Cheekatilo OTT Review: Sobhita Dhulipala's Thriller Disappoints in Final Act

Marketed as a chilling crime thriller inspired by real incidents, Cheekatilo sets out to explore darkness—both literal and emotional—but rarely ventures beyond the surface. Streaming directly on OTT instead of opting for a theatrical release, the film arrives with an intriguing premise, a relevant social theme, and a capable cast. Unfortunately, what could have been a tense and thought-provoking investigative drama ends up feeling safe, predictable, and oddly disengaging.

At the centre of the story is Sandhya Nelluri (Sobhita Dhulipala), a journalist with a background in criminology who grows increasingly disturbed by the media’s obsession with sensationalism. Crime, for her newsroom, is less about truth and justice and more about numbers and ratings. Frustrated, Sandhya walks away from her job and turns to a more independent medium—a podcast—hoping to discuss unresolved crimes with sensitivity and purpose.

This setup is one of the film’s more refreshing ideas. Positioning a podcaster, rather than a cop, as the primary investigator offers scope for a different kind of crime narrative—one rooted in research, moral responsibility, and social awareness. However, Cheekatilo struggles to build on this foundation.

The story takes a dark turn when Sandhya’s close friend Bobby is found murdered in her apartment. The crime scene carries a disturbing signature: jasmine flowers and anklets left behind by the killer. The police quickly label the case as isolated and move on, but anonymous calls soon convince Sandhya that the murder is part of a larger pattern. Her investigation leads her to older, eerily similar cases from the Godavari region, suggesting a serial offender whose crimes span years.

From here, the film follows a familiar path. Sandhya teams up with her boyfriend Amar (Viswadev Rachakonda) and a sympathetic police officer to uncover the truth. Clues fall into place with surprising ease, leads conveniently appear, and the danger never truly feels real. For a film that wants to be a thriller, there is a striking absence of tension. The narrative unfolds at a steady but lifeless pace, rarely putting its protagonist—or the audience—under pressure.

One of the film’s weakest aspects is its portrayal of the police. In a serious murder investigation, basic procedural steps are overlooked until the protagonist highlights them. Instead of complementing Sandhya’s intelligence, this approach unintentionally makes the investigation feel contrived, as if logic bends merely to keep the story moving.

Character writing is another major shortcoming. Sandhya, despite being present in almost every scene, lacks a compelling emotional arc. We are told about her determination and inner strength, but rarely shown moments of doubt, fear, or moral conflict. Sobhita Dhulipala brings poise to the role, but the performance remains restrained to the point of emotional distance. The character demands vulnerability and intensity, but the writing never gives her enough space to truly breathe.

The supporting cast fares no better. Amar exists largely as a narrative convenience, offering help without having an identity of his own. Several experienced actors appear briefly, only to vanish without leaving an impression. Their presence feels more ornamental than essential to the story.

Where Cheekatilo falters most is in its final act. The revelation of the killer and the motive behind the murders should have been the film’s strongest moment. Instead, it becomes its undoing. The reasoning feels simplistic, almost trivial, especially given the gravity of the subject. The unraveling of the mystery is rushed, key emotional beats are glossed over, and certain outcomes are handled so casually that they dilute the impact entirely.

The film does attempt to address an important issue—sexual abuse and the silence imposed on survivors by fear, stigma, and misplaced notions of honour. Sandhya’s own past trauma is revealed as a driving force behind her obsession with unsolved crimes. While the intention is sincere, the treatment is superficial. The trauma is acknowledged but never deeply explored, leaving the emotional core underdeveloped.

On the technical front, Cheekatilo is competent but unremarkable. The cinematography occasionally creates a moody atmosphere but doesn’t fully exploit the visual possibilities of a dark thriller. The background score and music fail to heighten suspense, and the dialogues serve the plot without adding texture or memorability.

In the end, Cheekatilo feels like a film that plays it too safe. It has the ingredients for a gripping crime drama—a strong theme, an unconventional protagonist, and a socially relevant message—but lacks the courage and craft to push boundaries. What remains is a routine investigative story with a weak payoff, unlikely to satisfy viewers looking for depth, suspense, or emotional resonance.

For a film titled Cheekatilo—“in darkness”—there is surprisingly little here that truly unsettles or lingers once the screen fades to black.

Rating: 2.5/5