They Call Him OG arrived in theaters on September 25, 2025, marking Power Star Pawan Kalyan’s second release of the year. Directed and written by Sujeeth, the film reunites the actor with high-octane action after his critically noted turn in Hari Hara Veera Mallu. Backed by producer DVV Danayya under DVV Entertainment, OG also heralds Emraan Hashmi’s Telugu debut alongside a cast including Priyanka Mohan, Arjun Das, Sriya Reddy, and Prakash Raj.
A Tale of Return and Revenge
At its core, They Call Him OG traces the journey of Ojas Gambheera, known in Mumbai’s underworld as OG, who vanishes after a violent racket falls apart. A decade later, whispers of his return send tremors through rival factions. OG’s reemergence is more than a power play; it’s a deeply personal mission to reclaim what was lost and mete out justice to those responsible for disrupting his ecosystem. The script unfolds in two timelines, weaving flashbacks of OG’s bond with Satya Dada (Prakash Raj) and his adoptive family alongside present-day bloodshed. This structure aims to heighten emotional stakes but sometimes entangles viewers in nested flashbacks that blur past and present.
Star Power and Performances
Pawan Kalyan anchors the film with an effortless blend of swagger and gravitas. His martial arts sequences, choreographed to highlight a Japanese sword-fighting flair, burst with kinetic energy and showcase his on-screen mass appeal. He seamlessly shifts from serene family man to ruthless underworld titan, creating a layered performance that seldom feels forced even when political commitments limited his shoot windows over three years.
Emraan Hashmi as Omi Bhau emerges as an electrifying adversary. Though his screen time is lean, his presence registers at every turn. Critics have dubbed him the “show stopper,” praising his menacing charisma and swagger in key confrontations with OG. Priyanka Mohan lends emotional weight as Kanmani, OG’s wife, offering grounded moments of tenderness that contrast the film’s relentless violence. Supporting actors like Arjun Das and Sriya Reddy contribute solid character work, even if their arcs serve primarily to propel the central conflict.
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Sujeeth’s Vision: Direction and Screenplay
Director Sujeeth returns after a six-year hiatus since Saaho, bringing his signature blend of style and spectacle. The screenplay prioritizes visual set pieces over intricate plotting, favoring showdowns steeped in bloodshed. Dialogue ranges from razor-sharp one-liners to echoes of vintage Bollywood clichés with thugs repeating “Buddha Mil Gaya” ad nauseam, which occasionally undercuts the film’s contemporary edge.
The decision to split the narrative across multiple timelines grants emotional context but also leads to moments of confusion when flashbacks nest within flashbacks. Sujeeth seems to aim for a layered thriller but often settles for a surface-level revenge drama dressed in slick production values.
Cinematic Craftsmanship: Music and Visuals
Thaman S’s electrifying score propels key scenes, punctuating fight sequences with driving percussion and melodic motifs that underscore OG’s inner turmoil. Cinematographers Ravi K. Chandran and Manoj Paramahamsa capture Mumbai’s underbelly with both lush wide-angle shots and claustrophobic close-ups. Nighttime sequences shimmer with neon reflections, while daylight flashbacks exude a warmer palette that contrasts with present-day bleakness. The production design complements this visual dichotomy, from opulent gangster hideouts to gritty dockyards where the final act unfolds.
Violence and Aesthetic Choices
The film’s A-rated censor certificate signals a commitment to unflinching violence, bodies fly through the air, heads roll mid-frame, and men stagger through plumes of smoke and fire. This relentless carnage aims to desensitize viewers to brutality, framing the underworld as a realm where moral boundaries dissolve into spectacle. While some action fans will applaud the audacity, others may find the non-stop gore overwhelming. The film never shies away from showing the visceral cost of OG’s vendetta, blurring lines between cathartic revenge and gratuitous bloodshed.
Narrative Structure and Pacing
They Call Him OG alternates between languid character moments and full-throttle action sequences. Early scenes establish OG’s domestic bliss, with tender interactions that linger just long enough to make the impending ruptures painful. Mid-film, the pace shifts into high gear as alliances shatter and battle lines form. However, pacing hiccups emerge where exposition bleeds into flashbacks, momentarily stalling momentum. The climax reunites all story strands in a protracted showdown that sacrifices narrative clarity for spectacle.
Critical Reception: Mixed Voices
Critics have responded with a chorus of divided opinions. Raisa Nasreen of Times Now awarded the film 2.5 out of 5 stars, lauding Pawan Kalyan’s effortless charisma and the stylish direction but critiquing the lack of a gripping story and convoluted Hindi dialogues that echo old-school crime dramas. In contrast, early online reactions, including a tweet by critic Umair Sandhu, labeled OG a “power-packed, bloody mass thriller,” awarding it 3.5 stars and hailing Emraan Hashmi’s performance as “deadly terrific” with a thrilling climax that satisfies mass-market expectations.
The Week’s Hariprasad Sadanandan offered a more skeptical take, describing the film as a “deadly gun with misfiring bullets,” lamenting its reliance on formulaic underworld tropes and unoriginal plotting. Yet, MSN’s roundup of first reviews echoed optimism, calling OG a “paisa vasool” entertainer that balances visceral action with emotional themes of vengeance and loyalty.
Audience Buzz and Box Office Trends
Advance bookings for OG shattered previous records, registering five times more sales in the U.S. than Pawan Kalyan’s earlier release, Hari Hara Veera Mallu. Early box office reports estimate Rs 50 crore from advance ticket sales alone, signaling a blockbuster opening. Social media has lit up with fan edits, reaction videos, and memes celebrating OG’s larger-than-life moments. Major releases in Andhra Pradesh and Telangana held special preview shows on September 24, amplifying local fervor. The film’s pan-Indian rollout in Hindi, Tamil, Kannada, and Malayalam markets reflects a broader strategy to tap into diverse audiences.
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OG’s Place in Telugu Cinema
They Call Him OG isn’t a reinvention of the gangster genre, nor does it aspire to be one. Instead, it revels in the trappings of commercial Telugu cinema with a stylish leading man, high-voltage action, and pulsating music delivered with unapologetic bravado. Fans of Pawan Kalyan will find plenty to celebrate, from signature mannerisms to gravity-defying fight choreography. Emraan Hashmi’s performance cements him as a formidable antagonist capable of standing toe to toe with OG.
Yet, the film’s narrative shortcomings, including predictable plot beats, over-dependence on violence, and occasional tonal inconsistencies, prevent it from ascending to classic status. They Call Him OG ultimately thrives as a mass entertainer, rewarding those who embrace its extravagance while testing the patience of viewers seeking a tighter screenplay.
For anyone drawn to swaggering antiheroes, stylized carnage, and blockbuster fanfare, OG delivers a robust cinematic experience. But for those craving fresh narrative innovation, the film may feel like familiar terrain repaved with neon lights and thumping beats.
Beyond its immediate thrills, They Call Him OG prompts a broader conversation about the evolving scope of Telugu action cinema. As pan-Indian releases become the norm, filmmakers balance local flavor with universal appeal. Sujeeth’s film exemplifies this trend, trading deep character study for spectacle that resonates across linguistic and cultural divides. Whether OG sparks new creative ambitions or simply reinforces time-tested formulas, its box office triumph and polarized reception underscore the dynamic tension between tradition and innovation in contemporary Indian filmmaking.
