Supreme Review

'Kheer' poisoned with the intention of teaching blackmailer Balu (Sai Dharam Tej) a lesson ends up being consumed by the Commissioner of Police (Tanikella Bharani in a cameo) moments after Vennela Kishore says that it won't put them in risk because it's not going to be fed to the CP.  A ruthless goon (played by Ravi Kishan), constantly made to look ridiculous by the bumbling goons around, ends up falling in the trap laid by the hero, who poses himself as a psychiatrist in company with two 'music therapists' (Posani Krishna Murali and Srinivas Reddy), plays hide and seek, takes beatings from his funny sidekick, and eventually loses Rs. 100 cr.  That's the kind of screenplay you find in this formulaic commercial film, whose proceedings are well sexed up by quirky characters, including a heroine whose family members egg her on to scam, all while harking on the glory of the Bellams.

As for the senti part, you have a male lead who regards his alcoholic, silly father (played by Rajendra Prasad) as a hero for a reason.  Then there is Rajan, an 8-year-old street child who travels with the hero till the end.

Balu is a taxi driver with this quirk of mauling anyone who unneccesarily sounds the horn.  Bellam Sridevi (Raashi Khanna) is that incompetent local Sub-Inspector wanting to win a medal, but who is forced by the Bellam patriots to commit a scam.  It's "love at first fight" for Balu.  In parallel is told the story of Rajan, who bonds big-time with Balu and the now-reformed dad.  Far away, Sai Kumar is making his best efforts to win a case against Vikram Sarcar (Kabir Dulhan Singh), a land-grabbing businessman.

'Supreme' is a formulaic story, complete with a devotional invocation of Hanuman's 'anda danda'  (for the Nth time in our movies), a cat-and-mouse play, a last minute emotional blackmail and more.  Anil Ravipudi of 'Pataas' fame manages to entertain the audience with a hefty first-half.  He banks mainly on two elements: a comedy that borders on the quirky; a sentiment that projects a hero-child bonding of a kind not seen in recent times (not even in Hanu Raghavapudi's KVPG).  For sure, Anil has internalized many lessons by watching the '80s era movies.

Where the screenplay seems to falter is when, in the second half, the audience is treated to the same old making-a-bakra-out-of-one-villain-at-a-time script, while the main villain (Kabir Dulhan Singh) keeps on firing with impotent rage, over the phone or otherwise.  Even here, small mercies come in the form of the two comedians who offer background music to Balu's action sequences.

Writing-wise, the film offers some good insights.  Look at the way the kid Rajan is elevated.  'Aa devude kapadali', says Sathyam Rajesh and the child enters the scene dressed up as Krishna.  In the climax fight involving physically handicapped body builders (a good idea well-executed), the line 'Chanti pilladi chuttoo chirutha pululu tirugutunnattu ledu?' elevates the good-hearted, brave child like no other.

Comedy wise, a bevy of comedians are marshaled to good effect: Vennela Kishore  (his 'Baahubali vottu' is funny), Raghu Babu (parodies Krishnam Raju), Sivannarayana Naripeddi (his 'Coffee' comedy works), Prudhvi Raj and Prabhas Sreenu (the car lifters have the zing, in fact, two zings), Posani and Srinivas Reddy.

Sai Dharam Tej gives a decent output.  His dance moves are impressive and with a better dialogue delivery, he will look more promising.  As for choreography and the songs, they both fail Teju's immense dancing talent.  It's a disappointment to see a dumbed down version of the iconic 'Andam Hindolam'.  Raashi Khanna passes muster in the role of a glammed-up cop.  Her Thai massage-like 'punishment' to the hero good.

Ravi Kishan is ok, while Kabir is more of the same.  Sai Kumar is earnest, while Rajendra Prasad manages to elicit some laughs.  Shruthi Sodhi's guest role doesn't add any value.

The child artist, Mikhail Gandhi, is a great find, comparable to Baby Nainika of Theri/Police fame in terms of talent.

Sai Sriram's cinematography is an asset.

Verdict: An old story, but 'Supreme' has its moments.  Comedy and sentiment are decent.  First half is engaging, while second half falters.