Top 10 Kannada Movies in 2023

Top 10 Kannada movies in 2023


Skeletons discovered in large quantities close to Bheemanahalli village spark suspicions about a potential massacre that may have occurred there. In order to investigate their origins, the skeletons are promptly relocated to a forensic lab. Then, beside a constable (Achyut Kumar), we meet Kaatera (Darshan Thoogudeepa), an elderly man on parole who is returning home for his village celebration. Following a fatal assault, Kaatera tells the policeman about his history. Kaatera, a weaponsmith in Bheemanahalli in the 1970s, was renowned for his bravery and honesty. He fell in love with a member of a different caste named Prabhavati (Aradhana Ram). In the meantime, Bheemanahalli’s farmers had had enough of the brutalities committed by feudalists Devaraya and Kaalegowda (Jagapathi Babu and Vinod Alva, respectively). The introduction of the Land Reforms Act gives the peasants optimism that they will be able to break free from the brutal grip of Devaraya and Kaalegowda. The villager’s messiah is Kaatera. Is he able to defeat the powerful feudalists? What connection does Kaatera have to the mounds of skeletons discovered at the start of the movie?

Darshan’s on-screen persona as a larger-than-life hero has dominated the last few years. The subject of whether he would like to return to performing arts films like Namma Preethiya Ramu was frequently asked of him during interviews, which prompted him to show off his artistic side. Regarding Darshan the performer masquerading as Darshan the mass-commercial hero, some fans had also expressed regret. Combining the two, Kaatera showcases the celebrity in all of his splendor, serving as both a performer and a popular hero. Tarun Sudhir, the director, deserves praise for his flawless integration. Just as endearing as the grey-haired Darshan is the young Darshan. The film was made just for Darshan and his followers. The narrative and screenwriting flaws are compensated for by his commanding on-screen presence. Aradhana, making her debut, shows promise; her strong performance in the second half makes her stand out. Aradhana gets ample screen time as a debutante, especially in a commercial escapade like Kaatera that primarily relies on heroism, to establish herself.

Veteran actors Jagapathi Babu, Kumar Govind, Vinod Alva, Avinash, Vaijanath Biradar, and Shruthi all provide strong performances in Kaatera. In fact, Kumar and Alva’s comeback in the film is flawless. Since this is a commercial escapade between good and evil, the one-toned and templated antagonists don’t detract from the overall tone of the movie.

The greatest benefit of Kaatera is its content—which strives to convey a message—which is rustic, honest, and rooted. Director Tarun Sudhir examines a number of topics, including feudalism, casteism, and honor killing, in this 1970s setting. He also sheds light on a long-standing “Holemari” tradition. The author Jadesh Kumar Hampi deserves recognition for bringing this subject to light. Although Masti’s language is good, there were a few instances where it lacked power. Mass-elevation moments feature V Harikrishna’s BGM most prominently. BGM is one of Kaatera’s unsung heroes. The title track and Pasandagavne are two of the album’s standout tracks. The action scenes are excellently done, particularly the one in the second part.

The duration of Kaatera is a significant factor that prevents it from being a fantastic movie. For the subject that the filmmaker has attempted to examine, three hours is a little too long. On the edit table, the first half could have been more precisely tuned. The movie’s first few minutes feature two back-to-back duet songs by Darshan and Aradhana, which slow down the action. After introducing all of the major characters gradually over the course of an hour or two, the movie really takes off. Furthermore, a couple of scenes with ladies (Aradhana and Shruthi) need a bit more tact. The conclusion leans toward preachiness in an attempt to deliver a message that might not resonate with Darshan’s “mass fans.”

The film serves as Darshan’s ideal leading man vehicle while also delivering a significant message. Saying “Welcome back, Darshan – the performer” is a wonderful idea at this point.


Darshan Toogudeepa’s character, Kranti Rayanna, is a prosperous businesswoman residing in Europe. His lavish automobiles, lakefront home, and choppers all suggest that he has an extravagant lifestyle. Soon after, he receives a call from B Suresha, his teacher, inviting him to the government school in India’s centennial festivities. After more than 20 years away due to his father’s orders, Darshan eventually makes his way back home. The government school falls to the ground on the day of the centennial festivities. Kranti now has the responsibility of improving not just one government school but all of the state’s government schools.

