, most Hollywood blockbusters feel anemic.

I'm normally bored by action sequences, but from the opening riot to the assault on the governor's mansion to the big prison escape — during which Ram rides atop Bheem's shoulders with guns ablazing — RRR contains more exciting action scenes than all the Marvel movies put together. Indeed, there's a slow-motion shot right before the intermission that is one of the most jaw dropping moments in the history of cinema. Just as Crouching Tiger, Hidden Dragon and The Matrix offered American viewers a new vision of action, so RRR possesses a delirious inventiveness and originality that audiences will love. And I haven't even mentioned the marvelous "Naatu Naatu" song-and-dance sequence that recalls the dance-off between the Jets and the Sharks in West Side Story , but is vastly more alive.

You can currently see RRR on Netflix, and it's a good enough movie that you'll enjoy it. But if you can — and I'd urge local theaters to bring it back — you should see it on a big screen. For two reasons. First, Rajamouli is in love with the sheer bigness that makes movies so much grander than TV. Bursting with fights, rescues, wild animals, surging crowds, sadistic monsters, larger-than-life showdowns and mythic transformations, RRR is not a movie that leaves you asking for more.

Indeed, in these days when the box-office is way down, movie chains are wobbling, and experts wonder whether the movies will even survive, RRR makes the case for returning to theaters. It reminds us that movies are always more thrilling when they're part of a collective experience, when you can share the excitement with the people around you. That excitement is electric when you watch RRR . You may well leave the theater humming the catchy tune, "Naatu Naatu."

If the detailed social realism of the Dardenne brothers represents one kind of cinema, RRR is its polar opposite. S.S. Rajamouli’s three-hour-plus epic is a riot of outrageous spectacle, gravity-defying stunts, colour, song and dance, big emotions and a menagerie of CG animals. It feels like the kind of film that looks great in a clip on Twitter but is disappointing when you sit down and watch the whole thing. But have no fear — RRR (it stands for “Rise! Roar! Revolt!”) is a big, gaudy, sledgehammer-subtle slice of escapist cinema that is fun from first frame to last.

Set in 1920s India, the plot, as it is, pits soldier Alluri Sitarama Raju (Ram Charan) and villager Komaram Bheem (N.T. Rama Rao Jr) against the British Empire, represented by Governor Scott Buxton (Ray Stevenson, terrible) and his even more vindictive wife Catherine (Alison Doody, who wields a particularly nasty whip as a reminder of her Indiana Jones days), after the Brits kidnap Bheem’s kid sister. Raju and Bheem are introduced in fantastic fashion — the former performing an in-camera version of The Matrix Reloaded ’s ‘burly brawl’ to apprehend a wrong’un, the latter outrunning a wolf and then shouting down a tiger — and then come together to save a little boy in a river on fire (don’t ask) using a motorcycle, a horse, a rope and a ridiculous feat of timing that puts Spider-Man bridge-rescues to shame. This is all in the first half hour.

RRR never runs out of steam — the dust-ups of the final jungle battle feel as fresh as the opening scene.

From here, the inventiveness and originality of the action escalates to giddy levels, often completely oblivious to the laws of physics. The quality of the VFX is variable but it doesn’t matter, partly because Rajamouli has got such a great eye for brazen movie heroics and partly because it has so much spirit it is easy to be carried along (to wit, there is a fantastic set-piece as Raju batters Brit stooges while being hoisted aloft on Bheem’s shoulders).

In-between the fighting there are heavy-handed, John Woo-esque thematics (loyalty, brotherhood, identity), low comedy as Bheem tries to woo English rose Jenny (Olivia Morris), and catchy musical numbers — the best of the bunch being a dance-off as Raju and Bheem show the stiff shirts of the Raj how it’s done. The plotting is creaky and the writing ham-fisted (“Take the special forces and nail the bastards”), but it wins the day thanks to Rajamouli’s bravura, the infectious charisma of Charan and Rama Rao Jr, ace filmmaking talent (M.M. Keeravani’s huge score, A. Sreeker Prasad’s propulsive editing) and the imagination of the stunt team. RRR never runs out of steam — the dust-ups of the final jungle battle feel as fresh as the opening scene — meaning that 185 minutes run by in the blink of a digital tiger’s eye.

