 Most of us are prisoners to the cliches of our own creation. At any rate, K Raghavendra Rao sure is. The veteran director created a particular kind of filmmaking in the 80s, and what began as his unique style is today seen as a weatherworn formula.
The problem is Raghavendra Rao doesn't seem to understand the fact time has surged forward and the idioms of filmmaking have changed. In the event, watching a film like Allari Bullodu is to see time warped in an inconvenient cocoon. The film is so old-fashioned (in its approach) that you feel like driving in an old battered Amby amidst a sea of flashy new cars.
The film works in typical set pieces. Trisha (Trisha) and Usha (Rathi) are both daughters of a wealthy businessman Madhav Rao (Vizag Prasad). A cunning relative (Kota Sreenivasa Rao) is plotting for the wealth. But when Madahav Rao meets with an accident, Trisha, who takes over the business, suspects the involvement of Narayana Rao (Tanikella Bharani).
 He has a son Raj (Nitin) who promises to 'tame' Trisha and joins the company. The ad caper starts when Munna (Nitin) is brought into the scene by Gopala Rao. Things truly become weird with both Munna trying to create confusion by posing as Raj. The two girls are caught between them.
In the event, both Munna and Raj join forces and eventually deal with the bad elements.
By the time, you come to the end every film cliche in the book had been used and you almost long for that one single shot of newness.
Nitin as Raj and Munna is spirited, especially in the first half. But he is laid low by an unimaginative script in the second half. Trisha has set mannerisms and it works. Her likable quirks are what carry the cinema. Rathi looks good. But has very little to do. The rest of the cast just goes through its motions.
Keeravani's music is good if you are fond of 80s kind of music. The deja vu feel cannot be escaped. Having said that, the talented music director does show his virtuosity through some lilting moments. Bhupathi's splendid camera work is a major asset to the film. But for him, the old feeling would have been even more pronounced.
Raghavendra Rao urgently needs a time machine to fly into reality.
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