Given the kind of film that Rey tries to be, there’s no point ripping it apart. There’s a disclaimer that reads of foreigners speaking in Telugu for your cultural convenience in the beginning. Had they spoken in their own mother-tongues, you know the film wouldn’t have been half fun as this.
Cut to the first frame where Sai Dharam Tej is introduced, you see West Indies. The very country that you would have seen between the advertisements of the cricket matches played there. There’s a reason for the reference of the game. But for the male lead’s name, which is Rocket a.k.a Rock for his apparent physique, the names you get to hear are Gayle, Walsh, Brian Lara and even Ponting (spare them for one wrong reference). The film, if looked in another dimension can be a sequel to Hrudaya Kaleyam, just for the fact that this is an unintentional satire on the levels that the industry has stooped down to.
The film does a lot to update your knowledge-base. A dialogue about the definition of love in the film says about “you feeling someone’s presence in their absence.” YVS Chowdary in the process isn’t even remotely aware of the film he’s trying to make.
That, for a fact is a dangerous sign for the viewer. He isn’t sure if he’s elevating or even downgrading his leads scene after scene. At a point, the lead character is reduced to a sex-maniac. It only seems an irony that he was the very maker who had made films like Devadasu and Lahiri Lahiri Lahiri Lo in the past.
He plays cheap tricks to cash in on the popularity of Pawan Kalyan, Mahesh Babu and Jr NTR too. It’s a sad fact that the film has its title credits rolling in the end with a frame of Sr NTR. That is a reflection of how powerful the medium was in the past and now with Rey, how abusive can it be. It’s a work where you’ll start sympathising with the actors involved in it and not to say the least, a reviewer too. Sai Dharam Tej should have partied with joy for debuting with Pilla Nuvvu Leni Jeevitam and not Rey.