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RRR Reviews

RRR is one action crescendo after another, never dull but not exhausting either.

Full Review | Sep 19, 2023

SS Rajamouli delivers his most complete, his most Rajamouli film yet...

Full Review | Sep 12, 2023

What a blast of filmmaking, talent, & across the board insanity. Emotional, riveting, hilarious, action packed, & flat out just one of the most entertaining films I’ve seen this year. So over the top I couldn’t stop watching

Full Review | Jul 25, 2023

There are complications and coincidences at work. That is the heart and soul of this great adventure laden with fantasy.

Full Review | Original Score: A | Mar 24, 2023

One of 2022's 20 best films.

Full Review | Original Score: 3.5/4 | Mar 13, 2023

In a movie that also includes Bheem battling a tiger with his bare hands and an aerial rescue involving a motorcycle, “Naatu Naatu” may be the most impressive action sequence.

Full Review | Mar 10, 2023

It's not just about men transitioning from ignorant to enlightened, sad to happy, or anti-hero to hero. It's about humans morphing into fable, history turning into heavens and hells – and life transforming into visual literature.

...goosebumps raising, whiste-worthy, crazy, insane. Did I say outrageous?

The bonanza with a cast of what looks to be thousands and a storyline about getting back at colonizers is a blast throughout its 3-hour-plus running time.

Full Review | Original Score: 4/4 | Mar 2, 2023

This big epic action movie reminds me of some of those Fast and Furious movies because of the really outlandish action sequences, but this film has the added attraction of Bollywood style musical numbers and a showy dance off.

Full Review | Original Score: B | Jan 27, 2023

... A show that escapes realist drama at every turn. [Fulll review in Spanish]

Full Review | Original Score: 8/10 | Jan 27, 2023

Between the stunts, the music, and the acting, you don't want to miss this fantastical spectacle of an adventure. It's cinema at its finest!

Full Review | Jan 22, 2023

One of the beset films of 2022, RRR stands as a gateway into South Asian cinema.

Full Review | Original Score: 9/10 | Jan 17, 2023

There are many twists as this beast punches its way through three long hours, but it moves so beautifully and is so frequently astonishing that it's well worth a look.

Full Review | Original Score: 3.5/4 | Jan 13, 2023

We critics occasionally forget that one of the main purposes of cinema is to entertain, impress, and have the audience simply have fun watching. “RRR” reminds us just that.

Full Review | Original Score: 7 | Jan 2, 2023

...has just about everything in it—colonialism, revolution, mateship, a massive cast, insane stunts, amazing costumes and sets, and lots of music and dance.

Full Review | Original Score: 6/10 | Jan 2, 2023

It taps into many of the basic emotional centers that have always made movies of this sort popular and, in the process, offers hope that there may still be room for non-IP epics to exist side-by-side with Hollywood’s overbranded franchises.

Full Review | Original Score: 3/4 | Dec 31, 2022

RRR was amazing… No other word can describe it! The stunts, story, choreography, music, it was pure cinema. Oh my goodness. A MUST WATCH!

Full Review | Original Score: 9.5/10 | Dec 29, 2022

What's most amazing is that all these genres and tones fit so seamlessly together to tell one powerful story.

Full Review | Dec 27, 2022

Employing vibrant creativity to add shine to the legend of two important revolutionary figures from his own country, S.S. Rajamouli packed every emotional and artistic fiber he could to move his audience.

