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Om Bheem Bush is Horror or Not ? 

“Om Bheem Bush”, a Telugu horror film starts with “Sampangi Mahal,” yet it quickly gives way to what may be considered traditional Telugu entertainment. The first twenty minutes seem very predictable and ordinary, with the main focus being actor Srikanth Iyengar’s subplot involving the three heroes, Sree Vishnu, Rahul Ramakrishna, and Priyadarshi. However, the film maintains its level of enjoyment throughout. Stories in the horror genre frequently follow the traditional pattern of characters investigating a haunted place, learning the ghost’s past, etc.

This horror-comedy also follows a similar format, but what makes it unique are the three characters’ clever banter and comedic timing, which turn the film into a fun watch. The popularity increases when the story shifts to the “Bhairavapuram” setting, especially when the “Bang Bros” concept is introduced. This is the point at which the plot is given a little more comedy. Though there are a few forced comedic parts injected to disrupt the flow, other segments are notable for their “Lol” moments.

Om Bheem Bush is Horror or Not? 

This movie is a horror-comedy film. “Om Bheem Bush” opens as a comic movie akin to “Jathi Ratnalu,” with the three main characters acting in a variety of absurd ways and cracking wisecracks that make the audience laugh. Rahul Ramakrishna and Priyadarshi appear in both movies. Nevertheless, “Om Bheem Bush” is more appropriately categorized as a horror comedy than just a comedy. The well-known director Harsha Konuganti, who made the popular movie “Husharu” before, twists the traditional horror-comedy subgenre.

The narrative’s introduction of a flashback with the ghost presents a new angle that wasn’t previously investigated. This movie stands out from traditional horror comedies and comedies thanks to its unique twist. However, the movie only works when there are funny scenes. The alleged “twist” does not result in what was planned.

Story of Om Bheem Bush 

The Bang Brothers, Vinay (Priyadarshi), Madhav (Rahul Ramakrishna), and Krishna Kanth (Sree Vishnu) were kicked out of their institution. Under the guidance of a professor, each of them works for a Ph.D. They come to Bhairavapuram as a result of a series of events. Sampagi is a ghost that haunts the people and causes trouble every full moon. According to their self-promotion in the community, Bang Bros can cure any illness and solve any problem. The villagers are persuaded to believe their claims by their successful but unorthodox tests, which causes the local tantric expert to lose his source of income.

The tantric tests their mettle, saying he won’t consider them con artists unless they find the treasure hidden in the abandoned palace—which is presently inhabited by Sampangi. The Bang Brothers take up the challenge with gusto.

Om Bheem Bush offers a novel perspective on the paranormal. It’s funny enough, but it’s not funny enough to constitute a stand-alone comedy show. The buddy comedy offers breezy amusement with minimal substance, yet it’s still fun after just one watching.

Review of Om Bheem Bush

As the creators clearly stated in the title, “No Logic Only Magic,” one shouldn’t expect a compelling narrative or a logical explanation of the plot. It’s not magic or reasoning, but it does have a certain amusement value. If the moment where the group enters the palace had been better written, the movie would have been more entertaining. From there, the movie starts to wane. Of the scenes in the second half, the one with the “Sagara Sangamam” music piece is by far the funniest.

In this movie, Sree Vishnu once again displays his comedic timing. It’s interesting to note that he lets Priyadarshi and Rahul Ramakrishna, the other two actors, execute the humour and share screen time with him. It is commendable that Sree Vishnu does not appear in certain scenes, enabling the comedy to take centre stage. In the second part, he also accepts a sequence that no other male performer would typically embark on. Rahul Ramakrishna has the most funny voice. His more carefree exchanges are more entertaining. In this movie, Priydarshi is the only one who makes an effort to communicate with “sense,” as the others act absurdly. He is just as skilled.

Harsha Konuganti writes excellent conversation. But as a director, he ought to have handled the flashback scene better and made the movie more succinct. The song is unmemorable. Some technicians performed merely mediocrely.


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