They Call Him OG Review: Pawan Kalyan’s ఊచకోత!

They Call Him OG is Pawan Kalyan’s second release of the year, this time in an action-packed crime saga written and directed by Sujeeth. Set across two continents and timelines, the film blends mythic storytelling with gritty underworld drama, following the rise of a mysterious figure who becomes both legend and weapon. Featuring an ensemble cast including Emraan Hashmi, Priyanka Mohan, Arjun Das, Sriya Reddy, and Prakash Raj, the film promises a sweeping tale of loyalty, power, and vengeance — all delivered with Sujeeth’s signature flair for scale and style.

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Set in two distinct timelines, the film follows the mysterious Ojas Gambheera, whose life takes a violent turn after surviving a massacre in Japan and finding himself in the chaotic world of 1970s Bombay. There, he crosses paths with Satya Dada, a businessman with a vision to build a port that uplifts the local community. The two men form an unlikely alliance built on mutual respect and loyalty, but years later, those bonds are tested by greed, betrayal, and vengeance as the next generation inherits their unfinished battles.

First off, beginning with the positives, everything aside, Sujeeth remains a director with an unmistakable eye for visual grandeur. His storytelling may oscillate between subtle and sensational, but his visual language is consistently arresting. The way he stages his hero is second to none — every frame feels designed to elevate the protagonist into legend. The camera doesn’t just follow Pawan Kalyan; it reveres him. There’s a deliberate grace in the way Sujeeth choreographs action, capturing every slash, glare, and pause with cinematic poetry.

Much of this visual richness can be credited to cinematographers Ravi K. Chandran and Manoj Paramahamsa, whose combined efforts make the film pulse with texture and mood — whether it’s the neon-soaked alleys of Japan or the smoggy, gold-tinted docks of Bombay. Production designer A.S. Prakash also deserves special mention for constructing a world that feels both historical and mythic, with sets that echo the grit of gangster dramas while exuding an almost graphic-novel aesthetic. Together, they bring Sujeeth’s vision to life — one steeped in style, scale, and an almost operatic sense of heroism. It’s in these technical achievements that They Call Him OG finds its truest voice — not merely as an action film, but as a visual spectacle.

The performances, too, were solid across the board. This truly feels like Pawan Kalyan’s return to form — not just as an action hero, but as the magnetic performer fans have always known him to be. He commands the screen effortlessly, carrying that signature swagger and quiet intensity that made him a star in the first place. Every time he appears, he owns the frame — whether he’s walking into a fight or just exchanging a stare, there’s an undeniable electricity. For his fans, They Call Him OG feels like a cinematic wish fulfilled — a larger-than-life showcase of everything they love about him. Among the supporting cast, Sriya Reddy stands out with a composed yet fierce performance, balancing power and poise in her limited but striking screen time.

However, this is exactly where They Call Him OG begins to falter. Beneath all the slick visuals and powerhouse performances lies a story that feels surprisingly hollow. The writing is the weakest link here — it’s simple in concept but needlessly tangled in execution. Sujeeth, in his attempt to craft a layered narrative, ends up overcomplicating what could’ve been a gripping and emotionally charged gangster saga. Instead of flowing with clarity and purpose, the screenplay jumps between timelines, tones, and moods, never allowing the audience to truly connect with the characters or the stakes. There are moments that tease depth — revenge, loyalty, brotherhood — but they never linger long enough to make an impact.

The film’s writing lacks emotional weight. You don’t feel the pain, the loss, or the drive behind the violence. Everything unfolds at a visual level — it looks great, but it doesn’t feel great. The action sequences are beautifully choreographed, the slow-motion shots are stylish, and Thaman’s background score is thunderous and elevates every scene with intensity. But when the smoke clears, there’s an emptiness underneath it all. The film’s heart doesn’t match its spectacle.

This is where the comparison to John Wick naturally arises — because, in essence, OG follows a similar revenge template. But the difference is, John Wick thrives on simplicity. It trusts its emotion, allowing the viewer to focus entirely on the character’s pain and purpose, making every punch and gunshot mean something. OG, however, drowns its straightforward story in stylistic indulgence and cluttered storytelling techniques. The screenplay doesn’t build emotional rhythm — it fragments it. By the end, you’re left admiring the craft but not connecting with the content.

And then there’s the violence — excessive, relentless, and at times, overwhelming. While it fits the gritty tone of the film, it often crosses into indulgence, losing its meaning and becoming repetitive. The more the film leans into bloodshed, the less impact it carries. Instead of heightening tension, it numbs you to the chaos. That’s where Sujeeth’s writing truly misses the mark — it’s all blood and bravado, but not enough soul to make you care about what’s being fought for.

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In the end, They Call Him OG is a technically superb but emotionally distant experience. Sujeeth mounts a film that’s visually spectacular and heroically staged, and Pawan Kalyan delivers one of his most stylish turns in recent years. Yet, beneath all that gloss, the writing struggles to find its heartbeat. The film feels like a beautiful painting with faint outlines — you admire it from a distance but can’t connect deeply with what it’s trying to say.

‘They Call Him OG’ Rating – 2.75/5