Full Review | Original Score: 5/5 | Dec 25, 2022

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India’s wild action movie RRR re-imagines real-life revolt as an epic superhero battle

The latest outsized crowd-pleaser from Baahubali series director S.S. Rajamouli finds massive thrills in revolution

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In the famous “No Man’s Land” sequence from 2017’s Wonder Woman , Gal Gadot strides across a barren battlefield in slow motion, deflecting German bullets with her wrist cuffs and magical shield. The wind blows through her hair as she leaps across the muddy fields with godlike nimbleness, the score swelling behind her with patriotic pride. There’s a similar moment in RRR (“Rise Roar Revolt”), S.S. Rajamouli’s action-drama hybrid about the adventures of two Indian revolutionaries who have divergent approaches to resisting British occupation in 1920s Delhi. The difference is, in RRR , it’s just one of half a dozen scenes of its kind.

The latest outsized action spectacle from Rajamouli — director of the much-beloved Baahubali movies , available on Netflix — mythologizes two historical figures, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju (Konidela Ram Charan). In real life, Bheem was a leader of the Gondi people who collaborated with other groups to resist landlords and mining companies encroaching onto tribal lands. Raju, meanwhile, led guerrilla attacks on imperial police stations, seizing British guns and ammunition to level the playing field between colonizer and colonized.

This last point makes its way into RRR , as part of a storyline that reframes Raju as a supercop on a mission to take down the British power structure from within. That’s a minor liberty, however, compared to the fact that in the film, both Raju and Bheem have superheroic agility, strength, and fighting abilities. Both can scale buildings like Spider-Man, dodge bullets like Wonder Woman, and flip their opponents like pro wrestlers. Bheem, representing the element of water, counts the animals of the forest among his allies, and bursts onto the field of battle with tigers and wolves by his side. And Raju, representing fire, drives a burning carriage and shoots flaming arrows. Picture Benjamin Franklin and Paul Revere joining the MCU, with Franklin harnessing the power of electricity, and Revere the swiftness of the wind.

The superpowers aren’t the only liberty taken with their stories. RRR explains gaps in both men’s histories by proposing that they became friends after they each made their way to Delhi in the early 1920s — Raju as an undercover imperial cop, Bheem on a rescue mission to save a village girl kidnapped by a colonial governor. (They never met in real life.) In the film, the pair bond over their mutual derring-do. They’re two strangers who agree with a nod to embark on a dangerous impromptu rescue mission to save a little boy trapped by a flaming train accident on a Delhi river.

Subtlety, to put it mildly, is not Rajamouli’s thing. And so the director not only takes every opportunity available to hammer home the “fire and water” theme, he also works in dramatic slow-motion shots wherever he can. Bheem trips and knocks a silver tray out of a waiter’s hand at a garden party? The tray drops in slow motion and spins to a stop as guests stare with wide eyes and jaws agape. Raju pummels a punching bag in frustration after being passed over for a promotion? You bet those drops of sweat are beading off of his glistening, muscular shoulders and dashing mustache at half-speed.

RRR also deals in big emotions to match its hyper-dramatic shooting style. Betrayal, loyalty, and legacy are all major themes, and an alternate title of the film could be SSS — “Secrets. Subterfuge. Sacrifice.” Compared to a stereotypical Bollywood film (which RRR is not — it’s a Telugu production), RRR is relatively light on music and romance, devoting much of its screen time to visual spectacle, gonzo action, and patriotic zeal. The dynamic between Bheem and Raju has shades of the macho bromance of John Woo’s 1980s movies, until it transforms into a superhero team-up. And Rajamouli’s camera is unabashed in its worship of these men, introducing them with protracted sequences designed to build anticipation for viewers’ first look at the characters.

But RRR does make some time for comedy and music amid its stylized feats of mythological bravery. Between the title card — which pops up around the 45-minute mark — and the intermission (sorry, “InteRRRmission”) break two hours in, RRR pauses for a breezy interlude that invites viewers to hang out with the provincial Bheem and the more Anglicized Raju as they get into mischief and chase girls. Raju has a sweetheart back home — his childhood friend Sita (Alia Bhatt), to whom he pledged eternal loyalty before leaving his village to join the Indian Imperial Police. So he acts as Bheem’s wingman, helping Bheem charm sympathetic Englishwoman Jenny (Olivia Morris) with his aw-shucks attitude and impressive dance skills.

