Gowtham Tinnanuri’s Kingdom opens with cinematic promise. Set in 1920, a small tribal community on the Srikakulam coast stands bravely against British imperialists seeking their gold. The visuals are compelling, the action gripping. The film even loops back to this moment for its climax, teasing grandeur and epic stakes. But what starts as a sweeping tale of resistance and legacy quickly devolves into a bloated, unfocused, and emotionally hollow saga.
A Tale of Two Timelines, No Cohesion
Kingdom stars Vijay Deverakonda, Satyadev, and Bhagyashri Borse in key roles. While the film begins in the past, its primary arc unfolds in the 1990s, following Soori (Deverakonda), a police constable on a mission to track down his long-lost brother Srinu (Satyadev), now a smuggler in Sri Lanka.
In what feels like a cinematic stretch, Soori approaches a sketch artist with nothing but a childhood photo of Srinu and gets an adult portrait. Miraculously, this sketch helps identify his brother as a wanted criminal overseas. Soon, Soori is sent on a covert operation to infiltrate a dangerous cartel and bring Srinu back to India.
A Complex Backdrop, Oversimplified
Set during the Sri Lankan civil war, Kingdom has a rare opportunity to delve into layered political and historical territory. The film briefly references the assassination of Rajiv Gandhi but otherwise reduces the brutal Tamil-Sinhala conflict to a vague setting for slow-motion shootouts and clunky exposition.
Fictional island “Divi” becomes the focal point, where Adivasis are caught between militant Tamils and a powerful smuggling syndicate. This could’ve made for compelling drama, but the writing remains shallow. Cultural and historical nuances are ignored. Instead, the conflict serves merely as a flashy backdrop for action sequences.
A Plot Full of Holes
The story is riddled with logical flaws. Why is Soori, a constable, chosen for a mission involving international smuggling and armed conflict? The film hints that answers may arrive in the sequel, but as a standalone narrative, Kingdom lacks coherence. Important details are glossed over or forgotten entirely—like why the Adivasis initially reject Soori as one of their own, or the inconsistent rule barring Adivasi women from stepping onto the mainland.
A gruesome massacre sequence—reminiscent of Game of Thrones’ infamous “Red Wedding”—suddenly gives way to joyful celebration, jarringly shifting tone. Such abrupt emotional pivots rob the film of dramatic impact.
Performances: Strength in Isolation
Despite a flawed script, the actors do their best. Vijay Deverakonda brings intensity and sincerity to Soori, even as his character is underwritten. Satyadev delivers a grounded performance, though he’s given little material to work with emotionally—there’s barely a moment of connection between the brothers or Soori’s family.
The real standout is Venkitesh as Murugan, the menacing antagonist. He commands the screen with charisma and menace, often outshining the protagonists. Bhagyashri Borse, however, is sadly underutilized, with her character given no space to grow or contribute meaningfully.
Visuals and Sound: A Saving Grace
Technically, Kingdom is a visual treat. Girish Gangadharan’s cinematography captures the coastal terrain and action set pieces with flair. Anirudh’s score is thunderous and elevates many otherwise flat scenes.
But strong aesthetics can only go so far. Without emotional depth, clarity of vision, or compelling character arcs, Kingdom ends up feeling hollow. The cliffhanger ending teases a grander universe and a KGF-style showdown, but whether audiences will return for part two is uncertain.
Final Verdict
Kingdom wants to be epic. It has the ingredients—an ambitious premise, a historical backdrop, and a star-driven cast. But ambition without strong storytelling makes for a frustrating watch. The film forgets that great cinema isn’t just about scale, but about storytelling that resonates—with heart, purpose, and coherence.
Rating: 2.5/5
Grand visuals, strong villain, but a kingdom without a soul.
