In the process of narrating the story, Boyapati ticks of every box that is key mainstream cinema in our side of the world.
A frozen moment in the air - enough for all the fans to shout their lungs out, whistle multiple times and even shower the glittering confetti - just before the hero makes a grand entry is an indication that you're in for a ride that defies logic and only aims to entertain (or so, they say).
With that grand welcome, begins the journey of every wastrel hero we have met on the Telugu silver screen innumerable times over the years. We are taken into the life of another such guy, Ghana (Allu Arjun), a jobless young man who left military (apparently to bring justice to the society) and is whiling away timing beating up goons. Life takes a turn when he brushes the shady Vairam Dhanush (Aadhi Pinisetty) the wrong way.
In process of narrating this story to us, Boyapati ticks of every box that defines T-town's mainstream cinema - the eventual dramatic confrontation of the rivals, the hero harassing a girl into falling for him, usual gravity defying stunts, punch dialogues, flexing of muscles, reddening of the eye and of course the two heroines with completely different personas - which are a key part of the formula.
In such films, we don't expect logic for sure but it's absurd how some things pan in this film. For instance, a common man following an MLA all over the place asking her to fall for him raises a serious question of security and why doesn't she book him for harassment? Also, for someone who has been chasing a woman for the entire first half of the film, it seems pretty inane that he'd immediately move on to another woman in a jiffy. Then there are the bad guys who have been chasing Rakul for "four days" - their aim was to kill her but they wait till the hero is in the vicinity. How convenient, eh?
Allu Arjun is in the new zone of "oora mass" in this film and manages to carry it off pretty well. In fact, the entire film rests on his shoulders and he is the only silver lining to this otherwise average package. Even seasoned actors like Srikanth and Sai Kumar are wasted with character sketches that are very vague. Catherine's MLA act is reduced to a joke thanks to the characterization, Rakul is given limited scope with just sobbing to do. Brahmanandamm, for a change, makes you laugh while Vidyu's Tamilian act is stereotypical and overdone.
Putting logic aside, such movies thrive on mass appeal - the moments which give you a high. But even in that case, this film fails except for rare moments like the unexpected scene where a bleeding Janu (Rakul) and the fight sequences which are top notch. Having said that, the film's biggest drawback is it doesn't connect emotionally. For instance, Srikanth being shot and bleeding profusely doesn't move you at all.
The film's biggest asset would be the technicalities like Rishi Punjabi's slick camerawork which makes every frame rich. Thaman, though repetitive, gives a few tunes that'll remain with you for long. The BGM is reminiscent of Baahubali and tends to become very loud at times.
The prime conflict the director chooses - land grabbing of farmers' lands by the badass son of a CM, Vairam Dhanush (Aadhi Pinisetty) - is done to death courtesy several films in recent times made on the same theme and doesn't work again. The film has nothing new to narrate and fails to keeps you glued to the seats throughout. The hackneyed plot and lack of novelty make this film a regular watch, this film is something for the masses.