FILM REVIEW: THEY CALL HIM OG (2025)

One-liner:

A fiery comeback vehicle powered by Pawan Kalyan’s charisma but weighed down by a routine screenplay, “They Call Him OG” delivers visual swagger without emotional depth.

Introduction

DVV Entertainment’s They Call Him OG directed by Sujeeth and starring Telugu superstar Pawan Kalyan is a high-voltage gangster action film that attempts to merge stylized brutality with a mythic undertone of redemption. Billed as one of the most anticipated pan-India releases of 2025, the Hindi-dubbed version arrives amid considerable fanfare, promising adrenaline, vengeance, and cinematic grandeur.

Set in a gritty, rain-soaked Bombay, the film revolves around Gambheera, known in the underworld as OG, a former gangster who resurfaces after a decade-long disappearance. Once the right-hand man to the powerful Satya Dada (Prakash Raj), OG had vanished after a bloody fallout. When he returns, his presence rekindles old rivalries and sets off a violent storm that engulfs everyone from ganglords to corrupt politicians.

Sujeeth, who earlier helmed Saaho, aims for a stylized crime saga in the vein of John Wick and Yakuza-inspired revenge dramas. However, while They Call Him OG boasts polished production design, thundering background score, and heroic swagger, it struggles to rise above its predictable structure and excessive use of flashbacks. The result is a film that entertains in bursts but falters in storytelling consistency.

Screenplay & Script Sense

The story, penned by Sujeeth, is a straightforward revenge-and-redemption saga dressed in stylish trappings. It follows OG’s journey from a mysterious samurai-trained hitman to a disillusioned gangster who seeks closure in a corrupt, violent world. Unfortunately, what could have been a taut, emotionally rich narrative turns into a routine gangster potboiler that prioritizes spectacle over substance.

The screenplay is riddled with flashbacks some essential, others utterly unnecessary. The non-linear narrative initially builds intrigue, but as the film progresses, it becomes confusing and repetitive. Each new flashback introduces yet another character or subplot, fragmenting the story’s rhythm. This structural overload dulls the emotional payoff the film aspires to achieve.

While OG’s re-entries are designed for mass whistles complete with slow-motion walks, thundering background score, and stylized action choreography they can’t mask the thinness of the plot. There’s little novelty in how Sujeeth explores themes of loyalty, betrayal, and legacy. The emotional connection between OG and Satya Dada, which could have been the film’s backbone, remains underdeveloped. Similarly, OG’s relationship with his wife Kanmani (Priyanka Mohan) lacks emotional layering, leaving the family angle half-baked.

Dialogues in the Hindi dubbed version are functional but uninspired. Lines meant to sound philosophical about life and violence often come across as generic. The screenplay could have benefited from fewer detours and more focus on OG’s internal transformation rather than his external bravado.

That said, the screenplay does deliver some engaging moments particularly the stylish entry sequences, the Tokyo training portions, and OG’s silent confrontations with his enemies. These scenes showcase Sujeeth’s flair for visual storytelling, but the overall writing never quite matches the ambition of its cinematic presentation.

Direction

Director Sujeeth once again showcases his command over visual spectacle, but the emotional depth that sustains great gangster dramas is missing. The tone oscillates between mythic heroism and pulpy action, without ever finding a satisfying balance. The first half sets up an intriguing premise a fallen gangster returning from exile but the second half struggles to maintain narrative momentum.

Sujeeth’s direction caters squarely to mass audiences, with exaggerated heroism and stylized violence. Each of OG’s appearances is orchestrated like an event slow-motion, roaring score, and dramatic camera sweeps. While this works for Pawan Kalyan’s fans, it limits the film’s appeal to a wider audience that seeks more story-driven content.

There’s a deliberate attempt to mythologize OG as a near-mystical warrior the “samurai of Bombay” but Sujeeth doesn’t explore this concept meaningfully. The film’s philosophical undertones are surface-level at best.

However, credit must be given for the visual clarity in the action blocks. The Tokyo training montage, the rain-soaked dockyard fights, and the gangland confrontations in dimly lit warehouses exhibit a polished cinematic vision. Sujeeth’s handling of large-scale set pieces shows confidence and control. But beyond the gloss, They Call Him OG feels emotionally hollow — more a display of star power than a fully realized story.

Acting

Pawan Kalyan, as OG, is undoubtedly the film’s heartbeat. His screen presence, controlled aggression, and effortless charisma carry even the dullest moments. Whether he’s slicing through enemies or standing silently amidst chaos, he commands attention. However, the script gives him limited scope for emotional expression OG is portrayed more as an idea than a person. The moments where he could have explored inner conflict or vulnerability are sacrificed for stylized combat and posturing. Still, for fans, his performance delivers exactly what they expect intensity, poise, and raw energy.

Emraan Hashmi, as Omi, provides the film’s antagonist energy with restrained menace. He’s excellent in his few scenes, particularly in his confrontations with OG, but his character lacks proper buildup. There’s no real psychological tension between hero and villain a missed opportunity, given the potential of both actors.

