Cheekatilo Movie Review:

After a gap, Sobhita Dhulipala makes her return to Telugu cinema with Cheekatilo. However, instead of arriving on the big screen, the film takes the direct-to-OTT route and premieres on Prime Video. Backed by Suresh Babu of Suresh Productions banner and directed by Sharan Koppisetty — known for films like Kirrak Party, Thimmarusu, and Full Bottle — Cheekatilo promised a dark, intense investigative thriller rooted in real-life incidents.

The title Cheekatilo, which translates to “in darkness,” suggests mystery, tension, and psychological depth. Unfortunately, the film never truly lives up to that promise. What unfolds instead is a largely predictable crime drama that lacks urgency, emotional weight, and most importantly, thrills. While the premise has potential and the core theme is socially relevant, the execution falters at multiple levels, resulting in a film that feels flat and underwhelming.

Director: Sharan Koppisetty

Cast: Sobhita Dhulipala, Viswadev Rachakonda, Pradeep, Amani, Jhansi, Lakshmi, Ravindra Vijay, Chaitanya Krishna, Eesha Chawla, and others

Sandhya Nelluri (Sobhita Dhulipala) is an honest and idealistic journalist who also happens to be a criminology student. She works for a television channel, covering crime stories, but soon becomes uncomfortable with how sensitive cases are sensationalised purely for TRP ratings. Disillusioned by this approach, she quits the channel after encouragement from her close friend Bobby (Aditi Myakal), who suggests that Sandhya start her own podcast.

With the support of her boyfriend Amar (Viswadev Rachakonda), Sandhya launches a podcast titled Cheekatilo, focusing on unsolved crimes and social issues. Just when things seem to be settling, tragedy strikes. Bobby is brutally murdered in her apartment, and the killer leaves behind jasmine flowers and anklets at the crime scene — an eerie signature that hints at something deeper.

The police investigate the case briefly and conclude that it is a standalone murder, effectively closing the file. Sandhya, however, receives anonymous calls suggesting otherwise. She begins to suspect that Bobby’s murder is part of a series of killings. As she digs deeper, Sandhya uncovers links to similar murders that occurred years ago in the Godavari region. With help from her boyfriend Amar and a police officer Rajeev (Chaitanya Krishna), she continues her investigation, determined to uncover the truth.

Who is behind these murders? What is the motive? And will Sandhya succeed where the police have failed? These questions form the crux of Cheekatilo.

The film’s promotional material repeatedly claims that Cheekatilo is inspired by true incidents. The idea of linking a contemporary murder in Hyderabad to past crimes is interesting on paper. Adding a podcaster as the central investigator — someone who also aims to raise social awareness — could have brought freshness to the genre. Sadly, the screenplay never capitalises on these strengths.

Despite being positioned as a crime thriller, the film unfolds in a very straightforward and predictable manner. There is no sense of tension, urgency, or danger that typically defines investigative dramas. Murders happen, clues surface conveniently, and the protagonist moves from one discovery to the next without facing any real obstacles.

One glaring flaw is the portrayal of the police. In a murder case that occurs inside an apartment complex, basic investigative steps — such as questioning the watchman — are completely ignored until Sandhya herself points it out. This is just one of several instances where the police are reduced to passive bystanders, seemingly present only to highlight the protagonist’s intelligence. While making the lead character proactive is important, turning law enforcement into mere spectators feels lazy and unconvincing.

The film also fails to build suspense around the killer. In a serial killer narrative, audiences expect layered storytelling, psychological depth, misdirection, or at least a few shocking twists. Cheekatilo offers none of that. The killer’s presence is barely felt, and the investigation lacks complexity. Everything is laid out too plainly, making the viewing experience dull rather than gripping.

At its heart, Cheekatilo tries to address a serious and sensitive issue: sexual abuse faced by women and the trauma that prevents many from speaking out. The film suggests that fear, social stigma, and the concept of “honour” often silence victims, allowing perpetrators to go unpunished.

Sandhya herself is revealed to be a survivor of childhood trauma. When she wanted to report the abuse, her mother asked her to remain silent, fearing social consequences. This unresolved pain continues to haunt her, and it partially fuels her determination to investigate these murders.

While the intention is commendable, the execution lacks emotional depth. The film touches upon trauma but never truly explores it. Sandhya’s inner conflict is mentioned but not felt. As a result, the emotional connection between the audience and the protagonist remains weak.

One of the biggest disappointments of Cheekatilo is its shallow character writing. Sandhya, the central character, is not written with enough depth or strength. Despite being present throughout the film, her character arc feels flat. She investigates crimes, but we rarely see her struggle, doubt herself, or face moral dilemmas.

Sobhita Dhulipala looks elegant and carries herself well, but her performance never rises above the surface. While she fits the role aesthetically, she doesn’t fully inhabit Sandhya’s emotional space. Given that the film rests entirely on her shoulders, this becomes a significant drawback. Viswadev Rachakonda, playing Amar, is largely underutilised. His character exists mainly to assist Sandhya, without any meaningful development. Their relationship lacks emotional depth, making it hard to invest in his fate or role in the narrative.

The film boasts an impressive supporting cast — Amani, Jhansi, Pradeep, Lakshmi, Ravindra Vijay, and Suresh — but most of them are wasted. These seasoned actors appear briefly, deliver a few lines, and disappear, leaving no impact. Their presence feels more like a casting choice on paper rather than a narrative necessity.

Eesha Chawla returns to Telugu cinema as a police officer, but her role is disappointingly thin. Chaitanya Krishna, as cop Rajeev, simply supports the protagonist without contributing much to the investigation. Vadlamani Srinivas fares slightly better, but even his role lacks sufficient exploration. Senior actors Suresh and Ravindra Vijay appear in roles that feel forced, as though included to mislead the audience rather than serve the story organically.

The film’s last thirty minutes are its weakest stretch. Once the identity of the killer is revealed, the narrative collapses completely. The motive behind the murders is not only unconvincing but also surprisingly silly, given the seriousness of the subject.

The film fails to connect the dots convincingly. The investigative process leading to the killer lacks logic, and key revelations feel rushed. Even crucial questions — such as the fate of Sandhya’s boyfriend — are handled casually, leaving the audience confused. Instead of ending on a powerful or thought-provoking note, Cheekatilo concludes with a sense of disappointment.

Technically, the film is adequate. The cinematography is decent and occasionally atmospheric, though it doesn’t fully utilise the darkness suggested by the title. The background score and songs are average and fail to elevate tense moments. Dialogues are functional but forgettable.

Cheekatilo aims to be a dark, gripping crime thriller but ends up as a routine investigative drama with weak writing and an underwhelming climax. Despite a relevant theme and a capable cast, the film lacks suspense, emotional depth, and narrative urgency.

Ironically, even after switching off all the lights and watching the film in complete darkness, there is very little here that sends a chill down the spine. For fans of the thriller genre, Cheekatilo is likely to be a disappointment.