Review: Prabhas’ The Raja Saab – Horror Fantasy with Limited Impact

Movie Name : The Raja Saab
Release Date : Jan 09, 2026
123telugu.com Rating : 2.75/5
Starring : Prabhas, Sanjay dutt, Boman Irani, Malavika Mohanan, Nidhhi Agerwal, Riddhi Kumar, Zarina Wahab
Director : Maruthi
Producers : TG Vishwa Prasad, Krithi Prasad
Music Director : Thaman S
Cinematographer : Karthik Palani
Editor :  Kotagiri Venkateswara Rao
Related Links : Trailer
For the first time in his career, Prabhas headlines a horror fantasy with The Raja Saab. Directed by Maruthi, the film features Malavika Mohanan, Nidhhi Agerwal, and Riddhi Kumar as the female leads. Released today amid considerable hype and expectations, here is our review of The Raja Saab.
Story:
Gangamma (Zarina Wahab), an Alzheimer’s patient, is looked after by her grandson Raju (Prabhas). While she forgets almost everything, she clings to memories of her husband, Pekamedala Kanakaraju (Sanjay Dutt), an exorcist believed to be living in exile. Raju’s search for his grandfather leads him to Hyderabad, where he uncovers a disturbing truth – Kanakaraju is long dead and has returned as a dangerous spirit. As Raju delves deeper, he begins to unravel his grandfather’s dark past and the greed that shaped his actions. The ensuing conflict between them forms the heart of the story.
Plus Points:
Prabhas appearing in a full-fledged comic role after a long gap is one of the film’s few refreshing elements. He makes a conscious effort to step out of his comfort zone. While the results are uneven, a handful of scenes work and generate genuine laughs. Satya complements him well and strengthens the humor wherever the writing allows.
Zarina Wahab is given a character with emotional depth and delivers a composed, dignified performance. The emotional thread associated with her character connects effectively in select portions.
Sanjay Dutt gets a well-defined role and brings the required intensity. His psychological play with Prabhas and others adds intrigue and holds attention whenever it takes center stage.
The second half contains a few isolated moments that stand out. Sequences such as Prabhas’ encounter with the shadows, Sanjay Dutt’s psychological play involving Boman Irani, and the hospital scene showcasing Prabhas’ emotional side are among the better-executed portions. These moments briefly elevate the film, even though they fail to transform the overall
Minus Points:
Director Maruthi’s ambition to present the story on a grand scale was evident from the promotional material and raised expectations. However, the execution does not live up to the promise. What appears compelling on paper falters on screen due to weak writing and inconsistent direction.
Prabhas puts in sincere effort in the comedic space, but several scenes fail to register because the humor lacks sharpness and the staging feels ineffective. This tonal imbalance may feel jarring, particularly for his fan base. Malavika Mohanan’s Tollywood debut is restricted by a role that offers minimal scope for performance. Nidhhi Agerwal and Riddhi Kumar remain largely ornamental, contributing little to the story. The songs featuring them feel forced and disrupt the suspense-driven tone. The placement of “Nache Nache” is especially ill-judged and unnecessary.
Supporting actors such as Samuthirakani, Rangasthalam Mahesh, and Sapthagiri are underutilised in poorly written roles. The comedy remains largely routine. The first half lacks cohesion and feels disjointed, while the sluggish momentum continues well into the second half. A runtime close to three hours only magnifies these
Technical Aspects:
Maruthi misses a valuable opportunity to deliver a strong entertainer despite having Prabhas at the centre. His faith in the material is not backed by solid writing or disciplined execution, resulting in a film that struggles to find a clear tonal identity.
Thaman’s background score is one of the film’s major drawbacks. Loudness is repeatedly mistaken for impact, and the excessive noise overwhelms several scenes, diminishing their intended effect. Karthik Palani’s cinematography is adequate in parts and offers occasional visual appeal. Kotagiri Venkateswara Rao’s editing needed sharper trimming, especially in the first half, to remove filler sequences and improve narrative flow. The CG work is inconsistent and only average. Production values are maintained at a reasonable
Verdict:
On the whole, The Raja Saab is a horror fantasy that works only in bits and never comes together as a cohesive whole. Prabhas’ attempt at comedy is sincere but inconsistent. The female characters are underwritten, while pacing issues, tonal imbalance, and weak storytelling weigh the film down. Though the second half offers a few engaging moments, they are too sparse to elevate the overall experience. The comedy works sporadically, making this film suitable only for die-hard Prabhas fans or viewers inclined toward the genre, provided expectations are kept firmly in check.
123telugu.com Rating: 2.75/5
Reviewed by 123telugu Team 
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