Priyanka Mohan, as Kanmani, lends grace and dignity to her limited role. She shines in emotional moments, even though the script sidelines her for most of the runtime. Her chemistry with Pawan Kalyan is understated but genuine.

Prakash Raj, as Satya Dada, brings gravitas and old-school villainy. However, his role feels underwritten, and his complex dynamic with OG never reaches its emotional peak. He’s effective in his scenes, but the film doesn’t give him enough room to explore the father-figure mentor angle that could have deepened the story.

Arjun Das adds intensity but his track feels forced, barely contributing to the main plot. Sriya Reddy as Geetha is solid, while Subhalekha Sudhakar, Abhimanyu Singh, Tej Sapru, and Rahul Ravindran lend dependable support.

The brief cameos by Jackie Shroff and Lal add star value, though their appearances are too fleeting to make an impact.

Overall, the performances elevate the film’s dramatic weight, but the writing doesn’t allow the actors to go beyond archetypes.

Cinematography

One of the strongest aspects of They Call Him OG is its visual design. Ravi K. Chandran’s cinematography is stylish, sleek, and consistently striking. Each frame is meticulously crafted from neon-lit Tokyo streets to the grimy docks of Bombay, the visuals exude scale and atmosphere. Chandran’s play with shadows, rain, and fire infuses the film with cinematic energy that often outshines its writing.

The use of high-contrast lighting and dynamic camera movement enhances the film’s action sequences. The visual palette a blend of steel greys, reds, and monochromatic tones mirrors OG’s internal turmoil. In short, even when the story falters, the visuals remain captivating.

Chandran’s camera not only glorifies the hero but also captures the texture of urban decay beautifully. The visual storytelling compensates for much of the narrative’s thinness, making They Call Him OG a technically impressive film despite its screenplay issues.

Music & Background Score

Thaman S. delivers a pulsating soundtrack that fuels the film’s larger-than-life mood. The songs are fairly melodious, though not particularly memorable. What truly stands out is the background score, which amplifies every moment of tension and heroism. From OG’s re-entry themes to his confrontations, Thaman’s score injects power into the visuals and often acts as the emotional bridge the script lacks.

The Hindi lyrics are serviceable, though they lack the poetic intensity of the original Telugu version. The song picturizations are standard, functional inserts that neither disrupt nor elevate the flow.

Thaman’s BGM, however, is a saving grace impactful, thunderous, and in perfect sync with Sujeeth’s mass sensibilities. It’s easily among the film’s most memorable aspects.

Editing

Naveen Nooli’s editing is technically sharp, but structurally, the film suffers from over-indulgence. The frequent flashbacks break the pacing and create confusion. Certain backstories could have been condensed or omitted altogether without affecting the narrative coherence.

However, in individual sequences, especially the action montages and transitions between Tokyo and Bombay, Nooli’s cutting style maintains rhythm and visual flow. The final act, despite being cluttered, benefits from crisp intercuts between parallel confrontations.

At 2 hours and 35 minutes, the film feels longer than necessary. A tighter first half and fewer diversions could have made They Call Him OG more gripping.

Final Verdict

They Call Him OG is a film high on style but low on substance. It thrives on Pawan Kalyan’s magnetic presence, Ravi K. Chandran’s striking visuals, and Thaman S.’s energetic background score, but falters in storytelling, character depth, and emotional resonance.

For die-hard Pawan Kalyan fans, it’s a celebration of their idol filled with moments designed to thrill and cheer. But for general audiences, the lack of novelty and narrative tightness makes it a largely predictable action spectacle rather than a memorable cinematic experience.

The film will likely perform better in its native Telugu version than in Hindi, where audiences may find it too rooted in formula and too dependent on fan-service moments.

In the end, They Call Him OG is a case of strong execution meeting weak writing visually dazzling but narratively hollow. It entertains momentarily but fades quickly after the lights dim.

On the Plus Side:

• Pawan Kalyan’s intense and commanding screen presence

• Stylish direction with high production values

• Ravi K. Chandran’s brilliant cinematography

• Powerful background score by Thaman S.

• Slick editing during action blocks

• Good supporting performances by Prakash Raj and Emraan Hashmi

On the Minus Side:

• Predictable and routine screenplay

• Overuse of confusing flashbacks

• Weak emotional core and underdeveloped relationships

• Flat dialogues in the Hindi version

• Uneven pacing and lack of narrative focus

• Limited appeal for non-fan or family audiences

Conclusion

They Call Him OG tries to be both a mythic gangster epic and a mass entertainer, but it succeeds only partially. Its heart lies in hero worship, not storytelling. Sujeeth’s direction and the film’s technical finesse make it visually absorbing, yet the repetitive flashbacks and lack of emotional layering prevent it from achieving greatness.

For fans of stylized action and Pawan Kalyan’s larger-than-life persona, They Call Him OG offers enough to cheer. For everyone else, it’s a visually impressive but emotionally distant ride through familiar gangster territory.