‘Mechanic Rocky’ Movie Review

The young and dynamic Vishwaksen, who has been consistently entertaining Telugu audiences, returns to the big screen with Mechanic Rocky. After impressing fans with his earlier releases this year, such as Gami and Gangs of Godavari, Vishwaksen now takes on a new role in this action-packed film directed by debutant Ravi Teja Mullapudi. Let’s explore what makes this film stand out and whether it lives up to the expectations set by his previous work.

Story:

The story follows Rakesh, better known as Rocky (Vishwaksen), who struggles with academics but runs a car garage passed down from his father and grandfather. Trouble arises when a ruthless goon, Rankireddy (Sunil), targets the garage’s location and attempts to forcefully take control. Despite Rocky’s relentless efforts to protect his family’s legacy, Rankireddy won’t back down. Amidst this conflict, Rocky’s father passes away, leaving him to honor his father’s last wishes by safeguarding the garage. Will Rocky’s fight against Rankireddy be victorious? The film takes viewers on a gripping journey to find out.

Analysis:

The first half of Mechanic Rocky follows a familiar, straightforward narrative with little to distinguish it from other films in the genre. Early on, a twist is introduced, suggesting that everything up until that point has been a lie. This formula—first popularized in films like Pokiri—has become a recurring theme in Telugu cinema. Vishwaksen himself explored a similar premise in his previous film Dhamki. While Dhamki managed to stand out due to its heightened stakes, Mechanic Rocky falls into the same routine, offering little novelty.

The film’s first half drags, with a story that feels too predictable. The hero’s entry, the college romance, and the struggle to take over the garage all unfold with little excitement. The villain’s introduction adds no real surprise either, with his attempts to claim the garage following a typical villain-hero conflict. The film proceeds without any significant highs, leaving the audience disconnected. Vishwaksen’s energy, however, tries to hold the film together, but even his performance can’t entirely lift the material.

Yet, when the story takes a turn in the second half, it begins to regain some interest. The twists in character dynamics aren’t groundbreaking, but they are enough to make things more engaging. The film takes on a more emotional tone, especially as the characters evolve from seemingly simple to much more complex figures. This shift helps the film regain momentum, particularly against the backdrop of a cybercrime subplot. However, despite the potential for a strong finish, the climax ultimately falls flat, leaving the earlier missteps unaddressed.

Mechanic Rocky isn’t a standout film. It’s an average experience that relies on its twists and Vishwaksen’s performance to keep the audience engaged, especially in the second half. The two heroines play important roles, impressing both in their beauty and performances, but they can’t fully rescue the film. While the film offers some twists worth watching, it’s hard to shake the feeling that it could’ve been much more. It’s best to keep expectations in check for those expecting something exceptional.

Performances:

Vishwaksen continues to captivate audiences with his high-energy performances, and Mechanic Rocky is no exception. Even in the first half, which feels rather conventional, Vishwaksen’s dynamic presence manages to keep the audience engaged. His performance stands out even more in the second half, where the story takes a stronger turn. He seamlessly transitions between innocence and a more calculating side, revealing the drama beneath his character. The shift in his role showcases his acting depth. The two heroines also play significant roles, with Meenakshi Chowdhury impressing once again after her role in Lucky Bhaskar.

She brings warmth and credibility to her character, especially in the film’s key moments, and her beauty in traditional attire adds to her charm. Shraddha Srinath’s performance is a pleasant surprise—her role brings an unexpected layer to the story, and the details of her character are best experienced on screen. Sunil, as the villain Rankireddy, follows a standard antagonist path, without much to differentiate his portrayal. Viva Harsha, as the hero’s friend, provides some light-hearted moments, while Senior actor Naresh brings his usual depth to the role of Rocky’s father. Harshavardhan and the supporting cast deliver adequate performances, without particularly standing out.

Technicians:

On the technical front, Mechanic Rocky fares decently. The cinematography by Manoj Reddy is commendable, with visuals that enhance the film’s appeal. While the soundtrack offers some good moments, most songs are average. Jakes Bejoy’s background score complements the film’s pacing, although it doesn’t elevate it to new heights. A standout song by Mangli that adds a pleasant touch to the film. Writer-director Ravi Teja Mullapudi’s execution is a bit of a mixed bag.

His reliance on twists to carry the narrative is apparent, and while the second half of the film benefits from these shifts, the first half feels overly familiar and uninspired. His direction lacks the freshness that one might expect from a new filmmaker, with much of the film falling into predictable patterns. However, he does manage to save some of the first half’s routine storytelling by injecting some intrigue in the second half, making it a more engaging experience overall.

Verdict:

Mechanic Rocky, Needs Some Repair, But Still Runs On.

Rana Daggubati says India’s low screen count is triggered by rising real estate cost

Actor Rana Daggubati, who is known for ‘Arrambam’, ‘Baahubali: The Beginning’, ‘Baby’, ‘Housefull 4’ and others, has shared his insights on the Indian entertainment industry’s eternal problem of a diminishing screen count.Rana spoke with IANS ahead of the release of ‘All We Imagine as Light’ which won the Grand Prix at the 77th Cannes Film Festival.

Rana, who is presenting the film to the audience across the country, told IANS, “India is definitely very very underscreened. In terms of the number of screens it has, 14, 000 is a very large number. India has only about 6000-8000 working screens, the rest are all diminishing in many ways. Out of which, a large part of it is in Andhra and Telangana, the areas that I live in.

He further mentioned, “But no, we just feel like it can be much more. Screens for different kinds of people, and the number of people that are around”.

He then pointed toward the axel that drives the problem of screen count: India’s real estate market.

The actor told IANS, “It would solve that problem but India’s real estate is not as cheap as the rest of the world. We have less land, and many people unlike the USA or China which have much more land mass than us. We can build many more things. So that would change. But it’s like a chicken and egg. Look at the cinemas now. Every festival we are over full”.

“And we feel like there is no space for new films. But the rest of the year as exhibitors. We just sit idle because there is no film. It’s that trick that we are falling in, I just feel like. Unless exhibitors also know that there is more cinema that they can play, different types of audience that they can reach out to, different types of marketing techniques, that they can start exploring”, he added.

‘All We Imagine as Light’ is set to arrive in cinemas in India on November 22.