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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.

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'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."

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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

If you buy something from a Polygon link, Vox Media may earn a commission. See our ethics statement.

by Katie Rife

Jr NTR roars in the face of a Bengal tiger in RRR

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.

A shirtless Jr NTR shoots an arrow through a gap in a wall of fire in RRR

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 Reviews

An absolute sumptuous feast for the senses.

Full Review | Jul 3, 2024

If you enjoyed “The Woman King” (2022) or Namor’s flashback sequences in “Black Panther: Wakanda Forever” (2022) but wanted the fight scenes against the colonizers to be longer, then this movie is for you.

Full Review | Jun 2, 2024

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

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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

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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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The Netflix Hit “RRR” Is a Political Screed, an Action Bonanza, and an Exhilarating Musical

When it comes to cinematic propaganda, blatant is better than insidious. Overt advocacy has the virtue of candor and the vigor of fervent emotion. A movie such as “ Top Gun: Maverick ” hides its messages under the guise of unexceptionable realities, whereas another new, high-energy, political action spectacle, the Indian film “RRR” (which was released theatrically in March and is now streaming on Netflix, where it’s in the top five), makes its statements explicit. It thrusts its imaginative artistry thrillingly and gleefully to the fore.

“RRR”—the title stands for “Rise Roar Revolt”—turns history into legend by way of heightened visual rhetoric. It’s based very loosely on the real-life stories of two Indian revolutionaries of the early twentieth century, Alluri Sitarama Raju and Komaram Bheem, who contested the oppressions of British colonial power. There’s no record of their having met, let alone joining forces. The director, S. S. Rajamouli —who also wrote the screenplay, based on a story by V. Vijayendra Prasad (his father)—derives a magnificent outpouring of creative energy from the inspiring fantasy of their volatile connection. (The movie’s original language is Telugu; the version shown on Netflix is dubbed into Hindi.)

On a motor trip through the Indian countryside, Catherine Buxton (Alison Doody), the high-handed wife of the British colonial governor, buys an Indian girl named Malli (Twinkle Sharma) as one might buy a pet. The governor’s party carts the child away over the protests of her mother, Loki (Ahmareen Anjum), who is brutalized by British guards. Malli is from the Gond tribe, which is said to hold fast together, and its so-called shepherd, Bheem (N. T. Rama Rao, Jr.), a fierce warrior, heads to Delhi to find her, disguising himself as a Muslim mechanic named Akhtar. The British governor, Scott Buxton (Ray Stevenson), is warned by an Indian police officer about the shepherd and his ferocity; Buxton orders his officers to find and capture the shepherd. One of his Indian police officers, Raju (Ram Charan), volunteers for the mission, planning to infiltrate the city’s revolutionary Indian circles. In Delhi, two Indian strangers see a boy drowning in the river and team up to rescue him; the two men, Raju and “Akhtar,” become fast friends. Raju is unaware that Akhtar is the warrior he’s looking for, and Akhtar is unaware that Raju works for the man whose household he aims to raid. The drama of their secrets, and the circuitous path of their ultimate collaboration (it’s no spoiler), involve scenes of moral and emotional horror that are redeemed in the high purpose of their historic mission.

The similarity in tone to other Indian action films is matched by what it shares with Hollywood blockbusters, too. The drama is built around action, stints on character, features very little dialogue that doesn’t advance the plot, and offers neither psychology nor history nor social context to enrich the historical framework. It’s a movie of shortcuts and elisions no less relentless than those of American superhero or superstar vehicles, but Rajamouli is an artist of a distinctive temperament and talent. He spotlights the halo of legend in an extended scene that introduces Raju, at a prison where Indian people are storming the gates to free a prisoner. There, Raju takes on the entire surging crowd by way of impossible acrobatics and eruptive martial artistry (highlighted by a madly rotating camera) that plays like a live-action cartoon. The element of fantasy is intensified by a sequence of Bheem’s rigorous self-imposed training, which involves single-handed battle with a wolf and a tiger.

There’s an overt element of exaggeration that bends the story into the substance and the tone of legend—the effect is of an onscreen tall tale. It’s a film of giddy, exhilarating hyperbole in which physical action pierces the barrier of impossibility but stops short of the supernatural or superheroic. And there’s a dashing graphic sense of composition and an assertively precise sense of rapid action that owes nothing to the generic jumble with which most Hollywood action scenes are filmed and edited. “RRR” is also filled with gore: streaming blood, spurting blood, bodies beaten and pierced and torn. Yet the combination of sharply determined political purpose and compositional artistry lends the horror an air of abstraction that stokes a sense of indignation or of justice without physical disgust or titillation.

The plot has twists and turns, hidden byways and surprising connections, that have the dazzle of magic tricks. The story’s omissions and truncations—an odd thing to refer to in a movie that runs to nearly three hours—contribute to the air of wonder and lend a jolt of astonishment to an extensive flashback that’s dropped in midway through. The drama is rooted in the absolute sadism, the monstrous and indeed genocidal racism of the British, the governmental terrorism with which Buxton reigns, the pathological bloodlust of power that Catherine flaunts, the dehumanizing prejudices of subordinate officers, and the vile politics of hiring indigenous people to do their dirty work. The story’s view of colonial despotism involves not only grievous economic inequality but also relentless political repression—and a sense of fear that’s nearly a sense of doom, signalled by the absolute ban on Indian people owning firearms and the tumult that results when even a single rifle falls into the hands of one of them.

For all its political determination, “RRR” is also a musical, and an electrifying one. The movie is filled with music and with characters singing at moments of grand political import; when Raju and Bheem manage to attend a high British social gathering, they convert a moment of cultural chauvinism into a spectacular dance-off. The frenetically athletic choreography involves gestures of a rapid-fire sculptural majesty to match the geometric flair of the images that capture it. Where the movie’s central dance is pugnaciously competitive, the fight scenes are dance-like, featuring moments of phantasmagorical splendor. One won’t soon forget the vision of a warrior carrying another on his back, with the one on top bearing two rifles and shooting them with deadly accuracy in opposite directions while the bearer breaks on the run through a brick wall. Or a runaway motorcycle being stopped with one foot as if it were a soccer ball, caught in midair, and hurled with the devastating force of a cannonball. Or a single flaming arrow igniting the entire countryside and yielding Wagnerian images of sublime destruction.