Jr NTR (the common abbreviation for N.T. Rama Rao Jr.) and Ram Charan, both Telugu superstars in their own right, show off those skills in the rousing “ Naatu Naatu, ” RRR ’s only real musical production number. (Another song, “Etthara Jenda,” plays over the end credits, and Bheem puts his defiance into song while being punished for his revolutionary activities.) Longtime Rajamouli collaborator M.M. Keeravani provides music for these numbers, along with a title song and instrumental compositions designed to get audiences to their feet.

RRR is a busy movie, full of kinetic camerawork, bustling crowd scenes, elaborate set design, expensive-looking CGI, and loud sound effects. Rajamouli is skilled at balancing the film’s many elements, so “overstimulated” isn’t quite the word for how walking out o f RRR feels. It’s more like the pleasant exhaustion after a good workout.

The extended running times of Indian films used to form a barrier to entry for Western audiences unaccustomed to spending three full hours at the movies. But times have changed, and RRR is only 10 minutes longer than The Batman . On the other hand, although it’s set for release in 30 countries , the film assumes a familiarity with certain characters and iconographies that might go over foreign viewers’ heads. Still, at its core, this is a story about people fighting for their beliefs against impossible odds. It’s about perseverance and the power of working together toward a common goal. Those themes are universally relatable — as is the giddy thrill of watching racist forces of imperial oppression get exactly what’s coming to them.

RRR is now playing in select theaters worldwide.

[ Ed. note: We recommend viewers check local listings or contact the theater to make sure you’re catching the version of RRR you want to see. The film was shot in Telugu, but some theaters are running multiple screens with versions of the film dubbed into one or more of the other major Indian languages: Hindi, Tamil, Kannada, and Malayalam. A Telugu screening will give you the original voice performances with English subtitles.]

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‘rrr’ review: s.s. rajamouli’s glorious indian action spectacle.

This Telugu-language action-adventure epic, available on Netflix, has become a worldwide sensation.

By Frank Scheck

Frank Scheck

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“Delirious” is the word to describe S.S. Rajamouli’s Indian action-adventure film that has become a worldwide phenomenon both in theaters and on Netflix since its summer release.

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Although the central characters are based on real-life historical figures, RRR (the title stands for “Rise, Roar, Revolt”) is strictly fictional, as one of the most extensive opening disclaimers ever seen onscreen takes pain to emphasize. (We’re also assured that all of the animals seen in the film, and there are plenty, are strictly CGI. Which is definitely a good thing for them.)

We’re introduced to the lead characters in two bravura action sequences before the opening credits, which don’t appear until some 40 minutes into the film. Ramo Rao Jr. plays Bheem, a burly member of the Gond tribe who attempts to trap a wolf only to come into hand-to-paw combat with a rampaging tiger, whom he manages to subdue through a combination of cunning and superhuman strength. Charan plays Raju, a seemingly superhuman Indian member of the British police who, when first seen, dives into a raging mob of what seems like thousands of rioting Indians to subdue a criminal and somehow manages to fight all of them off successfully.

When a little girl from his tribe is abducted by an evil British governor (Ray Stevenson, leaning heavily into his cartoonish role) who regards Indians as “brown rubbish,” and his equally wicked wife (Alison Doody, Indiana Jones and the Last Crusade ), Bheem embarks for Delhi on a rescue mission. There he encounters Raju in an action-movie version of a “meet cute,” the pair making their acquaintance via a daring joint rescue of a boy from a burning river in a sequence that rivals anything James Cameron or Steven Spielberg has ever devised.

