Usiru Movie Review – Ambitious Thriller that Falls Short of Breath

Panem Prabhakar, in his Kannada directorial debut, attempts to craft a thriller that blends faith, violence, and human emotions. Produced by Lakshmi Harish under RSP Productions, Usiru brings together a strong cast and an experienced technical crew. While the setup is promising and the atmosphere gripping in parts, the narrative struggles to balance its dual threads, leaving the film uneven in tone.

At its core, the story follows Raj (Tilak Shekar), a demoted police officer entangled in the mystery of missing pregnant women, while his wife Aishwarya (Priya Hegde) adds a personal stake to his investigation. Running parallel is the emotional arc of Surya (Santhosh Nadivada), a young man haunted by his past, whose bond with Siri (Apoorva Nagraj) offers him redemption. Supporting roles by Bala Rajwadi, Raaghu Ramanakoppa, and Raghu Pandeshwar enrich the narrative’s darker undertones, though their impact feels underutilized in the larger picture.

Performances are one of the film’s strengths. Tilak Shekar delivers a restrained yet intense portrayal of Raj, and Priya Hegde lends emotional depth as Aishwarya. Santhosh Nadivada brings conviction to Surya’s role, though his arc later feels more functional than layered. Apoorva Nagraj adds warmth as Siri, softening the grim narrative. The ensemble works sincerely, but uneven writing prevents their characters from reaching full potential.

On the technical side, Mohan Ram’s cinematography is a standout, capturing mist-filled terrains and eerie ritualistic visuals that elevate the thriller’s atmosphere. R. S. Ganesh Narayanan’s music—especially the track “Ninagaagi Naanu”—adds an emotional soul, while his background score heightens tension effectively. Bhairava Rama’s dialogues and lyrics give the narrative philosophical weight, though at times they clash with the screenplay’s pacing. Editor Harish Komme tries to streamline the dual narratives, but the film could have benefitted from sharper cuts. Contributions from Mass Mada (stunts), Subhash (art direction), Sudarshan (choreography), and the costume team Aayra Designs & Chikke Gowda enrich the immersive setting.

The major drawback lies in its storytelling. Prabhakar attempts to juggle emotion, ritual, and violence, but instead of building suspense organically, the film often relies on bursts of graphic imagery. These moments, while shocking, disrupt the flow of tension and make the thriller feel fragmented. The tonal shifts between heartfelt drama and brutal violence prevent the film from finding a consistent rhythm, leaving audiences engaged in parts but disconnected overall.

In the end, Usiru emerges as an ambitious thriller that impresses through its cast and technical finesse but falters in narrative execution. Panem Prabhakar clearly has vision, and with the support of his artists and technicians, he delivers haunting visuals and strong performances. However, the lack of a tightly woven screenplay leaves the film short of the gripping experience it promises. For viewers who value atmosphere, music, and sincere acting, Usiru may still hold interest, but those seeking a razor-sharp thriller will find it uneven.