The drama of political unity that song lyrics characterize as “friendship between an erupting volcano and a wild storm” is also a flag-waving spectacle of patriotic pomp. The movie’s powerful sense of revolutionary virtue and collective purpose yields to nationalistic pride that’s danced and sung with uninhibited joy. The concluding production number, with militaristic bravado, spotlights the present-day purposes of this quasi-historical tale.

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Cast & crew
User reviews

Ajay Devgn, Alia Bhatt, Olivia Morris, N.T. Rama Rao Jr., and Ram Charan in RRR (2022)

A fearless warrior on a perilous mission comes face to face with a steely cop serving British forces in this epic saga set in pre-independent India. A fearless warrior on a perilous mission comes face to face with a steely cop serving British forces in this epic saga set in pre-independent India. A fearless warrior on a perilous mission comes face to face with a steely cop serving British forces in this epic saga set in pre-independent India.

S.S. Rajamouli
Vijayendra Prasad
Sai Madhav Burra
N.T. Rama Rao Jr.
1.7K User reviews
127 Critic reviews
83 Metascore
93 wins & 155 nominations total

Top cast 39

Komaram Bheem

Alluri Sitarama Raju
(as Ram Charan Teja)

Venkata Rama Raju

Scott Buxton

Catherine Buxton

Venkateswarulu

Venkat Avadhani

Young Alluri Sitarama Raju

All cast & crew
Production, box office & more at IMDbPro

Best of 2022: Top 10 Most Popular Indian Movies

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Did you know

Trivia Alluri Sita Ramaraju and Komaram Bheem were freedom fighters of India who didn't meet in real life. This film is completely fictitious and based on an idea of what if those two met.
Goofs Brazil, but not Belize, is marked as part of the British Empire in the large map on the meeting hall. Brazil was never a colony, protectorate or a client state of the UK, unlike Belize.

Komaram Bheem : Your friendship is more valuable than this life, brother. I'll die with pride.

Crazy credits The title doesn't appear on screen until 40 minutes into the movie.
Alternate versions The Hindi version released on Netflix has some changes made to it. The title card mentioning "Rise Roar Revolt" has been translated to English, the intermission has been removed, the ending song and end credits are played separately, and the overall film is presented in an open matte format, as opposed to the theatrical version.
Connections Featured in Vishal Mishra & Rahul Sipligunj: Naacho Naacho (2021)
Soundtracks Dosti (Telugu) Lyrics by Sirivennela Seetharama Sastry Music by M.M. Keeravani Vocals by Hemachandra Vedala

User reviews 1.7K

matthewssilverhammer
Aug 18, 2022
How long is RRR? Powered by Alexa
March 25, 2022 (United States)
Official site (Japan)
Official Twitter
صعود ودوي وثورة
Ramoji Film city, Hyderabad, India (Film city)
DVV Entertainment
See more company credits at IMDbPro
₹3,500,000,000 (estimated)
$15,156,051
Mar 27, 2022
$166,602,994

Technical specs

Runtime 3 hours 7 minutes
Dolby Atmos
IMAX 6-Track

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‘RRR’ Review: A Magnificent Cinematic Explosion

Siddhant adlakha.

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S.S. Rajamouli ’s “ RRR ” is a dazzling work of historical fiction — emphasis on the “fiction” — that makes the moving image feel intimate and enormous all at once. A pulsating period action drama, it outshines even the director’s record-smashing “Baahubali” movies (viewers familiar with them probably won’t know what to expect here) thanks to its mix of naked sincerity, unapologetic machismo, and balls-to-the-wall action craftsmanship. The film is playing on over a thousand screens in North America, and watching it with a packed audience familiar with Telugu-language cinema is likely to yield one of the noisiest and most raucous theatrical experiences imaginable. Plenty of recent releases have been hailed as “the return of cinema” post-pandemic, but “RRR” stands apart as an unabashed return to everything that makes the cinematic experience great, all at once.

To talk about the film in any meaningful sense — especially for unfamiliar viewers — first requires setting the stage. Its title is a backronym that stands for “Rise, Roar, Revolt” in English (and similar phrases in various other Indian languages), a fitting label for its early 20th century story about a pair of Indian anti-colonial revolutionaries. However, “RRR” started out as the film’s working title. It stood for director Rajamouli, and the film’s two renowned Tollywood stars, Ram Charan and N.T. Rama Rao Jr. (or N.T.R. Jr.), whose first on-screen collaboration is a good enough reason for many people to buy tickets. The title stuck. The high-caliber names involved are the main attraction, something that becomes all too clear when each actor first appears, and adoring fans turn darkened multiplex screens into lively spaces of celebration, whose walls echo with hoots, hollers and wolf whistles.

The film is worth this reaction, too.

Charan and N.T.R Jr. play Alluri Sitarama Raju (or simply Ram in the film) and Komaram Bheem, a pair of freedom fighters who, as far as anyone knows, never actually met. However, Rajamouli and his co-scribes — story writer K. V. Vijayendra Prasad and dialogue writer Sai Madhav Burra — imagine a fictitious friendship between the pair, during a period in the early 1920s where historical documentation of both figures happens to be scant. “RRR” takes that mild coincidence and turns it into a boisterous, melodramatic saga filled with action that’s over-the-top in its staging, but grounded in its emotional reality.

Charan’s Ram is introduced first, in a manner that’s as viscerally enjoyable as it is narratively shocking. In a strange inversion of history (though one that no doubt establishes a distinct trajectory for his character), we meet this fictitious version of the revolutionary when he’s a police officer for the British Empire. He leaps into battle against a sea of righteous Indian protesters and takes on hundreds of them at once, a superhuman feat typical of South Indian action stars, but one that Rajamouli anchors to tangible bruises, blood and broken bones, blending ludicrous staging (via wide shots that feel like baroque tableaus) with piercing close-ups that rarely cut away as the action plays out. All the while, Ram remains fearlessly and obsessively dedicated to the Crown, and it’s hard not to cheer him on despite this ugly setup — especially when he doesn’t receive the requisite thanks from his British superiors and takes out his frustrations by reducing a punching bag to sandy pulp.

Before long, Ram — now undercover as a revolutionary in the hopes of a big police promotion — is set on a collision course with N.T.R. Jr.’s kindly and heroic Bheem, whose own introduction plays like a fever dream. After a young girl from Bheem’s forest tribe, the Gond, is kidnapped by a British aristocrat, he sets a mysterious plan in motion that involves capturing a number of wild animals (a setup whose payoff is magnificently unexpected). We first meet Bheem as he sprints through the forest — Rajamouli and cinematographer K. K. Senthil Kumar charge towards him with their camera, making his movements feel limitless — and when he manages to capture a roaring tiger in a net, he roars back in its face, accessing something primal and animalistic, as the camera zeroes in on his quivering veins and muscles.

