Released on January 9, 2026, as a major Sankranti blockbuster, The Raja Saab marks a polarising departure for Prabhas, who steps away from his recent “Action God” persona to embrace a more light-hearted, flamboyant role.
Directed by Maruthi, the film attempts to blend horror, comedy, and fantasy into a three-hour “mass” entertainer, but critics have largely described the final product as a disjointed and exhausting “spiralling mess.
” The narrative follows Raja (Prabhas), a carefree man living with his grandmother, Gangamma (Zarina Wahab), who suffers from Alzheimer’s and clings to the memory of her long-lost husband, Kanakaraju (Sanjay Dutt).
This quest for family legacy leads Raja to a sprawling, supposedly haunted mansion where he must engage in a high-stakes “mind game” with his grandfather to reclaim their lost wealth. While the premise of a psychological battle between generations sounds intriguing on paper, reviewers argue that the execution is buried under a bloated screenplay, dated tropes, and a runtime of nearly 190 minutes.
The film’s biggest strength remains Prabhas himself; critics have noted that his “affable” presence and “goofy” comic timing provide occasional sparks of joy, reminding audiences of his early career successes like Darling. However, this charm is often smothered by the film’s technical and structural flaws.
A significant point of contention is the portrayal of the three female leads—Malavika Mohanan, Nidhhi Agerwal, and Riddhi Kumar—who are largely relegated to “ornamental” roles with little agency, often seen roaming a haunted jungle in sequinned sarees.
Furthermore, the film’s reported ₹400 crore budget has come under fire, with audiences pointing out inconsistent and “tacky” VFX, particularly in scenes where Prabhas’ face appears shoddily superimposed onto body doubles. Despite a high-octane 40-minute climax that features “absolute madness” and psychological twists, many felt the payoff arrived too late to salvage the narrative’s lack of cohesion.
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