Raja Saab first-day-first-show reviews may not bolster Prabhas' star power: Mixed responses for horror comedy

Dubai: Post-Baahubali, Prabhas became the go-to name for high-budget, larger-than-life cinema.

Every film of his in the past decade promised a spectacle for the big screen, and after two back-to-back blockbusters, Salaar and Kalki 2898 AD, expectations were sky-high for his next outing.

This time, he teamed up with Maruthi, known for his horror-comedy flair, for The Raja Saab — a film that promised a light-hearted romantic horror comedy but ended up as an overblown horror-fantasy extravaganza. The movie is currently playing in UAE cinemas.

The plot centers around Raju (Prabhas) and his grandmother Gangamma (Zarina Wahab). When he learns that his grandmother’s long-lost husband, Kanakaraju (Sanjay Dutt), is in Hyderabad, Raju embarks on a mission to reunite the pair.

Along the way, he encounters Bhairavi (Malavika Mohanan) and uncovers tangled backstories of family, betrayal, and mysticism.

On paper, it sounds like a fun, high-concept ride — in practice, it doesn't land, says a cross-section of reviewers from India. The early review have been mixed so far.

Performances:

According to several reviews and fans, Prabhas' new film has his moments, particularly in a few comedic beats and emotional sequences, but he mostly appears uninspired, and his inconsistent looks don’t help. Sanjay Dutt is decent, Zarina Wahab shines in the climax, and Boman Irani is underused. The three leading ladies — Malavika, Nidhhi Agerwal, and Riddhi Kumar — are relegated to poorly written, eye-candy roles, with only Malavika getting a single action sequence.

The comedian trio — Satya, Prabhas Sreenu, and Saptagiri — deliver the few genuinely engaging moments, underscoring how much of the film’s entertainment depends on them, they add.

Technical Aspects:

Reviews posted by dailies from South India also says Thaman S’s music largely underwhelms, with only a couple of BGMs standing out. Kotagiri Venkateswara Rao’s editing is a major issue, as the film drags across three hours, especially in the pre-climax and climax. Cinematography by Karthik Palani looks outdated, and the over-reliance on green screens and inconsistent VFX further detracts from the experience. The film screams “extravagance” but fails to deliver substance.

Analysis:

Maruthi made a mark in 2013 with Prema Katha Chitram, a simple yet effective horror-comedy. With The Raja Saab, the plan was to recreate that magic on a bigger, PAN-India scale. But the ambition clearly backfired. Instead of focusing on script and coherence, the film leans heavily on star power and spectacle, leaving the story convoluted and aimless. Long sequences, poor dialogue, and unnecessary grandeur overshadow the few moments of genuine humor or emotional depth.

Prabhas attempted a lighter, comedic venture, but the result is neither funny nor thrilling. Maruthi’s directorial choices — excessive green-screen usage, overblown VFX, and underdeveloped characters — make the film exhausting rather than entertaining.

In short, The Raja Saab has received largely negative reviews. Despite star power and ambitious visuals, it fails to entertain and may struggle at the box office.

Final Verdict: Misfired attempt at grandeur; reviews are largely unfavourable.