Both men are, in a strictly narrative sense, straight — Ram has a fiancé back home; Bheem has a bit of a will-they-won’t-they with an English woman, Jenny (Olivia Morris) — but everything about the way they’re captured and the way they interact drips with an unapologetic homoeroticism that forms the film’s emotional core. The duo, unaware of each other’s true identities as a cop and revolutionary, first become friends in a scene of explosive heroism that involves a bike, a horse, a train, and both men swinging off a bridge, but the beat that feels most colossal amidst the mayhem is an intimate close up in which they clasp hands, a moment so enormous that it yanks the film’s title onto the screen about 40 minutes in (who would’ve thought “RRR” would have something in common with “Drive My Car”?)

Charan is suave as Ram, and he guides N.T.R. Jr.’s more awkward Bheem through romantic advances with Jenny (a dynamic made hilarious thanks to their linguistic barrier), but the two leading men constantly wrestle between several emotional layers. Each one has their own secret mission — Ram hopes to suss out a revolutionary leader who he doesn’t realize is Bheem; Bheem hopes to make his way into a Governor’s mansion to rescue the kidnapped girl — but the duo’s close friendship also begins to infect their respective missions, especially when they’re forced to confront the truth about one another. They have broader ideals for which they fight, but their senses of duty, which they each see as altruistic, soon become complicated by their love for each as individuals.

It may not be hard to predict the plot, at least in its broad strokes — it’s filled with coincidences, and with misunderstandings which are eventually clarified — but each emotional moment along the way is both magnified to the maximum, yet rooted in the kind of devastating sincerity that makes the duo’s eventual, inevitable collision almost difficult to watch. “RRR” is the kind of film where violence and music aren’t just layered atop the story, but intrinsically woven into the way it’s told. Every action beat has meaning, either in the way it’s set up — a brief moment from the duo’s friendship montage, in which Ram sits atop Bheem’s shoulders, later returns in stunning fashion — or in the way it enhances the narrative. A moment of betrayal, for instance, is marked by a flaming carriage wheel coming undone and striking one of the characters in the heart, and it’s only about the tenth or fifteenth wildest thing that happens in that entire set piece.

For every story beat told through action, there’s another expressed through M. M. Keeravani’s music. The themes composed for Ram, especially when he’s in uniform, arrive with terrifying western horns, which blare whenever he jumps into action, while Bheem’s compositions feel more Earthy, creating a connection between him and nature through spiritual vocal chants and more traditional wooden instruments. As the duo’s friendship grows deeper, the lines between these kinds of compositions begin to blur. The film may not have many dance sequences, but the one major number — “ Naatu Naatu ,” which went viral several months ago for the way Ram and Bheem dance energetically arm-in-arm — becomes its own euphoric mini-movie about friendship and revolution, with its own subplot running throughout the choreography. Modern Hollywood blockbusters tend to have one or two standout scenes, but nearly every scene of “RRR” feels like it could be somebody’s favorite, so even its gargantuan 188 minute running time feels like a breeze.

Of course, the Hollywood influence on “RRR” is clear from the outset, as is the case with many Indian blockbusters, but the film is also its own unique beast. While it evokes images of superhero movies, American war films, and even films about chattel slavery, it blends them together in transformative fashion, hyper-charging each image until it pushes up against the line of believability, but is swiftly yanked back into a familiar emotional realm by recognizable performances. Hollywood star Ray Stevenson plays a moustache-twirling British officer, Governor Scott, who initially comes off as cartoonishly evil — so much so that he doesn’t even want to waste precious English bullets on “brown rubbish” — yet the film not only sticks with that cartoonishness until it feels familiar, but even expands on his strange philosophy until it becomes inextricable from the plot. That Stevenson (and even Bollywood stars Alia Bhatt and Ajay Devgn, who appear in supporting roles) feel like also-rans in the face of Ram Charan and N.T.R. Jr. is a testament to just how massive this collaboration feels — there’s really no western equivalent — and Rajamouli captures every moment and every interaction with the requisite scale and adoration.

By the time the film reaches its fiery climax, one filled with jaw-dropping imagery, it imbues both men with a sense of holy mythicism. Ram even ends up molded in the visage of his namesake, Lord Rama from Hindu scripture, wielding a bow and arrow in the face of British firearms, but no matter how ridiculously any of these moments read on paper, they fit perfectly with the film’s emotional reality, in which love and righteousness flow through the characters like electric superpowers, allowing them to achieve extraordinary, face-melting feats that will leave even the most hardened and cynical viewers feeling childishly giddy.

“RRR” is now playing in theaters.

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The Indian Action Blockbuster That Should Make Hollywood Jealous

RRR is the heroic epic we’ve been waiting for—one that’s not afraid of its own extravagance.

Ram Charan walking away from a burning building in "RRR"

I can think of two action films from the past decade that involved a stunt in which an actor throws an entire motorcycle at someone. The first is the 2015 Marvel sequel Avengers: Age of Ultron . Captain America (played by Chris Evans), battling bad guys in a snowy forest, does a flip with his bike and flings it at an armored tank . But the moment is brushed off; Cap mutters an unrelated joke and his wild accomplishment is immediately undercut, an eye-rolling punctuation to a busy but washed-out combat set piece.

The other movie to feature two-wheelers as handheld weapons is the Indian epic RRR , a box-office phenomenon that’s become one of the highest grossers in the country’s history . In the final act, the rebel hero Komaram Bheem (N. T. Rama Rao Jr.), confronted with a motorcycle vrooming toward him, stops it in its tracks with a kick, grabs it by the front wheel, and uses it to demolish various opponents, swinging it around like a very unwieldy sword. The feat is ridiculous, but also utterly glorious, rendered in ultra-slow motion set to booming, jubilant music.

RRR , written and directed by S. S. Rajamouli, is more than three hours long, and its run time is bursting with moments like this, aggressive spectacles that are given enough room and emphasis to let the audience revel in them. Bheem is introduced with a training montage in the forest that sees him battle a tiger and a wolf. Later on, in one of his most preposterous attacks on nefarious colonial Brits, he mounts a truck filled with animals and crashes it into a gated fortress, then leaps out, flanked by an assortment of wild creatures, while carrying flaming torches in each hand. The visual is heroic nonsense, sure, but it’s also stirringly maximalist poetry, the kind of sincere triumphalism that feels absent from peer Hollywood blockbusters.

