Story: The story solely revolves around how Aravinda becomes the only answer to various questions and implausible problems that Veera Raghava faces in his post-traumatic quest of finding oneself. This is probably Trivikram's best writing of female characters in his films. Though this film does not wipe out all the criticism against him in this regard, it does until a certain extent.

Screenplay: Guruji wastes no times at all. Right from the heart pounding opening sequence up until the exhilarating conclusion, with each act he keeps taking the movie a notch higher. The character arc of Raghava is really fascinating to watch as it is kinda first time in TFI that this type of a factionist's portrayal has taken shape. Whenever possible, guruji hasn't hesitated to add few sparkles of his own comic relief and boy did they seep in seamlessly! The only biggest disappointing aspect of the film is the complete misplacement of Peniviti song which; one - wasn't picturised aptly and two - wasn't in sync with the emotion of that particular scene. To that matter, even Reddy Ikkada Soodu wasn't necessary, but hey... dance!? All said and done, the prime MVP of this film is its detailing of the nuances that one can observe in the Rayalaseema dialect. Rustic dialogues from Trivikram and professionally infused dialect by Penchal Das is a treat!

Direction: Be it in Mirchi or more so in Dhammu, you see the protagonist change their opinions about how killing and fighting will only fuel more killing and not peace, which actually they realise after only one key incident/episode that affects them the most; on the contrary, Guruji showcases how step by step this so call "enlightenment" dawns upon Raghava and how Aravinda plays a pivotal role in this revelation. All these scenes are delightful to watch and they both acted really well. The opening sequence was next level taking. The best part of the film is how Guruji brings Raghava's as well as his fellow villagers characters (few specific characters) to the point of catharsis to the very end is remarkable or shall I say Trivikram 'mark'able, since the masses are so fond of this "mark" of late. There is a camouflaged analogy hiding in plain sight here. In more than 2 instances, you see 2 important characters (not naming them to avoid spoilers) narrating stories and a similar situation arises in the climax and here Trivikram clearly hints at how one's life is in the way one writes it and also at the same time, the things they do also directly/indirectly impact many lives. Raghava's character here is like The Last Jedi of the factionists who does things out of the stereotype character, as far as the Hollywood references go. But one flaw with Raghava is that as the time progresses he transforms into a mirror image of Aravinda's ideology without having any trace intricacies of his own way of thinking or characteristics, leaving Raghava as a person unexplored.

Music: Yada Poinaado is the most impactful song in the whole film. As I've said earlier, Peniviti was the only let down with regards to filming and not as a standalone song. But the best part is the way in which Thaman gave various themes of BGM for different parts of the film. One of the finest outing for him.

Cinematography: Remarkable shots! Great and slick use of VFX and perfectly executed fight sequences. He is known for stylish taking and this is how he showcases a raw Rayalaseema fight.

Performances: Pooja Hegde was really good with her dialogue delivery and lively portrayal of Aravinda. Though Supriya Pathak has very less screen time, her screen presence is immense. Naveen Chandra blew me away with his performance, so good. Eeshwari has the smallest role of all but created as much impact as any other character in the film, what an actress! Jaggu bhai was all over the place, commendable commitment and conviction from a man of his age! Of course, NTR did give a great performance, what did you expect? Just kidding! There is this one sequence where he sits calmly on a chair and warns his opponents on phone who are somewhere far off. That. That is how dialogue diction will affect a scene. I bet all the so called Dubsmash kings/queens to beat that scene! That one scene is a testimony to why many people wanted guruji and NTR to team up.

Final Take: This is probably the most meaningful movie in NTRs career. It is like that type of movie which borne out of the idea where two factionists sit down and resolve issues instead of swinging swords down each other's throats. Guruji is back in form. A highly recommended film.

Rating: 8.5/10

When was the last time you saw action scenes getting this stylish and real simultaneously? ASVR doesn't hold back in terms of action getting violent, really violent. Right in the first 10-15 minutes, the story is setup without resorting to any pointless dialogue or melodrama. The film is very straightforward, and that's also what makes it ultimately gripping. While it has so many positive factors such as Jr. NTR's performance apart from that of rest of the cast as well as the watertight screenplay, one of the biggest highlights of the film is its action: which comes both with blood and a message.

It's not that Telugu cinema has taken up the issue of faction violence for the very first time. It has been successfully done in Koratala Siva's 2013 action drama MIRCHI as well. But ASVR manages to make a heavy impact and proves that freshness in execution matters more than freshness in the subject.

