Metacritic reviews

S.S. Rajamouli’s RRR is a dazzling work of historical fiction — emphasis on the “fiction” — that makes the moving image feel intimate and enormous all at once.

People who hand-wring about movies being dead really need to check this one out. RRR proves that, yes, cinema is alive and well, but only if you’re willing, every now and again, to look past your backyard.

The thrill of RRR is not the density of its storytelling, though—it’s the exuberance of it.

If you thought Hobbs and Shaw were a cute couple, you ain’t seen nothin’ yet; RRR is bromantic action nirvana.

It’s about perseverance and the power of working together toward a common goal. Those themes are universally relatable — as is the giddy thrill of watching racist forces of imperial oppression get exactly what’s coming to them.

RRR feels simultaneously personal and gargantuan in scope.

The movie is such an irresistible and intoxicating celebration of cinematic excess that even after 187 minutes (including intermission or, as the title card announces, “InteRRRval”), you are left exhilarated, not exhausted.

Rajamouli shoots the film’s action with hallucinogenic fervor, supercharging scenes with a shimmering brand of extended slow-motion and C.G.I. that feels less “generated” than unleashed.

Riotous good fun from start to finish, RRR, a fictionalised account of two real-life revolutionaries fighting against the British Raj and Nizam of Hyderabad in 1920s India is being deservedly championed for reminding audiences what big screen entertainment is all about.

For all its political determination, RRR is also a musical, and an electrifying one.