RRR (in English, the title stands for “Rise, Roar, Revolt”) is possibly the most expensive Indian film ever made, with a budget equivalent to $72 million. It is a product of the Telugu-language industry based in Hyderabad, which rivals the Mumbai-based Bollywood and has begun to threaten that sector’s position in terms of financial success. Rajamouli’s last two movies before this one are among the country’s biggest hits. So upon its March release, RRR ’s smash reception in India was to be expected. But its impressive performance in America , where it was initially screened in about 1,000 theaters, was surprising, given the comparative lack of press and advertising.

Since its strong opening weekend, RRR has become a word-of-mouth event in the U.S. Some theaters have organized packed special screenings as one-night events, and others have gone all in on daily showtimes for the foreseeable future, even though the film is now available to stream on Netflix. RRR has broken through for American audiences for likely a few reasons—many people desire fun, communal viewing experiences after years of COVID lockdowns, and cinema chains are casting wider nets as traditional Hollywood studios have had far fewer theatrical releases than usual in recent years. But I think the main explanation is that RRR offers the kind of action extravagance that even the biggest-budgeted superhero movies (such as Spider-Man: No Way Home or Black Widow ) seem curiously afraid to embrace.

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RRR is decidedly less cautious—even a single fired bullet will sometimes get its own slow-motion star treatment, as it blasts gracefully through the air toward a particular evildoer. No self-aware jokes are let loose to undermine the melodrama, and while most of RRR ’s many action scenes are overwhelming in scale, they also all manage to feel thematically different. The tale follows two freedom fighters, both loosely based on real-life figures from early-20th-century Indian history (though the script is entirely fictitious): Bheem, a defender of the Gond tribes looking to rescue a local girl kidnapped by the British, and Alluri Sitarama Raju (Ram Charan), who, in the film, is a military officer for the empire and secretly hopes to use his position to foment rebellion.

Though they share a hatred for the British, Bheem’s and Raju’s missions are often at cross-purposes, and the script delights in bringing the pair together as friends against all odds. After extended prologue scenes that separately depict their martial prowess, the movie finally unites them about 45 minutes in, when they both chance upon a train accident on a bridge that endangers a child. Bheem and Raju, despite never having met, immediately lock eyes from thousands of yards away and execute a complicated rescue. One of them charges forward on a horse, the other on a bike, and then they both do a series of gymnastic jumps that involves swinging from the bridge on ropes and passing a flag back and forth. (Almost every martial sequence in RRR is very difficult to describe in words, as should be the case for any good action movie.)

After all this, the boy is rescued, Bheem and Raju’s friendship is forged, and the film’s title finally flashes on-screen in full, as if Rajamouli is just now acknowledging that he’s earned the audience’s attention for the rest of the adventure ahead. Montages follow of the leads palling around, along with a masterful dance-off, multiple romances, plenty of tense fight scenes, and lots of lip-curling villainy from the occupying Brits. The thrill of RRR is not the density of its storytelling, though—it’s the exuberance of it.

I’ve invoked Marvel movies—plenty of which I enjoy—because they’re the most common example of the current American blockbuster style, one that lavishes hundreds of millions on intricate CGI action shots that often end up feeling airless, and in which even the grandest battles are executed with a depressing sameness. In those movies, giant monsters are defeated, and portals in the sky are closed, but seeing a film as visually inventive as RRR serves as a reminder of how much modern action usually follows a formula. If wonder is to be consistently found on the big screen, then Hollywood has plenty of new lessons to learn from its best competitor.

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Everything we know about ‘bridget jones: mad about the boy’ so far, ‘rrr’ review: jr ntr & ram charan in s.s. rajamouli’s latest epic.

By Stephanie Bunbury

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Rajamouli’s success with his previous Baahubali series and RRR ’s starry cast – led by Ram Charan and Jr NTR (aka N. T. Rama Rao Jr ), with megastars Ajay Devgn and Alia Bhatt in supporting roles — meant that the Indian audience was expecting great things this time round. Nobody will be disappointed.

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From the first scene, when we see a young “tribal” girl stolen from her mother to become the British governor’s wife’s plaything, we are in a heady world of good versus evil. In the next scene we see Alluri Sitirama Raju (Charan), an officer in the British army, tear through a surging crowd of seemingly tens of thousands to bring down one miscreant. Time and again, he is pulled down, beaten and rises to return to the chase. As the crowd disperses, beaten and dispirited, the one British officer with a lick of sense tells his nervous subordinate that while the angry masses were unnerving, he was much more scared of their own native recruit. Quite right, old chap. Be afraid. Be very afraid.

After that, RRR is one action crescendo after another, never dull but not exhausting either; there are plenty of scenes of Raju’s burgeoning bromance with Komaram Bheem (NTR), a similarly invincible knight come from the forest to find the missing girl, to give cheerful respite. Mostly, however, it’s all about cracking heads and derring-do.

RRR wastes no time on nuance; it doesn’t give a second’s credence to the lingering British belief that theirs was a benevolent kind of colonialism. Governor Scott is an ogre who tells his men not to waste good British bullets on these brown scum when they can easily beat their brains out; his bloodthirsty wife looks capable of poisoning 10 Snow Whites before breakfast. The officers are vain wimps; the men brutes. As for the railways, Britain’s much-vaunted legacy to Empire, the only train in RRR , catches fire on a bridge and collapses into the river that is the people’s livelihood. Nice one, Britain.

That said, there is an interesting undercurrent of intersectionality at the Governor’s garden party (shot in Ukraine, incidentally) where all the ladies are very taken with our heroes and want to give their kind of dancing a go, much to the chagrin of their men. There is even a flicker of romance between Bheem and the Governor’s niece, who lends the revolutionaries a crucial hand when needed. This scene lasts no more than a few seconds, however; RRR is very much about men. That’s an opportunity missed. Even Alia Bhatt, as Raju’s stalwart fiancée Seetha, is barely there.

A serious question emerges, however, between the thrills, whippings, beatings and the happy scenes of boyish togetherness that punctuate them. It is the old chestnut of means and ends. How many innocent people constitute legitimate collateral damage in the fight for freedom? Would you kill your best friend? Should you be capable of that? Maybe if soldiers killed both your parents in front of you when you were a child, you would be — but is that a righteous fury or just another wound? It is a question both heroes must ask themselves, both in the course of battle and its aftermath.

