KD The Devil review: Dhruva Sarja's film is a brain-rot commercial entertainer

KD The Devil movie review: This Dhruva Sarja-Sanjay Dutt-starrer period action drama is entertaining in bits but is mostly loud, messy and violent.

In Short

• Dhruva Sarja's KD: The Devil released in theatres on April 30
• Love, politics and miscommunication push the narrative into eccentric territory
• Ramesh Aravind, Ravichandran and Shilpa Shetty add fire and surprises

Kannada cinema seems to be stuck in a loop. The KGF fever has still not died down, and it is evident with director Prem’s KD: The Devil, starring Dhruva Sarja. The comparison is not about the story, characters or filmmaking, but simply about the ambition—the “let’s make a film like KGF” curse. So what works and what irks in this period action entertainer? Let’s find out.

Kali Dasa (Dhruva Sarja) is a light-hearted, uneducated young man who wears his heart on his sleeve. His brother, Dharma (Ramesh Aravind)—a strict, disciplined school teacher—keeps Kali at bay because he chose to work over studies. From a very young age, Kali idolises Dhak Deva (Sanjay Dutt), a fearsome underworld don whom even the police fear.

Enter love—Kali falls for Macchu Lakshmi (Reeshma Nanaiah), a bold, outspoken, spirited girl who matches his jolly nature. Through a series of unexpected events involving love, politics, miscommunication and some Mahabharata references, Kali steps into the dark world of crime when he finds himself up against his idol, Deva, who threatens to kill his family.

Add Satyavati (Shilpa Shetty), Deva’s partner who is just as fierce as him, and Annayyappa (Ravichandran), a formidable political figure with the people’s backing, and they bring more spice to the already overwhelming plate that is KD: The Devil. Does Macchu Lakshmi’s outspoken nature land Kali in trouble? Will Kali survive and save his family from his hero? When will Kichcha Sudeep’s cameo appearance happen? Answers to these questions—packed with eccentricity, exaggeration and elevations that defy logic—make up the plot of KD: The Devil.

Director Prem’s story being eccentric would be an understatement, as the film’s eccentricity is on steroids. KD: The Devil is a standard commercial entertainer with a gangster villain—predictable, but enjoyable. Why? Because the ensemble cast has characters to play and are not merely there to hype the lead (for the most part). That is, until the steroids kick in.

Prem has his own style of filmmaking, and back in the day, it felt innovative and unique. However, it now seems like the director is reusing the same set of ideas through a modern lens and technology. This has become more of a distraction than an attraction, unlike during his Jogi days. The film is too “Prem” and that is one of its biggest drawbacks.

The screenplay is bizarre—an enjoyable scene suddenly jumps to a future timeline simply to capture a reaction, only to cut back to a completely different emotional beat, followed by yet another reaction. It reaches a point where you are left wondering what exactly is going on. The Shiva Shiva song is abruptly shoved into the film’s narrative with no real connection to the ongoing story, and the issues don’t stop there.

The lack of continuity is glaring—not just in props and costumes, but within the screenplay itself, making the overall experience feel disjointed and inconsistent. It seems like the film went through several changes during production and also faced a harsh scissor in the editing room, possibly due to the latest controversies, as Nora Fatehi’s appearance has been fully removed from the film. The problems outweigh the good in the film.

Most of the performances in the film are high on energy—exaggerated and loud, with barely any room for subtlety. Dhruva Sarja once again leans into a loud portrayal, both in his emotions and mannerisms. It may be a new character on paper, but the performance feels largely familiar—effort is visible, but the results don’t always land. Reeshma Nanaiah tries to match his energy on screen and, while she succeeds at times, it occasionally veers into caricature. That said, she deserves credit for making a bold choice and shedding vanity so early in her career.

Sanjay Dutt seems awkward and misplaced in several scenes, especially those that demand a quirky, Prem-style performance. However, during the action sequences, his screen presence is as solid as ever. Ramesh Aravind, Ravichandran and Shilpa Shetty deliver strong performances, with characters that bring plenty of fire and surprises to the film. Sudeep’s cameo, meanwhile, is too brief to truly enjoy.

From a technical standpoint, Prem’s brilliance is evident in his frames, set design and vibrant visual ideas. Several moments in the film are stunning to look at, especially during the song sequences. His command over live-action filmmaking and staging epic moments works well—as long as he stays away from excessive computerised effects.

The cinematography is consistently impressive, and the scale of the production is clearly visible on screen. The music, however, is relentlessly loud, with either continuous dialogues or background score filling almost every moment. That said, songs like Settagalla and Anthamma Jodethu offer a good viewing experience. Editing and visual effects, on the other hand, hamper the film more than they help.

In conclusion, KD: The Devil has flashes of entertainment buried under layers of excess. There is ambition, scale and a director with a clear visual eye, but the lack of restraint holds the film back. What could have been a gripping, character-driven period action drama ends up becoming an overstuffed spectacle that confuses more than it connects.

Prem’s signature style still has its moments, but here, it feels overindulgent and outdated rather than exciting. Strip away the noise, and there is a better film somewhere within KD: The Devil—one that never fully comes together on screen.

- Ends