OG Review: Pawan Kalyan Roars in Lacklustre Film

Director: Sujeeth

Rating: 2.5/5 stars

After donning the role of a protector of Hinduism in Hari Hara Veera Mallu, Pawan Kalyan returns as a fiery gangster in OG. No doubt, the star showcases his karate skills, nunchaku moves, and sword fights while mercilessly eliminating rivals. But despite the high-octane action, the predictable narrative offers no real surprises.

The film unfolds in a KGF-style narration, where every character hails the heroism of Pawan Kalyan, while the man himself is left to appear on cue to flex his muscles and kill with swag. His love story and marriage with Priyanka Mohan get lost in the cacophony of gang wars over an RDX-laden container at a port. To add novelty, director Sujeeth imports Pawan from Japan, reintroducing him as a samurai. But being a fanboy, Sujeeth relies entirely on Pawan’s larger-than-life image and misses the chance to build a stronger, engaging plot.

Pawan has essayed gangster roles before (Panja, Balu), but here again, his characterization feels one-dimensional. While he is naturally good at humor and light-hearted performances, Sujeeth sticks to his angry shade. A few action sequences are well choreographed and designed to thrill fans, yet the lack of emotional depth makes the film feel more like a tribute to Pawan Kalyan than a fully realized story. Twists, like the one involving Arjun Das, come across as forced.

The film opens in Japan, showcasing a battle for supremacy between Yakshus and Samurais. One young Samurai (Pawan) is asked to leave the country, later becoming a protector for Prakash Raj’s character in Colaba. Ojas Gambheera goes into exile but eventually returns to shield Prakash Raj’s family in their dire times. After personal tragedy strikes, he sets his sights on the ruthless Emraan Hashmi, who arrives from Istanbul.

Pawan leans heavily on his Aikido-inspired martial arts, executed with his trademark swagger. Priyanka Mohan, unfortunately, has very little to contribute. Prakash Raj delivers in a meaty mentor role, Sriya Reddy leaves a mark, but Emraan Hashmi, despite his pivotal role, appears expressionless at times.

Thaman’s background score elevates the mass moments, while cinematographer Ravi K. Chandran captures a few breathtaking visuals.

Director Sujeeth, who rose to fame with Run Raja Run but stumbled with Saaho, puts his full faith in Pawan’s charisma here. The film ultimately rides on star power rather than substance. Whether that gamble pays off at the box office remains to be seen.