In real life, neither of these revolutionary heroes would live to see their battle won. There is, however, a harbinger of a better future. In the last speaking scene — there is another song and dance to come, of course, in which Bhatt finally joins the boys for some Busby Berkley-style kaleidoscopic swirling — the forest-dweller Bheem announces his new goal: to learn to read and write. Bheem did, in fact, learn to read and write in English, Urdu and Hindi, but RRR makes no claim to documentary truth. The myth is what matters, right down to Raju’s ultimate transformation into Lord Rama, shooting down the enemy with his divinely unerring bow and arrow. But do you want the truth, or something beautiful? RRR ’s vision is a far cry from the bitter realities of Narendra Modi’s India, but it makes a truly great story.

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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.

Rohit Kumar 67 days ago

&hearts;️&hearts;️❤️

vsudharshanreddy 250 days ago

Excellent �� movie

Basha Elaganuru 270 days ago

Rishitborra 514 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 578 days ago

Super movie

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5 Reasons to Keep ‘RRR’ on Your Radar, From Viral Choreography to Oscar Chances

Clocking in at just over three hours, director S.S. Rajamouli ’s “ RRR ” is a genre-bending epic filled with exhilarating action sequences, show-stopping musical numbers and a slew of wild animals.

Set in the 1920s and spoken in the Telugu language, the film follows the unlikely friendship of Alluri Sitarama Raju (Ram Charan) and Komaram Bheem (N.T. Rama Rao Jr.), two Indian freedom fighters who come together to revolt against the British Raj.

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Although “RRR” isn’t India’s official Oscar selection for best international feature, Variance Films will proceed with a full awards campaign , including submitting the film for best picture.

Here’s a rundown of what to know about “RRR.”

Revising history to inspire the future

Though the narrative is based on two real-life revolutionaries, “RRR” revises history to explore what might have happened if leaders Raju and Bheem combined forces.

In reality, Raju was an Indian revolutionary who launched an armed crusade against British colonialists invading the country. By raiding police stations, Raju obtained firearms to disseminate to the local villagers. The real-life Bheem also rebelled against colonialism, with efforts centered in the Hyperabad State of British India. Bheem was killed by police in 1940, cementing his place in Telugu folklore.

“RRR” is also inspired by the 2014 separation of Rajamouli’s home state Andhra Pradesh and Telegana, a socio-economic decision the director sought to undo in the feature. Instead, natives of India in the film are unified by a shared opposition to British imperialism: “I had this thought that Komaram Bheem is from the Telangana region and Alluri Sitarama Raju is from the Andhra region. So, if I can bring those two heroes together, it’s my way of saying we are one, we are not separate,” Rajamouli said .

“Naatu Naatu” is on the Oscars shortlist for best original song

“Naatu Naatu” is a bouncy, percussion-driven track sung by Rahul Sipligunj and Kaala Bhairava with lyrics written by composer Kanukuntla Subhash Chandrabose. The song is the first Indian track to ever be shortlisted for the Oscars.

After a bigoted socialite questions Bheem’s dancing capabilities at a royal party, he and Raja rebuke the assertion with an electrifying Desi dance-off set to the original song. The energetic routine contains elements of traditional Tollywood dance, like the Telugu hook step. The move went viral on TikTok when a first-look at the musical number was released prior to the film’s debut.

Choreographer Prem Rakshith designed the elaborate dance routine, having previously worked with Rajamouli on the director’s 2015 break-out film, “Baahubali: The Beginning.”

The film contains several musical numbers — not just “Naatu Naatu”

While “Naatu Naatu” garnered worldwide attention for its spirited, elaborately choreographed song-and-dance sequence, every musical number in “RRR” plays a major component in the storytelling. From narrating the beginning of Bheem and Raju’s friendship through “Dosti” to Bheem’s inspiring message in “Komuram Bheemudo,” these songs capture the emotions, relationships and crucial turning points of the film.

Animal imagery and symbolism

Several standout moments in the film involve an assortment of beasts, including tigers, leopards and wolves. Although these wild animals are featured in the more over-the-top action sequences of “RRR,” the animal imagery also ties to the film’s overarching theme that Indians are treated like animals by colonial forces. The British colonialists compare Indians to animals or the hunted throughout the film.

While most of these comparisons are used in a negative connotation towards Indians, some characters embrace certain animal metaphors as a source of power, such as Bheem being referred to as a tiger.

Getting in touch with the elements

Fire and water are the two opposing elements used to thematically represent Raju and Bheem, respectively, throughout “RRR.” The connection is made apparent in the film’s opening moments and further emphasized by the original motion poster designed to promote the feature.

In isolation, both characters possess the capacity for recklessness and extreme devastation; but in tandem, the revolutionaries balance out one another’s distinctive personalities and amplify their potential to enact change. Not to mention the protagonists’ elemental contrast makes for a dynamic spectacle of visual effects.

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Against gossip & scandal, independent media network, global stories from local perspective, factual culture news, ‘rrr’: a powerful, bonkers, and thoroughly executed story that transcends established genres | one of the best films of 2022.

Nader Chamas is an aspiring television writer who seeks to fuse thought provoking progressive ideals into the films, shows, and stories that he loves. Having graduated from Loyola Marymount University with a degree in Screenwriting, Nader seeks to use his writing to advance causes that do not get enough attention or input across mainstream media. Like most, Nader has his own share of his favorite franchises and stories across pop culture. However, he seeks to contribute timely and relevant topics into these stories as well as in his own original material. This is why Nader’s analysis of popular films and tv shows matches The Hollywood Insider’s practice of discussing entertainment from a socially cognizant and critical perspective.

Jun 10, 2022

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Photo: ‘RRR’

Normally, when a movie or show fluctuates in tone and pulls elements from many different genres, it often turns out very convoluted not knowing what type of story it wants to be. This is definitely the case with many blockbusters. Most try to include tropes and tools from a handful of different genres which isn’t necessarily a bad thing, however nine times out of ten they end up falling flat causing the narrative to be very dull. This is the polar opposite of S.S Rajamouli’s ‘Rise Roar Revolt’, otherwise known as ‘ RRR’ .

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The primarily Telugu-spoken film follows a fictional story between two real-life characters who try to fight back against the brutally real British colonization of India in the 1920s. The first of the movie’s two protagonists is Bheem, a warrior sent to rescue a girl kidnapped from his village by British troops who is played by N.T. Rama Rao Jr . The other main protagonist is Raju, an officer in the British Army who is tasked with stopping Bheem and is played by Ram Charan . The film also stars Alia Bhatt , Ray Stevenson , Olivia Morris , and Alison Doody . This harrowing story is a tale of friendship, liberation struggles, crazy action sequences, and stimulating musical pieces.

