Review of Game Changer: Although movie lacks the charm, Shankar's Telugu debut, starring Ram Charan and Kirara Advani, is a type of "comeback."
Review of Game Changer: Game Changer, director Shankar's debut Telugu film, is a costly masterwork on electoral politics and stars Ram Charan, Kiara Advani, Anjali, and SJ Suryah. The director's films have a recognizable rhythm since he established his specialty in 1993 with Gentleman, which either makes you feel at ease because of nostalgia or irritates you since he doesn't seem to be able to go past them. Game Changer follows the tried-and-true template and is a reasonably well-made Shankar movie.A story that changes the game
Despite having anger management issues, Ram Nandan (played by Ram Charan), an IPS officer who is now an IAS officer, is a man of integrity. He aspires to serve the people as best he can and lead a Vizag free from corruption. Meanwhile, as his wrongdoings catch up with him in old age, Andhra Pradesh Chief Minister Satyamurthy (Srikanth) undergoes a change of heart. Mopidevi (Suryah), Satyamurthy's son and a corrupt politician, is enraged by both and seeks power at any costs. What occurs if Ram and Mopidevi are pitted against one another?
Review of Game Changer
Even though Ram claims to be "unpredictable," Shankar's picture is anything but. You can be certain that the hero will always prevail since this is commercial film. Additionally, since this is Shankar's film, you can be sure that you'll learn more about whatever topic he's addressing—even if he uses a lot of artistic license. While mostly keeping you entertained, Game Changer is a triumph on both counts. Making you feel good enough to support Ram is where it falls short. Because another character takes the stage more than halfway through the movie.
Parvathy and Appanna
A tiny percentage of Game Changer is what Shankar depends on to serve as its pulsating heart. Anjali portrays his wife, Parvathy, a Tappeta Gullu artist and activist, while Ram plays Appanna, an activist standing out for the oppressed. These two perform all the heavy lifting that the rest of the movie does not. In a brief amount of time, both actors give their characters a sensitive vulnerability that makes you care about how they turn out. In these scenes, Srikanth also excels, giving his character a depth that might otherwise be lacking.
Even the filming of Appanna and Parvathy's story differs from the polished presentation of the remainder of the movie. A special mention should be given to Tirru's cinematography and Thaman's background music in these scenes. The colours are warmer, the music is smoother, and Ram probably delivers one of his career-best performances as Appanna, Ã la Rangasthalam. Like the rest of the movie, Shankar takes his time with this section.
The formula for Shankar
Those who grew up watching Shankar's movies are aware of how things will unfold. He provides you with visually stunning, colorful songs (Dhop, Jaragandi) that are shot on a grand scale, but his love story—which stars Kiara Advani as Deepika—contributes little to the overall plot. Naturally, the ideal heroine with a kind heart who guides our man in the correct direction is Deepika. Because he is the adversary, Mopidevi is brutal and morally bankrupt.
In Shankar's films, there is no room for gray (both literally and figuratively); you either follow the program or you don't. He doesn't allow you time to process what you're seeing.
Game Changer isn't accused of boring you, so this pacing works well, but it also means Shankar doesn't have enough time to provide a solid enough framework for some important scenes. Although Appanna-Parvathy's story is poignant, it has a shoddy connection to Ram. More attention should even be paid to the story of Mopidevi and his brother Jayaram. Shankar has a more significant tale to tell here, but instead of introspection, we witness Ram and Mopidevi competing against one another while running on the hamster wheel.
To sum up, Kartik Subbaraj wrote the plot of Game Changer; perhaps he wanted it to be something more—something distinct. Even though it's entertaining, the rendition seems to be a rehashing of Shankar's earlier works; references to Muqabla and Mudhalvan (Oke Okkadu) are included. In 2025, as opposed to the 1990s, you can see when he's pushing the boundaries of reason.
The absence of magic, in contrast to his works from 1993 to 2007, is another problem. Despite your desire for it to be more, Game Changer is merely mediocre. It does a good job of staying focused on its goal, which is to expose corruption in Indian politics, but it offers nothing more. And perhaps that's a victory following Shankar's most recent appearance, Indian 2.
Despite having anger management issues, Ram Nandan (played by Ram Charan), an IPS officer who is now an IAS officer, is a man of integrity. He aspires to serve the people as best he can and lead a Vizag free from corruption. Meanwhile, as his wrongdoings catch up with him in old age, Andhra Pradesh Chief Minister Satyamurthy (Srikanth) undergoes a change of heart. Mopidevi (Suryah), Satyamurthy's son and a corrupt politician, is enraged by both and seeks power at any costs. What occurs if Ram and Mopidevi are pitted against one another?
Review of Game Changer
Even though Ram claims to be "unpredictable," Shankar's picture is anything but. You can be certain that the hero will always prevail since this is commercial film. Additionally, since this is Shankar's film, you can be sure that you'll learn more about whatever topic he's addressing—even if he uses a lot of artistic license. While mostly keeping you entertained, Game Changer is a triumph on both counts. Making you feel good enough to support Ram is where it falls short. Because another character takes the stage more than halfway through the movie.
Parvathy and Appanna
A tiny percentage of Game Changer is what Shankar depends on to serve as its pulsating heart. Anjali portrays his wife, Parvathy, a Tappeta Gullu artist and activist, while Ram plays Appanna, an activist standing out for the oppressed. These two perform all the heavy lifting that the rest of the movie does not. In a brief amount of time, both actors give their characters a sensitive vulnerability that makes you care about how they turn out. In these scenes, Srikanth also excels, giving his character a depth that might otherwise be lacking.
Even the filming of Appanna and Parvathy's story differs from the polished presentation of the remainder of the movie. A special mention should be given to Tirru's cinematography and Thaman's background music in these scenes. The colours are warmer, the music is smoother, and Ram probably delivers one of his career-best performances as Appanna, Ã la Rangasthalam. Like the rest of the movie, Shankar takes his time with this section.
The formula for Shankar
Those who grew up watching Shankar's movies are aware of how things will unfold. He provides you with visually stunning, colorful songs (Dhop, Jaragandi) that are shot on a grand scale, but his love story—which stars Kiara Advani as Deepika—contributes little to the overall plot. Naturally, the ideal heroine with a kind heart who guides our man in the correct direction is Deepika. Because he is the adversary, Mopidevi is brutal and morally bankrupt.
In Shankar's films, there is no room for gray (both literally and figuratively); you either follow the program or you don't. He doesn't allow you time to process what you're seeing.
Game Changer isn't accused of boring you, so this pacing works well, but it also means Shankar doesn't have enough time to provide a solid enough framework for some important scenes. Although Appanna-Parvathy's story is poignant, it has a shoddy connection to Ram. More attention should even be paid to the story of Mopidevi and his brother Jayaram. Shankar has a more significant tale to tell here, but instead of introspection, we witness Ram and Mopidevi competing against one another while running on the hamster wheel.
To sum up, Kartik Subbaraj wrote the plot of Game Changer; perhaps he wanted it to be something more—something distinct. Even though it's entertaining, the rendition seems to be a rehashing of Shankar's earlier works; references to Muqabla and Mudhalvan (Oke Okkadu) are included. In 2025, as opposed to the 1990s, you can see when he's pushing the boundaries of reason.
The absence of magic, in contrast to his works from 1993 to 2007, is another problem. Despite your desire for it to be more, Game Changer is merely mediocre. It does a good job of staying focused on its goal, which is to expose corruption in Indian politics, but it offers nothing more. And perhaps that's a victory following Shankar's most recent appearance, Indian 2.
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