Akhanda 2 is a Telugu mass entertainer built around high-voltage action and mythological fantasy. The film relies heavily on spectacle rather than realism. It delivers a steady stream of exaggerated action set pieces and dramatic moments meant for a large-screen experience. Headlined by Balayya, the film is designed to please fans of his larger-than-life screen persona. Watched as a cinematic fantasy, it works on its own terms. Mangoidiots gives it a Ripe rating.

The film is structured to be accessible even if you have not watched Akhanda from 2021. The screenplay is mostly easy to follow. Still, some familiarity with the first film helps. Before watching this sequel, I skimmed through Akhanda on OTT and through the Wikipedia story summary. That background made the characters and motivations easier to place.

The Akhanda franchise revolves around twins separated at birth. Akhanda Aghora and Murali Krishna grow up on very different paths. Murali Krishna becomes a wealthy landlord who is portrayed as principled and socially responsible. His daughter Janani is shown as a child prodigy who has grown into a leading scientist at DRDO, working on advanced defence technologies for India. Akhanda Aghora, in contrast, is depicted as an intense devotee of Lord Siva, presented as a chosen protector of people and the nation.

The central conflict in this sequel involves a Chinese general from the Tibet region who loses his son during the 2020 India-China border clashes. Driven by revenge, he plots to destroy India through extreme and unethical means, with the backing of an immoral Indian politician. The story follows Akhanda’s intervention and how the threat is neutralised.

The film attempts to address multiple contemporary geopolitical and ideological themes, often presenting them directly rather than with subtlety. Nationalist and conservative symbolism runs through the narrative, including references to the current ruling party and opposition dynamics. Religious imagery is used extensively. Alongside Lord Siva, the film also features Lord Hanuman, with the Maha Kumbh Mela serving as an important visual and narrative backdrop. References to COVID and vaccines further anchor the story in recent times.

The dialogues, as understood through English subtitles, are sharp and clearly written. Some lines question Hindu mythology as interpreted by the writers. When viewed as fiction and not as commentary on real-world politics or belief systems, the film remains fast-paced and entertaining.

Nandamuri Balakrishna, credited as NBK and popularly known as Balayya, carries the film almost entirely on his screen presence. His portrayal is exaggerated and defies logic in many places. Without that presence, the film would struggle to hold together. This is where director Boyapati Sreenu succeeds by shaping the film around Balakrishna’s strengths. The action sequences are designed purely for impact. One notable example is a scene where Akhanda holds a henchman upside down and performs a ritualistic act of casting away evil eyes in front of his god-daughter. Moments like these define the film’s tone. Balakrishna delivers exactly what his core audience expects.

Aadhi Pinisetty, as one of the antagonists, performs convincingly and provides strong on-screen opposition to Akhanda. Sangay Tsheltrim, as the Chinese general, also stands firm and comes across as a credible adversary. Harshaali Malhotra as Janani has a substantial role but still appears to be early in her acting journey. Saswata Chatterjee, Viji Chandrasekhar, and Kabir Duhan Singh deliver what is required of them.

The 3D cinematography work by C Ramprasad enhances the scale of the film. Thaman S’s background score plays a major role in elevating both the action and dramatic moments. Together, the visuals and music firmly place the film in the mass entertainer category.

Overall, Akhanda 2 fits squarely within the religious faith-based action fantasy genre. If you enjoy mythology-infused action, strong nationalist imagery, and a dominant lead performance, this sequel offers a consistent cinematic experience


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