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We will keep this simple. If you are a lover of Cinema, then you have probably heard of the magnificient 'RRR' directed by S. S. Rajamouli. The film has garnered fans all over the world.

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We would like to request The Academy and its members to nominate 'RRR' in multiple Oscars catergoes which includes, Best Motion Picture, Best Director, Best Actors, Best Original Song, Best Original Screenplay, Best Cinematography, Best Original Score etc.

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‘RRR’ – The Powerful

Despite the story being fictional, the two revolutionaries that the film follows actually existed and the backdrop of British colonization of India obviously took place. The film has its lighthearted moments which will be touched on later in this review, however, it does not shy away one bit from showcasing the brutality that the various people and tribes of India endured during British colonial rule. Whether in the clash sequences between British police and protestors, the prison and torture scenes, or when seeing a girl be kidnapped from her village to be a servant in the governor’s mansion, the film does a superb job of conveying the trauma that victims of oppression and imperialism feel.

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The viewer is also able to feel the conflict of Raju’s character as an Indian man in the British colonial army. Eventually, the film shows us why this character partakes in the suppression of his fellow countrymen, how he found himself in this position, and what has led him here. He finds himself making many decisions that really violate his sense of identity and own well-being. The various characters in the British governance of India such as Ray Stevenson, Alison Doody, and Edward Sonnenblick all do an effective job in portraying the attitudes that the colonizer has against the colonized.

The Bonkers

The film goes all out in its wild, wacky, and wonderfully over-the-top style of entertainment. Beginning with the many action sequences, the film utilizes slow-motion as much as it pleases. This can very easily become obnoxious and annoying to the viewer. However, the film seems to almost be aware of this fact and finds a way to somehow embrace the over-the-top nature of repeated slow-motion shots, which miraculously stick the landing. The unapologetic use of slow-motion multiple times throughout every action sequence greatly enhances their entertainment and overwhelms the viewer with excitement. The use of slow-motion especially enhances the entertainment of these scenes during absolutely bonkers moments such as when a character jumps out of a truck carrying two torches with a hoard of tigers, leopards, bears, and wolves at his side. Another one of these moments is when a character swings a motorcycle around his head to fend off approaching enemies. The use of slow-motion is not only acceptable, but welcome with open arms.

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Another wonderfully wacky aspect of this film is the exuberant musical pieces throughout. Some are exciting and moving songs that play while the action on screen is taking place. Others are actual musical sequences that feature the characters singing and dancing. This is absolutely not an exaggeration, but the song ‘Naacho Naacho’ will be one the viewer will listen to on repeat for days after seeing this movie. The music, composed by M.M. Keeravani with lyrical contributions in Hindi as well as Telugu from Riya Mukherjee , Sirivennela Seetharama Sastry , Chandrabose , and Varun Grover along with vocals provided mainly by Kaala Bhairava and Rahul Sipligunj , make for some of most powerful musical moments seen in any film in years. While there are many light-hearted moments filled with music, there are also a handful of scenes where music is used to evoke a more serious emotional effect in an effort to show the many sides of oppression at the hands of a powerful empire like England.

The Well-Crafted

‘RRR’ is not only a great blockbuster and a fantastic spectacle film, it is also an exceptionally well written story. S.S Rajamouli and Vijayendra Prasad’s script takes the time to introduce characters that are not only original but also have reasonable motivations for the audience to buy into. It is impossible to count the number of times, especially in blockbusters, where characters did not have a believable or unique drive in taking the actions that they do. This is especially engaging to watch during scenes of conflict when certain characters both have empathizable motivations for what they are doing, yet that is what brings them into an inevitable impasse with each other.

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The story also features many twists and turns, none of which are unoriginal. They feel earned, realistic, yet unpredictable at the same time, a very difficult point to find in any type of story. The dialogue is also witty when it is able to be, empowering when it has earned itself to be, and sensitive when it has to be. There are a few lines that did feel as if they were there simply because they had to be, but they are very few and far between so this is the most minor of nitpicks. ‘Rise, Roar, Revolt’ or ‘RRR’ is one of the best films of the year and deserves the ever-growing word of mouth it is getting.

Directed by S.S Rajamouli | Written by Vijayendra Prasad and S.S Rajamouli

Producers: D.V.V Danayya , M.M. Srivalli

Cast: N.T Rama Rao Jr., Ram Charen, Ray Stevenson, Alia Bhatt, Olivia Morris, Alison Doody, Edward Sonnenblick

By Nader Chamas

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Common Sense Says
Parents Say 4 Reviews
Kids Say 8 Reviews

Common Sense Media Review

Epic blockbuster studies colonialism, has brutal violence.

Parents Need to Know

Why Age 16+?

The uprising at the core of the film is very violent. There are brawls and bysta

Language used includes "bastard" and "wanker." Derogatory language used toward t

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

Any Positive Content?

Komaram Bheem and Alluri Sitarama Raju are incredibly courageous in the face of

The movie does promote the idea that you match violence with violence. But it al

The film is set in India and the majority of the cast are native to the country,

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.

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.

Positive Messages

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

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.

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.

RRR: N.T. Rama Rao Jr. & Ram Charan dancing

Parent and Kid 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 - Golden Globe Award Winner
Last updated : June 20, 2024

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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RRR (India, 2022)

Although some aspects of RRR may seem foreign to mainstream North American movie-goers, the meat of the tale – an epic adventure featuring two mighty figures – is the kind of thing that American motion pictures used to do well. RRR tosses aside cynicism, “gray areas,” and ambiguity for sheer exuberance. Is it cheesy? Sometimes. Is it over-the-top? Almost always. Is it rousing? Without a doubt. The movie does everything LARGE, whether it’s an action sequence or an emotional connection. By the time the 3-hour running time has expired, most viewers will be exhausted from the nonstop energy of the experience.

As is the case with any spectacle, the best way to see RRR is in theater with a large screen, a top-line sound system, and an engaged audience. However, considering the film’s somewhat inconsistent distribution pattern, that may not be possible. I’m happy to say that RRR still works in a smaller format. There are times when it’s easy to forget the subtitles (there’s also a dubbed version available) and luxuriate in the frenetic energy that infuses nearly every scene. Certain elements, such as the use of treacly songs (a staple in Indian cinema – one that unfortunately doesn’t translate well for many North American audiences) seem out-of-place but that’s as much the result of a cultural schism than a cinematic commentary. With a movie as outrageously over-the-top as this one, who’s going to complain about a little crooning?

