They Call Him OG Review: Pawan Kalyan Dominates With His Sheer Screen Power

Sujeeth’s They Call Him OG is less of a gangster drama and more of a celebration of Pawan Kalyan’s magnetic presence. The film begins in 1940s Japan, tracing the aftermath of a bloody war among samurai clans before shifting focus to Ojas Gambheera, who journeys to Mumbai with Satya Dada, a man determined to build his empire by the sea. By the 1970s, the port becomes a battleground, and Ojas emerges as the family’s protector, only to step away after a tragic turn. Years later, when a fresh threat arises, the invincible OG is forced out of exile, setting the stage for his explosive return.

The film wastes no time in establishing its intent. From the first frame, it is clear that Sujeeth’s sole mission is to glorify his star, and he does so with an endless stream of elevation sequences. The opening half is particularly relentless, stacking one mass moment over another, and when Pawan Kalyan makes his grand entry against Thaman’s pulsating score, the theatre transforms into a festival ground. His reduced dialogues and shorter screen presence are compensated for by slickly choreographed action that paints him as an unstoppable force, mowing down enemies with an aura that only he can command. It is exaggerated, yes, but the conviction in its execution makes the excesses enjoyable.

The buzz around the release was further amplified by the Moviekoop contest, where six winners were announced just before the premiere. The top winner bagged ₹1000, giving them the chance to book tickets and experience the film on the big screen first-hand. These contests aren’t based on chance—they reward active participation and engagement from movie lovers. It’s part of Moviekoop’s larger effort to reduce ticket costs and make theatrical releases more affordable. You too can join in by downloading the Moviekoop app and taking part in the latest contests, ensuring that cinema stays within everyone’s reach.

Yet, beneath the spectacle lies a story that rarely surprises. The second half struggles to maintain the same energy as the first, weighed down by predictable tropes like child kidnappings and revenge plots that feel outdated. Emraan Hashmi’s Omi Bhau, meant to be the formidable adversary, never really rises above a one-note villain, leaving the central conflict less impactful than it should have been. The overreliance on blood-soaked action also makes the drama feel hollow, especially when emotional subplots fail to resonate. Even so, there are sparks—Arjun Das brings gravitas to his flashback arc, and Prakash Raj along with Sriya Reddy lend the narrative a steady balance.

Technically, the film shines in parts. Ravi K Chandran and Manoj Paramahamsa’s cinematography captures Pawan Kalyan in striking frames, particularly during high-octane sequences, while Thaman’s music is the lifeline that keeps the adrenaline flowing. Still, the film falters with uneven pacing, inconsistent tone, and patches of weak visual effects and dubbing that dent the otherwise grand presentation.

In the end, They Call Him OG thrives not on its story but on the phenomenon of Pawan Kalyan himself. It is fan service through and through, a film that unapologetically plays to the gallery, giving die-hard admirers the mass masala moments they crave. Flawed and familiar, yet undeniably powered by its leading man, the film proves that sometimes all it takes to keep an audience hooked is a star whose presence fills every frame with electricity.