Game Changer Review: Shankar’s Ram Charan Mass Project Is Shivaji, Anniyan, Mudhalvan In New Bottle

Game Changer by S. Shankar, starring Ram Charan, Kiara Advani, Anjali, Samuthirakani, SJ Suryah, Srikanth, Sunil, and Jayaram, among others, is the power-packed sojourn of the maverick director to Telugu, but without much difference from what he has been doing so far: fighting the issues of the system by using a larger-than-life hero. Here, his hero is a state election commissioner.

Before Game Changer, S. Shankar was famous and ‘was’ quite influential in looking at social issues like corruption, inequality, and power misuse, presenting them through dramatic and commercially engaging narratives. It was he who took the mantle of old Tamil cinema’s powerful discourse of putting socially relevant narratives into the new age by integrating cutting-edge technology and visual effects. Shankar’s works set benchmarks in Indian cinema for grandeur and innovation.

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Barring some of his youthful movies, Shankar masterfully blended intense emotional drama with larger-than-life action sequences, crafting stories that resonate widely. Themes of justice and redemption frequently anchor his films, often showcasing protagonists who challenge societal norms or fight oppressive systems. With iconic works like Robot and Indian, he balances futuristic, thought-provoking concepts with culturally rooted storytelling, cementing his legacy as a visionary filmmaker.

In Game Changer, Shankar mixes Kathalan, Gentleman, Indian, Anniyan, Mudhalvan, and Shivaji: The Boss into one bottle and rebrands it with his usual style: the extravagance. One addition is the use of mass appeal Ram Charan in the story.

Earlier, Shankar’s techniques and unique storytelling style were the mass. Here the actor and usual Telugu and Tamil dramatic presentation are the mass.

Here, the State Election Commissioner is using bulldozers to fight the villain; the villain opens his mouth only to roar; the heroine comes to the screen only for song sequences—this is not the usual stuff you see in a normal Shankar movie.

S Shankar has consistently used his films to spotlight politics, corruption, and social issues, crafting compelling narratives that resonate with audiences. In Kathalan, Shankar subtly addresses the disparity between social classes and the emotional turmoil caused by rigid societal norms. The film juxtaposes youthful romance with the deeper struggles of inequality.

Gentleman takes a bolder stance, tackling systemic corruption and the inefficiency of governance. The protagonist’s double life as a vigilante reflects the frustration of the common man, making a powerful statement on justice and morality.

With Anniyan, Shankar explores the psychological impact of societal indifference and widespread corruption. The protagonist’s dissociative identity disorder becomes a metaphor for the internal conflict faced by individuals in a flawed system, highlighting the desperate need for accountability and change.

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Indian presents a revolutionary perspective on justice, with a retired freedom fighter taking extreme measures to cleanse the nation of corruption. The film critiques the misuse of power and bureaucracy while honouring patriotism and accountability.

In Mudhalvan, Shankar envisions a utopian political scenario where an idealistic leader takes charge for a day, exposing inefficiency and corruption within the government. These films collectively showcase Shankar’s ability to intertwine entertainment with powerful social commentary.

In Game Changer, Shankar loses all the advantages and techniques. Along with this, Shankar’s major disadvantage is the absence of prime AR Rahman. Thaman S’ score is okay for a mass project of recent years, but not as perfect for the prime Shankar.

Karthik Subbaraj’s story could have found its meaning if the execution had the old Shankar there.

Timeline Verdict: A Shankar potboiler with typical mass masala ingredients.

Game Changer Crew:

Director: S. Shankar

Story: Karthik Subbaraj

Cast: Ram Charan, Kiara Advani, Sankalpa Banerjee, S. J. Suryah.