The movie transpires in 1920 India during the British Raj. Governor Scott Buxton (Ray Stevenson) and his wife, Catherine (Alison Doody) kidnap a young girl from the Gond tribe. This pushes the tribe’s legendary warrior-protector, Komaram Bheem (N.T. Rama Rao Jr) into action. He goes to Dehli to rescue the girl. When sources close to Buxton learn that danger is coming, Catherine seeks out the help of Rama Raju (Ram Charan), a valorous and loyal officer in the Indian Imperial Police. His duty: head off Bheem and kill or capture him. We learn that Raju is actually an anti-Raj revolutionary who is deep under cover. In order to protect his identity, he must pursue Bheem, even after the two become friends while each is masquerading as someone else. This sets up the inevitable conflict pitting them against one another.

As Raju, Ram Charan has the most demanding acting job; the performance requires that he cover the full spectrum of emotions from resolve to grief and he is convincing. N.T. Rama Rao Jr’s role is more in line with that of a traditional hero and he is capable as such. The two have excellent chemistry both as bosom buddies and deadly foes. Irish actors Ray Stevenson (Volstagg in the MCU Thor movies) and Alison Doody (who started her acting career as a Bond girl in A View to a Kill ) are frothing-at-the-mouth evil and make viewers yearn for their deaths. A dash of romance comes to Raju through Alia Bhatt’s Sita and for Bheem through Olivia Morris’s Jennifer.

Comments Add Comment

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(There are no more better movies of N.T. Rama Rao Jr.)
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How the Indian Action Spectacular ‘RRR’ Became a Smash in America

The unusual decision to rerelease the film a few weeks after its initial run has drawn enthusiastic audiences even though it’s available on Netflix.

Share full article

By Simon Abrams

The Telugu-language Indian action spectacular “RRR,” or “Rise, Roar, Revolt,” was already a worldwide box office winner when it was released in March, grossing $65 million during its opening weekend. But it took an unusual second release for the period epic from the director S.S. Rajamouli to become a word-of-mouth smash across the United States. Now in its 10th week, it’s the rare Indian hit to catch on with American viewers outside the Indian diaspora, thanks to the unusual decision to relaunch the film weeks after it had already played across the country on 1,200 screens.

Set in Delhi during the early 1920s, “RRR” follows two patriotic but philosophically opposed men (Ram Charan and N.T. Rama Rao Jr.) as they first clash with each other, then team up to rescue a kidnapped girl (Twinkle Sharma) from a pair of sadistic British colonial officials (Alison Doody and Ray Stevenson).

A Hindi-language version made for the Bollywood market has been available to Netflix subscribers since May and was among the service’s Top 10 most watched titles in America for nine consecutive weeks. But even with simultaneous streaming, the movie has now grossed $14 million at the American box office and played in 175 additional theaters across 34 states. By contrast, the Telugu-language crime drama “Pushpa: The Rise — Part 1,” the highest-earning Indian movie of last year, made only $1.32 million during its American release.

The president of the distributor Variance Films, Dylan Marchetti, estimates that most of the “RRR” ticket buyers had never before seen a production from Tollywood, the film industry that caters to audiences in Andhra Pradesh and Telangana, where Telugu is the main language.

The story of how “RRR” broke through in the U.S. involves a rare relaunch — sold to moviegoers as an “encoRRRe” — by Variance in conjunction with an independent consultant, Josh Hurtado, and Sarigama Cinemas, the movie’s original distributor.

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'rrr' movie review: ss rajamouli mounts yet another riveting visual spectacle, our review of ss rajamouli's rrr starring jr ntr and ram charan..

(This is a review of the Hindi dubbed version of RRR)

A man after being bitten by a poisonous snake breaks a wall with his own fist! When he's on death row and in solitary confinement he does push ups! Someone else has his legs broken but takes ferocious leaps in the air to kill his target! SS Rajamouli’s 3-hour-long, hypnotic spectacle RRR is made up of many such moments that nudge us to suspend our disbelief. “Load, aim and shoot! “ - that’s what Rajamouli’s screenplay and K V Vijayendra Prasad’s story is all about unencumbered as it is by the need to be historically accurate or even logical for that matter. The only way to have fun then is to unquestioningly surrender yourself to this ambitious setup where the directors’s mastery over his craft is never in doubt.

RRR is set in the 1920s and revolves around the lives of two revolutionaries – Alluri Seetharama Raju who waged an armed campaign against the British and Komaram Bheem a tribal from the Gond tribe who fought against atrocities heaped on his people. There is no historical evidence to show that the two ever met or fought together but Rajamouli reimagines history and weaves a story around their meeting.

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Jr NTR plays Komaram Bheem, while Ram Charan plays Alluri Seetharama Raju and Ajay Devgn, Alia Bhatt, Shriya Saran, Makrand Deshpande all have extended cameos. The action is all guns and teer kamaan blazing. Nothing is off limits . From our heroes with superhuman capabilities to the brute force of animals, computer generated but roaring and growling, there is never a dull moment in the almost 1 hour 45 mins long pre-interval duration. Watch out for the Naacho Naacho song and the spell-binding choreography which makes it impossible to look away. Jr NTR and Ram Charan with their vociferous performances and easy camaraderie leave us enthralled. The plot itself is wafer thin. Bheem wants to rescue a little girl forcefully taken away by a certain Lord Scott and his cruel wife. Charan playing the loyal servant to the Crown must do all he can to arrest him. Both fight each other till they realise that they share a common enemy all along. But it’s only Rajamouli who can conjure up the visual magic that makes us want to stay with their story even when it at times appears over zestful and melodramatic .

Our review of SS Rajamouli's RRR starring Jr NTR and Ram Charan.

Jr NTR and Ram Charan in RRR.

RRR is made for a big screen viewing. The cinematography and visual aesthetics paint every frame in a radiating manner. Oodles of flamboyance is something one has come to expect from Rajamouli now. The background score thuds with relentless urgency and repetition, unapologetically melodramatic and quite smitten with itself. It numbs us into submission but post-interval as the pace falters a little, the pleasures dwindle too. Leavened with rousing crowd pleasing ingredients RRR plays to our patriotic sentiments. It remains a film that makes us gawk and marvel at the thrilling visual ride. For us to suspend our disbelief the film must also write its way past the contrivances. This is where it falters. So even though parts of RRR seem Ridiculous and Reductive it's also absolutely Ravishing and for that it deserves to be seen and enjoyed.

