Hit 3 Review: Nani Goes Full-Throttle in This Mindless Action Frenzy

Director: Shailesh Kolanu

In a drastic departure from his usual performances, the ever-versatile Nani unleashes his wild side in this high-octane, logic-defying action drama. Following the success of HIT 1 and HIT 2, which were sharp, investigative thrillers, director Shailesh Kolanu attempted to take the franchise pan-India. But instead of an engaging narrative, we get a stretched-out cop saga that abandons logic and emotional depth for blood, gore, and brute force.

Nani, seemingly aiming to broaden his appeal beyond Telugu-speaking audiences, transforms from a relatable cop into an almost mythic warrior. By the climax, he's wielding swords, battling psychotic villains, and leaving trails of blood in his wake. Unfortunately, this transformation comes at the cost of coherence. The plot, which hops from Hyderabad to Jaipur, Bihar, and even the Dark Web, feels stitched together solely to showcase Nani as an unstoppable force of vengeance.

In his attempt to craft a massy image for Nani, Kolanu sidelines storytelling and character development. The love story with Srinidhi Shetty is rushed and superficial, confined to a couple of scenes and two songs. Shetty, while given a few action moments, is largely underutilized. Prateik Babbar and Samuthirakani, too, offer nothing memorable in their supporting roles.

Nani’s character arc is bizarre and jarring. Introduced as a brooding cop who records his killings and investigates them the next day, he’s also shown grappling with a strained relationship with his father and a failed love life. Enter Srinidhi, who finds his profile on a matrimonial site and quickly forms a bond with him. Meanwhile, a series of killings leads Nani to Arunachal Pradesh, where he uncovers a murderous conspiracy.

At one point in the film, Nani declares, “Everyone thinks I’m classy, but I’m mass on the inside.” That line pretty much sums up the film's run through, as it transforms Nani into a killing machine, but not quite convincing.

Cinematographer Sanu Varghese deserves credit for capturing some stunning visuals, and Mickey J. Meyer’s background score adds decent support. However, these technical strengths can’t salvage a film that prioritizes style over substance.

With influences loosely drawn from the Squid Game playbook — where death is depicted more as spectacle than tragedy — this film tries to be a high-stakes action thriller but ends up as a chaotic, violent ride lacking emotional impact. Toward the end, director hints at HIT 4, hope he will find a relatale script for the same.