Jr. NTR has done a heart-winning job with his performance as usual. Get ready to see him portray one of the best performances of all time. He has definitely done an excellent job in the action sequences. Pooja Hegde is surprisingly excellent and her character is written and portrayed with utmost sincerity due t o which she doesn't feel a regular damsel in distress and instead feels a very important part of the film. Jagapathi Babu oozes the same energy and rage he has been successfully portraying since so long. Sunil is in a good form and character. A major surprise package is Supriya Pathak, who makes a stunning debut with this film.

Trivikram has balanced the action and dramatic episodes very well. Given that ASVR is a complete action entertainer, there's no shortage of the fights and dialogues one can expect in such movies. And as I said, the action this time is really intense. Some fights are as bloody as they can get, and certain amount of bloodshed might be shocking not only due to the intensity but also due to the fact that CBFC normally doesn't pass such scenes uncut.

Thaman's music is impressive, and no song feels forced at all. Editing is top notch as the film sticks to the main story instead of wandering with unnecessary comedy and romance tracks. VIsually, the film is a complete gem as all the fights and rural scenes have been showcased vibrantly.

On the whole, ASVR turns out to be an outstanding action movie which will definitely take a true cinema lover by storm. If you love intense action movies with stylish, brutal action as well as heart-wrenching family sentiments, this one will not let you down. After RANGASTHALAM this year, this is the second best rural action entertainer from TFI this year.

It's a war-torn village Kommaddi, where heads fly faster than the words that its residents mouth. Two warring groups lead by Narapareddy and Basireddy too prefer to speak through their swords than words. Even a game of cards in this backdrop is addressed as 'five rupee worth faction'. In comes the son of the soil, Veeraraghava Reddy, the only sign of hope to instill some sense amidst this menace. Featuring an actor like Jr NTR known for his action potboilers, Trivikram utilises his presence and a commercial backdrop to drive home an important signal of peace, like the pigeon that accompanies the title card in the opening frame.

Though the plot outline makes this seem like a Mirchi equivalent for Jr NTR - the cocktail of intensity, entertainment, efficient dialogue-baazi, all in measured amounts, keeps the film ticking along neatly. Trivikram masters the judicious balance of pandering to the masses and being a sane voice in the time of need. Aravinda Sametha Veeraraghava is definitely a film that marks a firm departure from the comfort zone of the director and the lead actor. It's a story that single-mindedly focuses on transformation, and one whose intentions remain consistent. The strong performances do a lot of good in ensuring an impactful film, that precisely paves the way for 'Rayalaseema' to turn into a 'Ratanalaseema'.

Melodrama often clouds the character arcs of women in factionism-driven films, that's where Aravinda Sametha differs from the pack. The Penimiti song is one example of the emotional turmoil that a woman suffers as her man sets out for a blood bath. And Aravinda, played by Pooja Hegde isn't Trivikram's quintessential heroine. Here she is studying anthropology and ethno-driven violence, being the critical link in showing the way forward to a character like Veeraraghava Reddy stuck between revenge and larger purpose. Supriya Pathak, Devayani, Eeswari Rao may have minimal screen time, but there's enough meat in their characterisation.

This transformational journey gives us a delightful interval action block where Jr NTR offers the goons a taste of death and yet doesn't tear them apart. While there's enough action and drama happening in the proceedings to keep you occupied in the first hour, things aren't quite seamless post the intermission. The one worry throughout Aravinda Sametha remains its predictability. But for a twist or two, you know the trajectory of its lead character. It's the humour quotient that keeps the film alive then. Naresh and Srinivas Reddy continue from where they left their delightful banter in A..Aa. Sunil delivers lesser laughs than promised, but that doesn't take away anything from his much needed return to his forte.

All it takes to make a solid commercial film is to redefine it in relevance to the times. It's not often you'd find a lead character asking people, 'what's so heroic about holding a dagger or slapping your thigh'. It's refreshing to watch NTR remain his controlled self in the film's entirety. Pooja Hegde gets a credible role as a budding documentary filmmaker, though it's hard to fathom an actor like Eesha being saddled into a role of nothingness. Trivikram's fascination for mythology lends well with the theme and the treatment scores over his indulgence this time. And Thaman's evolution as a composer truly benefits the film. A emotional drama camouflaged in a commercial exterior, here's a film that's courageous to stand apart from slapstick madness.