Premante (2025) REVIEW ft. Suma, Anandhi, and Priyadarshi

After his earlier setback with Mithra Mandali, Priyadarshi returns with a romantic crime comedy called Premante. First-time director Navaneeth Sriram helms this project featuring Anandhi opposite Priyadarshi. The cast includes familiar faces like Suma Kanakala, Vennela Kishore, and others in key roles. Hitting screens on November 21, 2025, the movie comes from producers Jhanvi Narang and Puskur Ram Mohan Rao.

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Leon James scores the music while Vishwanath Reddy handles the camera. Raghavendra Thirun takes care of editing. The film’s tagline promises thrills, but the real question is whether this marriage of genres actually delivers.

The Plot

The film centers on Madhusudhan Rao, nicknamed Madhi, who crosses paths with Ramya during a wedding celebration. Their connection feels instant and genuine. Both families give their blessing, leading to a smooth wedding. Their initial months together pass without trouble.

But Ramya starts noticing odd patterns in her husband’s behavior. Late nights and strange explanations raise her suspicions. When pressed, Madhi reveals his secret: he steals from homes to settle his financial troubles and assist friends. Instead of walking away, Ramya finds herself drawn to this dangerous world and chooses to become his accomplice.

A parallel track follows Head Constable Asha Mary, played by Suma, who takes on the challenge of tracking down this couple. The narrative explores their criminal partnership, the reasons behind Madhi’s choices, and whether the law will catch up with them.

How The Actors Fare

Priyadarshi stays in his comfort zone with this role. He brings his usual comic energy and familiar expressions. I noticed he handles lighter scenes better than dramatic ones. The performance feels safe rather than challenging, mainly because the material doesn’t push him to explore new territory.

Anandhi brings earnestness to her part. Her character travels from being a simple, traditional woman to someone participating in burglaries. While Anandhi commits fully, the transformation happens too quickly to feel believable. That said, she shares decent rapport with Priyadarshi during their romantic exchanges, which adds some emotional weight.

Suma’s portrayal of the constable misses the mark. Her strength lies in spontaneous humor, but here the scripted lines don’t give her room to shine. I felt her character runs in circles without going anywhere meaningful. The repetitive nature of her scenes doesn’t help.

Vennela Kishore manages to squeeze laughs from his brief appearances. His timing with certain dialogue delivers the few genuinely funny moments. Unfortunately, he’s barely utilized. Hyper Aadi and Ram Prasad show up but leave no impression. The rest of the cast fills their roles without standing out.

The Good Parts

The beginning portions set things up nicely. The way Madhi and Ramya meet at the wedding feels fresh. I found myself enjoying their early courtship scenes, which have a pleasant, relaxed vibe. These moments work because they feel grounded and relatable.

The chemistry between the leads comes through in their lighter interactions. Their relationship has warmth during the first half. The concept itself – exploring commitment through an unconventional crime angle – had scope for something interesting.

A few robbery sequences create momentary suspense. You wonder if they’ll manage to escape or get caught. Leon James delivers one standout track, the wedding song featuring Shreya Ghoshal’s vocals. It has festive spirit and melodic appeal. The visuals look polished throughout, credit to Vishwanath Reddy’s camera work.

Vennela Kishore’s scattered appearances provide relief. Some dialogue lands well, suggesting the film could have used more punch in its writing. The production doesn’t look cheap, giving it a theatrical quality.

The Problems

Where the film truly stumbles is in its second half. After building things up, the momentum drops sharply. The plot becomes easy to predict. I found myself questioning why a woman with strong moral values would flip so dramatically without proper motivation.

The emotional foundation feels shaky. In better crime films, you understand why characters cross lines, making you sympathize despite their actions. Here, their choices seem driven more by convenience than genuine need. The film wants you to find their criminal partnership romantic, but it doesn’t earn that response.

The comedy track disappoints throughout. Instead of organic humor growing from situations, jokes feel inserted and dated. Suma’s portions especially drag, becoming tiresome rather than entertaining. The three elements – romance, crime, comedy – never gel into a cohesive whole.

Character decisions don’t track logically. The twist before intermission arrives without proper setup. Ramya’s journey from doubting wife to active thief happens too fast to accept. I left feeling the ending doesn’t wrap things up satisfyingly, leaving story threads hanging.

The background music often overpowers scenes that need subtlety. Editing shows roughness in places. Apart from one track, the songs don’t stick with you. Navaneeth Sriram’s direction reveals his limited experience, particularly in managing shifts between tones.

What Critics Rated

Various outlets gave the film below-par scores. One site gave it 2.75 out of 5, noting it has entertaining bits but falters in later portions. Another awarded 2.25/5, pointing out engagement issues. A third assigned 2/5, highlighting lack of substance.

One reviewer went as low as 1.75/5, calling the comedy forced. Another gave 2.5/5, praising the opening but criticizing how it loses its way. Critics generally agreed that performances couldn’t overcome fundamental writing weaknesses.

Audience Reaction

Viewer response has been split. Some early ratings online show higher numbers, though these might shift over time. Certain viewers enjoyed the pairing and found parts amusing. Others complained the marketing misled them about what the film actually delivers.

The second half received particular criticism from general audiences too. Social media conversations suggest it works for those wanting casual viewing without heavy expectations. Priyadarshi’s fans discovered moments to appreciate. However, anyone hoping for a smart, well-executed crime comedy likely felt let down.

Closing Verdict

Premante assembles the right pieces but doesn’t put them together effectively. It begins with promise – likable actors, interesting premise – before slowly deflating due to execution issues.

The director shows capability in individual moments but can’t sustain quality across the full runtime. The idea of examining partnership through crime had real potential with sharper writing and more confident direction. Instead, it takes easy routes and relies on humor that doesn’t land.

If you’re after uncomplicated entertainment and don’t mind logical gaps, you might find this acceptable. I felt it delivers a few watchable moments without adding up to a satisfying whole. It doesn’t succeed as either a romance or a crime story, leaving you somewhere unsatisfied in between.

My Rating: 2.25/5