Mirai (2025) Review: A Grand Fantasy with Flaws
Karthik Gattamneni’s Mirai is one of the most ambitious fantasy films to emerge from Telugu cinema in recent years. Backed by People Media Factory and mounted on a budget of around ₹60 crore, the film promises a grand spectacle that merges elements of Indian mythology with futuristic superhero storytelling. On paper, it is a bold step for the industry, and on screen, it succeeds in crafting moments of awe, even if it stumbles in execution at places.
The story revolves around Vedha Prajapati, played with conviction by Teja Sajja, who is entrusted with the task of protecting nine ancient scriptures from Emperor Ashoka’s era. These scriptures, holding divine power capable of turning mortals into gods, are hunted by a secretive group led by Mahabir Lama, also known as the Black Sword. Manchu Manoj, in his comeback role, throws himself into the part of the antagonist with an intensity that keeps the audience engaged whenever he is on screen. His presence balances out the film’s hero-centric narrative, making the conflict feel weighty and personal.
Supporting performances add further strength. Shriya Saran as Ambika Prajapati, Vedha’s mother, brings emotional resonance to the otherwise action-heavy film. Ritika Nayak as Vibha provides the lighter, romantic shades, while Jagapathi Babu and Jayaram lend gravitas in their supporting roles. Prabhas’ voice-over, though brief, gives the film a touch of star power that fans will certainly appreciate.
Visually, Mirai is a feast. From sweeping landscapes to elaborate battle sequences, the production design and visual ambition are commendable. The mytho-futuristic aesthetic blends Indian motifs with modern cinematic stylings, and for the most part, the visual effects hold up to the film’s scale. Scenes involving mythological references and fantastical creatures showcase Telugu cinema’s growing appetite for high-concept storytelling. Gowra Hari’s background score amplifies the drama, and songs like “Vibe Undi” and “Jaithraya” add energy to the narrative.
However, the film is not without shortcomings. The first half feels stretched, with an overindulgence in comedic subplots and prolonged sequences that dilute the urgency of the story. Some tonal inconsistencies arise, as the lighter portions sit uneasily alongside the darker mythological themes. While the visual effects generally impress, there are noticeable lapses in certain scenes where the CGI looks unfinished or overly artificial. These moments stand out more given the overall ambition of the film.
The second half is tighter, with the narrative focusing on Vedha’s confrontation with Mahabir Lama and the stakes surrounding the divine scriptures. Action sequences in this portion are particularly well-choreographed and visually exciting. Yet, as the climax unfolds, predictability sets in. Despite the scale and spectacle, the resolution follows familiar genre tropes, robbing the finale of the narrative surprise that could have elevated the film to another level.
On balance, Mirai is a commendable attempt at pushing the boundaries of Telugu fantasy cinema. It demonstrates what the industry is capable of when it invests in large-scale world-building and dares to experiment with mythological fusion. Teja Sajja proves yet again that he can hold his ground in challenging roles, while Manchu Manoj’s return as a menacing villain is a highlight. The film is visually grand and musically powerful, but weighed down by pacing issues, uneven tonality, and a climax that doesn’t fully capitalize on its premise.
Final Verdict
Mirai is not flawless, but it is bold and entertaining. It strikes the right chords in spectacle and imagination, offering audiences a fantasy experience that is rare in mainstream Telugu cinema. With an aggregate critic rating of around 3.25/5, it can be considered a visually striking adventure that entertains and impresses in parts, even if it falls short of being groundbreaking.
Rating: 3.25/5
A grand, mytho-futuristic spectacle that shines in ambition and visuals but falters in pacing and narrative depth.