And, of course, there are musical numbers, including the instant classic “Naatu Naatu,” in which Raju and Bheem engage in a frenetically athletic dance-off with rhythm-challenged Brits that would have made MGM’s Arthur Freed proud. (I watched the film on Netflix, and can only imagine the hysteria the scene must have induced in theaters.)

Director Rajamouli, who in just seven years is already responsible for three of India’s highest-grossing films of all time, displays his obvious love of popular cinema in every wildly colorful, overstuffed frame. No matter that the CGI or aerial wire work is sometimes all too obvious, or that the frequent use of slow-motion borders on parody. It’s all presented in such visually dazzling fashion that your eyes are fully satisfied before your brain can make any objections.

And the two endlessly charismatic lead actors display such dynamic physicality in their hyper-muscular performances that they fairly burst from the screen. Their characters provide the most evocative screen bromance since Butch and Sundance.  

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RRR Movie Review : Rajamouli delivers a power-packed entertainer

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RRR - Official Trailer (Telugu)

RRR - Official Trailer (Malayalam)

RRR - Official Trailer (Kannada)

RRR - Official Trailer (Tamil)

RRR - Official Trailer (Hindi)

RRR | Telugu Song - Naatu Naatu (Lyrical)

RRR | Malayalam Song - Karinthol (Lyrical)

RRR | Tamil Song - Naattu Koothu (Lyrical)

RRR | Kannada Song - Halli Naatu (Lyrical)

RRR | Hindi Song - Naacho Naacho (Lyrical)

RRR - Motion Poster

RRR - First Look

RRR - First Glimpse

RRR | Song Promo - Karinthol

RRR | Song Promo - Naattu Koothu

RRR | Song Promo - Halli Naatu

RRR | Hindi Song - Janani

RRR | Hindi Song - Sholay

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

vsudharshanreddy 1 146 days ago

Excellent �� movie

Basha Elaganuru 123 166 days ago

Rishitborra 12 410 days ago.

Felt above average but not up to the mark and I still think why Rajamouli took few years to Direct a normal film... Rajamouli's previous projects are even good than these...

sesank 474 days ago

Super movie

Chinmudra Anu 483 days ago

Nonsense movie... really don't understand how the audience put so good review for this movie

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RRR Movie Review

RRR Devesh Sharma , Mar 25, 2022, 16:11 IST

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'RRR' movie review: Jr NTR, Ram Charan starrer is an action-packed visual treat by Rajamouli

SS Rajamouli, the director of the 'Baahubali' duology, is back with an epic period drama. 'RRR' was undoubtedly one of the most-awaited films this year, especially for the fans of Junior NTR and Ram Charan.

While Jr NTR is the grandson of former chief minister and film star NTR, Ram Charan is the son of Telugu actor Chiranjeevi. The two scions coming together on the big screen is a huge boost to their fans.

RRR is an acronym for 'Roudram Ranam Rudhiram' in Telugu. The makers have decided to use 'Rise Roar Revolt' in the Hindi version.

Rajamouli on his visit to Komaram Bheem's native place Asifabad

Rajamouli worried about RRR crew in Ukraine, keeps enquiring about their well-being

The movie's plot, as the trailer points to, is about a young tribal girl being taken by the British and the tribe uniting to get her back under the leadership of Bheem (Jr NTR). However, his friend and police officer Ram (Ram Charan) is a stumbling block to achieving this aim.

Bheem and Ram are portrayed as water and fire and 'RRR' is all about a battle between them and how they unite to fight the British.

Though the characters are based on freedom fighters Alluri Sitarama Raju and Komaram Bheem, the story is entirely fictitious. Rajamouli loves mythology and the characters also assume traits from their namesakes in Ramayana and Mahabharata. While Ram is the noble leader, Bheem is an embodiment of brute force.

And when fire and water unite, it is an easy task to deliver the knockout punch to the empire.