Rating: 3 Quints out of 5.

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RRR Movie Review

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

	Ram Charan, Jr NTR, Ajay Devgn, Alia Bhatt
	SS Rajamouli
	Action, Drama
	3

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RRR is an epic in every sense of the word. The earnestness throughout this film is palpable and the central bromance between the two main characters really drives this movie forward. Fascinating look into Indian cinema with some of the most bombastic and inventive setpieces I have seen in a long time.

N.T. Rama Rao Jr.

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BABY REINDEER

Salaar: Part 1 – Ceasefire

Among this past year’s unexpected synchronicities, there’s now a shared space in the Venn Diagram that compares the American singer/songwriter Taylor Swift with the Indian writer/director Prashanth Neel . In 2023, both artists re-released their own re-recorded work, though Neel seems reluctant to describe his latest movie as a remake. Still, the pumped-up action fantasy “Salaar: Part 1—Ceasefire” shares a fair amount of its plot with “Ugramm,” Neel’s 2014 directorial debut. Both movies ultimately concern a civil war within an isolated fictional kingdom ruled by testosterone-fueled muscle guys and their female relatives. And now with “Salaar,” Neel’s fans will join Swifities in getting exactly what they want, a triumphal summary of their favorite artist’s style to date.

Neel has recently admitted that, with “Salaar,” he recast the manga-serial-dense story of “Ugramm” so that it more closely resembles his two-part action epic “KGF,” whose second half was the most expensive Kannada-language movie production to date. (now only tied for second place) Which is to say that “Salaar” also looks brownish-gold and seems to have been filmed on a studio set designed to look like a “ Mad Max: Fury Road ”-themed desert music festival.

It’s unusual, but not surprising to see Neel’s influence predominate in “Salaar.” The Pan-Indian blockbuster success of “KGF” was big enough to confirm a recent trend: popular directors are now being sold to their mass audience public as visionary auteurs, thanks in no small part to the strong appeal of “ RRR ” director S.S. Rajamouli’s brand of maximalist counter-mythmaking.

Before Rajamouli, Indian directors were rarely presented as being more important to a movie’s success than their marquee-topping actors. “Salaar” also stars Prabhas, who played Baahubali, the brawny warrior king, in “Baahubali,” Rajamouli’s trend-setting two-part historic romance. In interviews, Neel has said that some of the biggest differences between the stories of “Ugramm” and “Salaar” were inspired by Prabhas and his co-star Prithviraj Sukumaran . There’s still no way to look at “Salaar” without seeing this as Neel’s show, featuring some notable collaborators.

Even “Salaar”’s elaborate plot already feels like a Neel specialty, particularly its labyrinthine structure and heavy emphasis on flashbacks and tangential sub-plots. The first part of “Salaar” introduces viewers to Deva (Prabhas), a dreamboat with a past and a controlling mother ( Easwari Rao ). Deva loves children and also bonds with Aadhya ( Shruti Haasan ), an adult woman who also loves her mother (now dead) and is also hiding from a mysterious criminal organization. Aadhya and her pursuers lead Deva back to the powerful, hyper-industrialized Khansaar, an independent nation that looks like a steam-punkified coal mine and industrial slum straight out of “ Sonic the Hedgehog 2 .” Deva’s return to Khansaar also reunites him with Vardha (Sukumaran), prince of Khansaar.

Deva and Vardha’s friendship threads the needle for Neel’s crazy quilt story, uniting flashbacks to climactic boyhood traumas—they were so close and only ten years old, it was 1985!—with perpetually escalating “Game of Thrones”-type feuds between warring Khansaarian leaders. Will Deva bring peace to Khansaar and re-unite with Vardha? No, of course not. This is a story about how two childhood besties grew up to be the kind of rivals whose hatred is so intense that it makes their story too “frightening to think about,” according to some appropriately over-ripe voiceover narration. That line’s especially funny given that it’s delivered right before the surtitle card (“PART 1: CEASEFIRE”) announces an intermission break.

“Would you like to know his story?” the narrator says about half-way through the movie. “His” obviously means Deva, but it could it just as easily mean Neel, who plays up every on-screen movement as if it were a major dramatic event. Neel tends to over-score action with slow-motion a reverb-heavy score and matching sound effects. He also favors Zack Snyder-y speed-ramping in his fight scenes, which alternately winds up and slows down set pieces so that they’re more about poses than choreography.

There’s no question that Neel’s the key to “Salaar”’s success, so it’s hard to get too upset for his reminding us with every italicized, bolded, and underlined flourish. This movie, like his last two movies, feels like a calculated attempt at synthesizing a few different trends into the next mega-trend, including the Pan-Indian appeal of co-stars Prabhas (Telugu language) and Sukumaran (Malayalam). Neel retraces his steps with bolder, harder stresses, like when a group of women chant and shake their ankle bracelets in unison to thank Deva for delivering them from a tyrannical Lord and his rapist son.

Neel’s become a more polished filmmaker since “Ugramm,” and has used what he’s learned to dig his heels deeper into a style that he’s clearly been thinking about for a while now. It shows, even if “Salaar” is just another adolescent fantasy about a righteous savior and a world-ending civil war, coming soon enough in “Salaar: Part 2.”

In theaters now.

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.

Prabhas as Deva
Prithviraj Sukumaran as Vardharaja Mannaar
Shruti Haasan as Aadya
Jagapati Babu as Raja Mannaar
Easwari Rao as Deva's Mother

Cinematography

Bhuvan Gowda
Prashanth Neel
Ujwal Kulkarni

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RRR is a gift. Go see it. Rated 5/5 Stars • Rated 5 out of 5 stars 01/23/23 Full Review G This is a very entertaining movie! It has it all, the history, the action, the sorrow, the laughter, and ...
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Now, we want to help this piece of brilliant Cinema receive the recognition it deserves. Please sign the petition above. We would like to request The Academy and its members to nominate 'RRR' in multiple Oscars catergoes which includes, Best Motion Picture, Best Director, Best Actors, Best Original Song, Best Original Screenplay, Best Cinematography, Best Original Score etc.
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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.
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Salaar: Part 1
It's unusual, but not surprising to see Neel's influence predominate in "Salaar." The Pan-Indian blockbuster success of "KGF" was big enough to confirm a recent trend: popular directors are now being sold to their mass audience public as visionary auteurs, thanks in no small part to the strong appeal of "RRR" director S.S. Rajamouli's brand of maximalist counter-mythmaking.

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