Veera Simha Reddy feels like old wine in a new bottle. The film is loud and generic. It’s a formulaic, and cliched film. Veera Simha Reddy is a routine and predictable faction drama.
If you’re wondering why I’m delving only into cliches it’s because I am being reflective of Veera Simha Reddy, a film that doesn’t even care to try and be new. Nobody expects it to be pathbreaking cinema, but even as a Balakrishna film, there’s nothing new on offer. It’s part of an assembly line of a few Balakrishna-isms.
Two Balakrishnas. One naïve. One protector. The former is the son. The latter is the father. Loud background music and constant repeating of the title song with every movement of the actor. A flashback involving a fresh villain who has a grouse with the older Balakrishna. Lots of meta moments. In fact, the film itself feels like an excuse to deliver meta moments and political punchlines. A heroine each opposite the younger Balakrishna and the older one where both pairs look like father-daughter duos. And a climactic showdown where the hapless villain is killed.