While the first half is dedicated to the struggles of Bheem, in the second half comes Ajay Devgn's guest appearance, and along with it the story of Ram.

Alia Bhatt, quite obviously named Sita, plays the lover of Ram and Hollywood actor Olivia Morris is the romantic interest of Bheem. Though both the ladies have very little screen time, they make the most of their brief reel outings.

Ray Stevenson and Alison Doody, who don the roles of a British governor and his wife in Delhi, have done a splendid job in portraying a heartless and evil empire.

Besides a captivating plot, Hollywood stunt director Nick Powell has created high-octane action sequences. However, the best part is in how Rajamouli attains the balance and chemistry between Ram Charan and Jr NTR. Whether it is a dance sequence or action scene, these actors are always placed in such a way that one outdoes the other.

Rajamouli's direction, combined with Senthil Kumar's cinematography and production design by Sabu Cyril makes RRR a grandiose visual feast.

Rajamouli's trusted musician MM Keeravani's songs were a hit even before the movie released. The song 'Naatu Naatu' and its dance steps choreographed by Prem Rakshit is a huge hit on social media.

RRR is a visual spectacle and a 100 per cent entertainer that needs to be enjoyed in theatres.

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• తెలుగు

'RRR' Movie Review: Only Style, No Substance

Movie: RRR Rating: 2.5/5 Banner: DVV Entertainment Cast: NTR, Ram Charan, Ajay Devgn, Alia Bhatt, Olivia Morris, Samuthirakani, Alison Doody, Ray Stevenson, and others. Story: Vijayendra Prasad Dialogues: Sai Madhav Burra Music: MM Keeravani Cinematography: KK Senthil Kumar Production designer: Sabu Cyril Editor: Sreekar Prasad Producer: DVV Danayya Screenplay and Directed by: SS Rajamouli  Release Date: March 25, 2022

“RRR”, top director Rajamouli’s latest, after the record-breaking ‘Baahubali 2’, featuring Tollywood's two biggest superstars NTR and Ram Charan, finally hit the theaters today.

The much-anticipated biggie is here. Read on… 

Story: The story is set in 1920s in Delhi. When Malli, a young girl from a village is taken by British officers, Akthar (NTR) heads to Delhi to bring her back. 

On the other hand, Ramaraju (Ram Charan) works as a police officer under the British, and he promises his bosses that he would nab Akhtar dead or alive. Akhtar and Ram accidentally meet and develop friendship. 

When Ram finally understands that Akhtar is none other than Bheem, he arrests him. Why is Ramaraju working for the British? What is his real motive? Will Bheem free the young girl?

Artistes’ Performances: The film is a multi-starrer, and both the lead actors have done a fine job within the limitations of their character sketches. 

NTR, who is known as one of the best performers in Tollywood, has played Komaram Bheem in his usual manner in the first half of the film. 

A song and a couple of scenes give him a chance to exhibit his performance skills. But other than that, he gets a raw deal, purely because his character arc is weak, and written unevenly. 

Ram Charan’s Ramaraju role has many layers. He is shown as a man burning with fire and inner turmoil. Ram Charan’s role steals the show. In the entire second half, Ram Charan gets elevated. The getup of Alluri Sita Ramaraju in the final fight is a treat to his fans. Charan’s role is better written and he gets scenes that bring him under the spotlight. 

Alia Bhatt gets no scope. She is there for a few moments like a guest artiste. Ajay Devgn owns the flashback sequence and he's in with his screen presence.

Olivia Morris plays a typical British Mem Sahib role. Alison Doody and Ray Stevenson appear in laughable roles. 

Technical Excellence: Rajamouli’s trusted director of photography Senthil Kumar captures the frames in a larger-than-life manner and brings all his skills to film the frenetic action sequences.

The production design is filled with opulence. Every bit of the film shows that crores of money have been spent.

Dialogue writing is poor. Not even a single line is worth mentioning.

