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Dec 2, 2021 · It may look like that the film is pro-progress and pro-rationality, but his characters’ actions are anything but. He has also irresponsibly used spirituality to provide a moral justification for his character, who keeps slaughtering people with impunity. It’s alright. You see, Akhanda is a good man with a lethal weapon.
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Not once, but TWICE Akhanda literally PUNCHES SOMEONE'S SOUL OUT OF THEIR BODY. It's pretty dope, I must say. He's equipped with a trishul, Lord Shiva' traditional weapon, and he uses it to skewer MANY, M A N Y bad guys. But that's not all! One thing that Srinu is known for is being the king of Tollywood decapitations.
Dec 4, 2021 · In Akhanda, one of the roles essayed by Balakrishna is akin to a demi-God, someone who has superhuman powers. The other character played by Balakrishna is named Murali Krishna, a Good Samaritan ...
- Sangeetha Devi Dundoo
Dec 2, 2021 · The film begins with a military operation. When an officer finds the man they are looking for and calls it in. Instead of acting on the information, the commander starts telling the officer who this man is and why he must be caught. Meanwhile, the criminal kills them all and escapes. As far as exposition goes, that’s a very bad start.
Dec 2, 2021 · ‘Akhanda’ also shows two different shades of Balakrishna. He once again comes up with a riveting performance in the role of Akhanda. His getup is terrific. Some of his dialogues are powerful, others sounded routine. The entire second-half runs on Akhanda’s role. Pragya Jaiswal is an IAS officer, but her character turns regular after a few ...
Dec 2, 2021 · One is a do-gooder with super-human skills to bash people but just a little bit of vulnerability to shake his leg to fill the first half with songs and dance along with massy fights. There's a gruesome villain doing an illegal activity and is probably an extreme version of some real life political opponent of Balakrishna, the politician.
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Dec 2, 2021 · Rating: ( 1.5 / 5) Akhanda is a true-blue Boyapati Sreenu film. This is neither a criticism nor an appreciation; I’m merely stating a fact. Ever since his debut with Bhadra, Boyapati has refused to evolve as a storyteller. What has changed, though, is the way his barbaric villains mercilessly murder dozens of junior artists.
