Kingdom Review:
Rating: ★★¾ (2.75/5)
By [Senior Film Critic anrwriting]
Director Gowtam Tinnanuri, who made waves with Jersey, returns with Kingdom a film that ambitiously attempts to blend a stylized spy narrative with the emotional depth of brotherhood. Set against the backdrop of a fictional British-era and modern-day conflict, the film looks rich and earnest, but its storytelling seldom matches its cinematic sheen.
*Story*
Soori (Vijay Deverakonda), a modest police constable, is pulled into a covert mission tied to national security. As the layers unfold, he finds the path inexplicably connected to his long lost brother Siva (Satyadev). What follows is a journey of revelation, redemption, and the rekindling of a bond long severed.
The setup is promising there’s intrigue, scale, and emotional potential. But the screenplay squanders much of it by leaning on tired tropes and half-hearted emotional cues.
*Performances*
Vijay Deverakonda is refreshingly restrained as Soori. He plays it straight, with no dramatic excess, anchoring the film with sincerity. His grounded presence complements Satyadev’s composed performance, which is arguably the film’s most quietly impactful element. Together, they bring dignity to an otherwise undercooked script.
Bhagyashri Borse, cast as the female lead, is barely given a part to play her character neither drives the plot nor registers emotionally. She’s more a narrative footnote than a participant.
Venkatesh, cast as the antagonist, is wasted in a generic villain role that lacks menace, purpose, or progression. Despite his commanding screen presence, the character is little more than a sketch.
*Direction*
Tinnanuri attempts to shift gears from the emotionally driven storytelling of Jersey to a larger canvas here. Kingdom starts off with flair period costumes, dramatic tension, and a visual grammar that grabs attention. But it doesn’t take long for the momentum to dip.
The first half is particularly sluggish. Emotional beats between the brothers are underwritten, and dramatic moments land without weight. For example, a critical reunion between Soori and Siva unfolds without buildup or payoff, robbing it of any resonance. The pacing is languid, and the writing seldom rises above surface level intent.
The second half does recover some ground. A stretch involving Siva’s character adds some emotional heft, and the climax is visually meticulous. But these high points come too late to salvage the overall experience.
*Technical Merits*
Anirudh Ravichander’s background score is moody and textured, echoing the sonic palette of KGF with brooding undertones. It’s effective in setting tone, though the lack of grand action sequences limits its ability to truly elevate the film.
The cinematography by Jomon T. John and Girish Gangadharan is among the film’s biggest assets. The frames are lush, stylized, and immersive, adding gravitas even when the narrative falters. Editing by Naveen Nooli, on the other hand, could have been far tighter the first hour, in particular, drags noticeably.
The production design and visual scale are commendable, thanks to solid backing by Sithara Entertainments, Fortune Four Cinemas, and Srikara Studios. This is a film that consistently looks big, even if it doesn’t always feel that way.
*Highlights*
- Rich visual aesthetic and art direction
- Sincere performances by Vijay and Satyadev
- Atmospheric score by Anirudh
*Drawbacks*
- Predictable and uninspired writing
- Underwhelming villain and female lead
- Pacing issues, especially in the first half
*Verdict*
Kingdom is a classic case of strong intent diluted by weak execution. It’s visually ambitious and emotionally sincere on the surface, but the storytelling remains emotionally distant and dramatically uninvolving. The leads try hard to hold the narrative together, and technically the film ticks several boxes but the soul of the story never quite comes alive.
(Note: This review is presented from the perspective of a general moviegoer.)
