Movie: They Call Him OG
Rating: 2.75/5
Banner: DVV Entertainment
Cast: Pawan Kalyan, Emraan Hashmi, Arjun Das, Priyanka Mohan, Sriya Reddy, Prakash Raj, Subhalekha Sudhakar, Sudev Nair, Rahul Raveendran, Harish Uthaman, Abhimanyu Singh, Saurav Lokesh, and others
Music: Thaman
DOP: Ravi K Chandran, Manoj Paramahamsa
Production Design: AS Prakash
Editor: Navin Nooli
Action: A Vijay, Peter Hein, Dhilip Subbarayan & Others
Produced by: DVV Danayya, Kalyan Dasari
Written and Directed by: Sujeeth
Release Date: September 5, 2025
Despite the massive failure of Hari Hara Veera Mallu, Pawan Kalyan has once again proved that he can ignite frenzy when the right film comes his way. Ever since the first teaser dropped months ago, “OG” has been riding on unprecedented hype, with the mania only intensifying in the lead-up to its release.
Now that the film has finally arrived amid sky-high buzz, the big question is — has the Pawan Kalyan and Sujeeth combination delivered the magic on screen?
Story:
Ojas Gambheera (Pawan Kalyan) grows up under the care of Satya Dada (Prakash Raj), who treats him like a third son and entrusts him with protecting his family and the bustling port business.
Fiercely loyal, Gambheera stands by Dada like a soldier. But a fateful incident makes Gambheera to shoulder the blame and walks away, leaving both Dada and Mumbai behind.
In Madurai, Gambheera finds a new life. He falls in love with Dr. Kanmani (Priyanka Mohan), marries her, and together they build a family with a daughter.
For fifteen years later, when Omi (Emraan Hashmi) sets his sights on controlling Dada’s port, events spiral out of control.
The stage is set for Gambheera’s inevitable return to the city he once abandoned. What forced OG to sever ties with Satya Dada all those years ago? And now that destiny has drawn him back?
Artistes’ Performances:
Pawan Kalyan appears more energetic and engaged than in his recent films. While his overall look and physical appearance may not always be flawless, his retro avatar fits the narrative perfectly. In terms of performance, he appears controlled in quieter moments and explosively expressive in key sequences. The film offers ample fan-pleasing moments, with his punch dialogues and action sequences landing with impact. There is one standout scene in a police station where his rage and intensity dominate the screen, leaving a huge impression.
Pairing up with him for the first time, Priyanka Mohan has a limited role but delivers a neat performance that adds gravitas to the story.
Emraan Hashmi impresses with his negative role as a Mumbai mafia don. The popular Bollywood actor brings both charisma and menace to the part. However, the role has more style than substance.
Arjun Das shines in another significant role, while Prakash Raj delivers a nuanced performance as Dada.
Sriya Reddy has her moments of impact, and Shubhalekha Sudhakar performs adequately. Rahul Ravindran, Harish Uthaman, and Saurva Lokesh are just okay.
In the villainous department, Tej Sapru and Abhimanyu Singh are good.
Technical Excellence:
The film’s biggest strength lies in Thaman’s music. While every technician contributes commendably, it is Thaman’s background score that towers above all. From the sound composition to the techno beats, he has completely reinvented his game, elevating the film to its highest potential. Several key sequences work primarily because of his signature score, which easily ranks among his career-best efforts.
Cinematographers Ravi K. Chandran and Manoj Paramahamsa deliver some of the slickest visuals in recent Telugu cinema. The Mumbai backdrops and action set-pieces are captured with striking finesse, giving the film an edgy, international sheen. Production design, sound design, and editing also deserve praise for their top-notch execution.
However, certain episodes especially during the second half could have benefited from sharper trimming, as the film loses grip.
Highlights:
Thaman’s terrific background score
Pre-interval action episode
Police station sequence
Stylish narration
Drawback:
Lack of compelling drama
Second half turns predictable narration
The Japan connection and the backstory lack appeal
Analysis
Pawan Kalyan began work on “OG” nearly two years ago during the pre-election season, but unlike “Hari Hara Veera Mallu,” he seems genuinely invested here. From his involvement to his stylish screen presence, there is a renewed energy that clearly reflects in his performance. The film avoids the weariness and unevenness that marred his previous outing.
Director Sujeeth wastes no time in immersing us into the gritty world of OG. From the opening sequence, he builds the crime backdrop with controlled narration, carefully raising anticipation for the protagonist’s entry. Pawan Kalyan doesn’t appear until almost 25 minutes in, yet the build-up is staged with enough intensity to make his introduction impactful.
The first half, reminiscent of Prashanth Neel’s KGF in narrative style, is engaging and culminates in an explosive interval block. The pre-interval episode and hero-elevation sequences are superbly staged, though the beheading moment feels routine.
Interestingly, the highlight of the film comes immediately after the interval — a gripping police station sequence between Pawan Kalyan and Abhimanyu Singh. It’s the film’s best stretch, raising the drama to its peak.
But this high point also exposes Sujeeth’s limitations; he struggles to sustain the momentum afterward. The flashback revealing why OG left Mumbai drags, and the subsequent track with Emraan Hashmi ends on a routine note.
The second half leans heavily on repetitive elevation blocks that lack real impact. With an overload of characters and subplots, the narrative often turns confusing. The film even opens with a Yakuza track set in 1940s Japan, ties it to Pawan Kalyan’s training there, and circles back to it in the end. This is a thread that feels unnecessary and adds little to the core story.
Even the supposed attempt to connect this film to Saaho through Jackie Shroff’s cameo as his Saaho character feels forced, serving little purpose beyond hinting at Sujeeth’s desire to build a cinematic universe
Almost every scene is staged as an elevation moment, but without meaningful buildup or narrative progression, the effect quickly wears thin.
While Sujeeth succeeds in crafting fan-service sequences, he falls short of weaving them into a compelling drama with genuine emotional depth. This explains the fan-pleasing touches, like Pawan Kalyan wielding a machine gun engraved with the title Johnny, or one of his old hit songs playing in the background during an action sequence.
Overall, “OG” caters largely to Pawan Kalyan’s fans, with Sujeeth packing in plenty of whistle-worthy moments for the fans. The film does have its highs, but a weak storyline and an underwhelming second half dilute the overall impact. Thaman’s rousing score, along with strong technical values and stylish narration, keeps the film engaging enough, even if it lacks a solid emotional core. But it is also the film that presented Pawan Kalyan in the best way in a long time.
Bottom Line: Feast for Fans
