This writer is in no way qualified to describe the genius of Shankar or how he has influenced generations of filmmakers. Shankar has been making films for over three decades now, maintaining a terrific track record until last year when questions arose about his artistry. While the criticism he received is valid—he did mess up big time with Indian 2—writing Shankar off because of one bad film and one mediocre effort is absolutely insane.
The Shankar we see in Game Changer feels different—not the visionary behind Indian, nor the misstep we saw with Indian 2. This Shankar is exploring uncharted territory. He has mentioned in multiple interviews and speeches that he always wanted to make a commercial masala film akin to Pokiri or Okkadu. However, what he failed to grasp is that neither Pokiri nor Okkadu are formulaic commercial films—they’re out-of-the-box ventures.
Unfortunately, Game Changer suffers from a lack of understanding of what made those films special. The cringe-worthy comedic moments, like the ones featuring Vennela Kishore, don’t even register as proper comedy. The entire first half, with its chaotic screenplay and misplaced story beats, feels random and disconnected, leaving the audience struggling to stay engaged.
That being said, Shankar’s effort is still evident, especially in the film’s songs. He hasn’t lost his charm but seems to have forgotten how to channel it effectively. One commendable aspect of Game Changer is how he ensured it felt authentically Telugu, perhaps the most Telugu film ever made by a non-Telugu director. It’s something you don’t just see—you feel it.
Ram Charan’s Game Changer
Game Changer doesn’t quite feel like a Shankar film. It also doesn’t resemble a Karthik Subbaraj film—it’s miles away from that—but oddly, it feels like a 2016 Ram Charan film.
Ram Charan’s filmography is littered with mediocre outings, with occasional gems here and there. If Game Changer had been released in 2016, with no association with Shankar, it might have been better received. This speaks to how dated the film feels. Neither its concept nor its execution offers anything new; the social message, once Shankar’s hallmark, now feels diluted.
This decline has been a concern since I. When I was conceived back in 2011–2012, revenge stories weren’t as frequent, so the concept might have worked. However, by the time it released in 2015, the trope had been overdone, making the film seem stale. Similarly, the simple, predictable plot of Game Changer fails to justify its status as India’s biggest-budget film. Audiences lose interest when the first idea that comes to mind ends up being the main plot.
Shankar needs to take a step back and critically evaluate every scene he plans to shoot. Is it dated? Is he stuck in the past? Will it resonate with today’s audiences and future generations?
Yet Another Film That Proves SJ Surya Always Delivers
By now, it’s a routine for SJ Surya to deliver exceptional performances. All he needs is a role he can believe in, and he transforms into an absolute powerhouse. His performance in Game Changer is both familiar and uniquely distinct from his previous work, leaving viewers amazed yet again.
As for Ram Charan, he did his part well. While his role as Appanna wasn’t groundbreaking, he performed it convincingly. Kiara Advani, on the other hand, feels like the quintessential Shankar heroine—perhaps more so than any before her. She shines in the songs, especially in the reincarnation sequence of Konda Kaaki Jaragandi.
Thaman’s background score was underwhelming, but the songs were brilliant—a perfect album. Shankar’s input in crafting these songs is undeniable; he’s never missed the mark in this department. Let’s hope he brings the same precision to all 24 crafts in his next project—not Indian 3, but a film he crafts from scratch.