Yuva Rajkumar’s Earnest Performance Stands Out in a Familiar Tale That rarely Rises Above above it’s Formula
Written by Neetha Bopaiah
🎬 Movie Review: EKKA
| Aspect | Rating |
| Acting | *** (3/5) |
| Direction | **(2/5) |
| Screenplay & Story | **(2/5) |
| Music & BGM | ****(4/5) |
| Cinematography | ****(4/5) |
| Entertainment Value | ** (2/5) |
| Category | Details |
| Language | Kannada |
| Genre | Gangster Drama |
| Director | Rohit Padaki |
| Lead Actor | Yuva Rajkumar |
| Supporting Cast | Sanjana Anand, Sampada Hulivana, Atul Kulkarni, Poornachandra Mysore, Aditya |
| Music | Charan Raj |
| Cinematography | Satya Hegde |
| Runtime | 148 minutes |
| Release Year | 2025 |
In Ekka, director Rohit Padaki’s third feature, we are introduced to Muthu — a small-town dreamer caught in the grind of a city that slowly breaks him. Played with heart and sincerity by Yuva Rajkumar, Muthu’s transformation from a hopeful youngster to a reluctant gangster forms the emotional core of the film. Unfortunately, this transformation plays out in overly familiar territory, lacking the depth or originality needed to make a lasting impact.
Ekka (which translates to “Ace”) taps into Sandalwood’s long-standing fascination with the trope of the innocent man pulled into the underworld. Muthu’s descent feels predictable — not because it’s inevitable, but because the narrative gives us little reason to expect otherwise. His mother (played by Shruthi) repeatedly reminds him of the duality within — the child and the beast — but the metaphor is overused, leaving no room for subtlety.
There are flashes of grounded, relatable moments — like Muthu’s stunned reaction to a pricey restaurant menu or a bar dancer’s firm rebuke to lewd patrons — that hint at a richer world just beneath the surface. And in one poignant line, Muthu confesses he came to the city searching for someone but is now searching for himself. It’s in these brief instances that the film finds its emotional pulse.
Yet, the screenplay often circles around repetitive plot beats, avoiding meaningful exploration of betrayal, vengeance, or redemption. The introduction of an eccentric cop aiming to clean up the city introduces a new subplot — but one that ultimately lacks narrative weight or intrigue.
The first half holds some promise, especially through Muthu’s relationship with his neighbor Nandhini (Sanjana Anand) and the charming little girl Pammi, who affectionately calls him “Superman.” But even these interactions, tender as they are, can’t fully offset the mechanical story arcs and underdeveloped characters.
Technically, the film does fare better. Charan Raj’s evocative background score brings much-needed atmosphere to the film, oscillating effectively between tension and emotion. Satya Hegde’s cinematography shines in the action sequences, pulling viewers right into the thick of the chaos. But strong visuals and music can only do so much when the writing doesn’t rise to match.
While Atul Kulkarni brings gravity to his role as a benevolent don and Poornachandra Mysore injects energy into his caricatured role, the antagonists, on the whole, lack menace and complexity.
In the end, Ekka showcases Yuva Rajkumar’s potential — he brings vulnerability and intensity to a role that doesn’t always deserve it. It’s a committed performance in a film that plays its cards too safe.