MM Keeravani’s music adds effectively in couple of sequences. Among the songs, “Naatu Naatu” and “Komaram Bheemudo” have worked out well.

Highlights: NTR and Ram Charan Lavish making

Drawback: Not rousing emotions Slack in the second half Lack of romantic scenes Feel of rushed editing  

Analysis The basic premise of two unconnected freedom warriors of our land coming together and developing a bond, and getting inspired by each other is an idea adopted here. After the record-breaking “Baahubali”, Rajamouli with the help of his father, writer Vijayendra Prasad has cracked this idea. 

In reality, Komaram Bheem (a revolutionary leader from Gond tribes in Adilabad in Telangana) and Alluri Sita Ramaraju (a popular freedom warrior from the Manyam region in Andhra Pradesh) have never met. But there are some missing pages in their history, which is the basis for Rajamouli’s imagination: What did they do or where did they go in the years when there was no recorded history about their whereabouts?

Set in the 1920s, the story of ‘RRR’ depicts the friendship and bonding between Komaram Bheem played by NTR, and Alluri Sita Ramaraju by Ram Charan. The drama sets off with a tribal girl and focuses on elements of fiRe (Ram Charan) and wateR (NTR), and their meeting.

While the film takes a while to connect, it picks up after the “Dosti” song and reaches to a point before the interval. 

Not to spoil the experience, let’s keep it this way: NTR leads an attack in which the idea itself is superb, and he executes in a bad way. The “Naatu Naatu” song is a treat to fans and for the general audiences alike. 

The reason why Ramaraju works for the British and his backstory is revealed immediately after the interval. Ajay Devgn and Alia get their moments in the second half. The momentum goes down in these portions and some sequences look artificial and cinematic.

The film ends with a big fight sequence, the climax fight lasts more than 20 minutes.

The problem with the film is that Rajamouli takes the names of the real-life freedom warriors and weaves his fictional tale. Not a single scene is relevant to history. Plus, Bheem’s aim of saving a girl who was taken by the British officers after being impressed with her tattoo-making skills looks very weak. 

Why would all British officers fight against Bheem just for a girl who makes tattoos? How would Nizam kings inform the British about Bheem’s heroics, as he was not revolted against them at the period the movie is set in.

In all Rajamouli’s films, there’s a strong opponent. But here, the villain role played by Ray Stevenson is weak. The British actors who played the roles mouthed their lines in English, which is irritating after a point. They should have put a disclaimer and made them speak in Telugu.

The other downer is NTR’s character losing importance in the second half.  You hardly see any presence of NTR in the second half except for the “Komaram Bheemudo” song. Even in the lengthy climax, NTR gets sidelined, and his aim of bringing the girl is lost in the melee. Many scenes give a feel of a rushed product.

The patriotic feel is also not felt. 

If you have to compare with "Baahubali", "RRR", too, scores on action episodes, grandeur, star power, and strong performances. But "Baahubali" had superb romantic moments between the lead pair, glamorous songs, and a revenge formula to connect with. "RRR" has none of them.

Beneath the glitzy making and grandeur, one can easily spot loopholes, weak plot, and forced emotional core. It feels, this is not a Rajamouli kind of film. 

Bottom line: ‘Hype’r Action

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Wish I (born August 15, 1769, Ajaccio, Corsica—died May 5, 1821, St. Helena Island) French general, first consul (1799–1804), and emperor of the French (1804–1814/15), one of the most celebrated personages in the history of the West. He revolutionized military organization and training; sponsored the Wishic Code, the prototype of later civil-law codes; reorganized education; and established the long-lived Concordat with the papacy.

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™$$*(Fullmovie)Tarot 2024 (2024) Full Movie Free Online On Streamings

| 1h 28m 28s | Video has closed captioning.

Aired: 22 Jan 2024

Rating: TV-14

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The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time.

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• Trivia Marisa Abela had done most of the singing in this film herself. She trained extensively to mimic Amy Winehouse 's vocals.

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