The movie has a fairly conventional approach to the storyline and is highly predictable from the start. The first part of the movie is devoted to character introductions and the dissemination of data regarding the state of government schools. The story of Kranti’s victory over the Salatri Group is told in the second part.

After more than a two-year break, fans naturally had high expectations for Darshan, and he lives up to them. The picture, which suffers from a mediocre narrative and dialogue, has been carried by him. The movie mostly relies on Darshan’s star power and has very few lines that are worth mentioning. After ten years in the business, Rachita deserved a little more than to be considered a pretty face and arm candy. Although she appears stunning, particularly in the Bombe song, tall Darshan steals the show in every scene. The performance of Ravichandran, who plays Darshan’s father Bhargav Rayanna, is the film’s greatest highlight. His quiet manner steals the show. Mukhyamantri Chandru, Umashree, Achyut Kumar, Ravishankar, and Samyukta Hornad have all performed their roles deftly. Kranti required a formidable adversary. Because Tarun Arora’s portrayal of a cunning businessman isn’t very believable, the tug of war appears unfair to one side. For those who have been eager to see Darshan’s activity on film, there won’t be a decent fight in store. Harikrishna did a mediocre job directing and composing as well.

By the conclusion, the movie somehow becomes too preachy and fails to provide viewers with their desired “climax catharsis.” The film’s creators did market it as “edutainment,” but once more, the finale is overly simple and offers no lasting answer to the pressing issue the story tackles.


In Kabzaa, which is set in the years leading up to independence, the main character is Arkeshwara (Upendra), a freedom fighter’s son who first becomes a rogue and later a mafia don. After that, he establishes a vast empire. The primary plot points of the film are why the patriotic father’s kid turns into an underworld don and what makes him such a powerful force. In addition, there is an additional tale of a royal family that captivates spectators.

Arkeshwara is a guy on a mission who follows a path no one has taken in order to overthrow the oppressive British rule. R Chandru, who has placed greater focus on the production, succeeds in emulating the 1940s by building enormous sets and even lifelike clothing that appear authentic on film. It does seem like the tale, which could have gone deeper, gets weaker by giving Arkeshwara’s character more weight, which makes the screenplay less engaging. Plot-wise, the background music works wonderfully.
Upendra has given a flawless performance as his character. While portraying Bhargav Bakshi, Sudeep makes a memorable appearance. Since Shriya Saran is Madhumathi, he takes the emotional weight, and Anoop Revanna, Sunil Puranik, and Murali Sharma have given it their all. Among all the gory scenes, Namami song visually charms. Arkeswhara is the most formidable villain in the film, despite the presence of several others. There are a lot of sharp remarks and dialogue aimed at the spectators. One of the key moments in the film is Shivarajkumar’s arrival at the conclusion, which adds still another twist to the story. The film’s narrative, striking visuals, and strong ensemble cast make it worthwhile to watch.


One day, Shivarajkumar’s ghost breaks into the prison and takes the inmates hostage. But Vamana, the dishonest CBI agent (Prashanth Narayan), is his goal. Effective policeman Chengappa (Jayaram) is assigned right away to handle the situation. And so starts the game of cat and mouse between a cunning crook and a merciless policeman.

The central theme of the film is the passing of the baton concerning what is right and evil between Shivarajkumar and Jayaram. With character introductions, setting changes, and many heart-stopping situations, the first half keeps you riveted to the displays. Here, Ghost makes a compelling case for itself as a mass-market film that is both stylish and meaningful. However, as the movie moves closer to the finale, post-intermission reasoning seems to fade into the background. There are a few untied ends remaining.

From beginning to end, Shivarajkumar’s Ghost is a one-man show. The movie follows the action-thriller, gold-heist genre structure and is set in a span of 48 hours. Arjun Janya’s background score uplifts the mood even if there isn’t much room for songs in the movie. The theme song continues long after the theater doors have closed. Even though Mahendra Simha’s camera work has a narrow range of applications, it nevertheless has an influence.

Jayaram is brash, yet he also makes the audience laugh with his irony. The appearances by Dattanna, Archana Jois, and Anupam Kher are noteworthy. Prashanth Narayan is a fantastic villain. Director MG Srinivas, a self-confessed lover of Shivarajkumar, does a fantastic job bringing his “Big Daddy” vision for Shivarajkumar to life.
When the actor is mute, the de-aging sequences come off the best. When the character speaks, there are inconsistent facial expressions—almost like a dead-eye. Moreover, welcome to Srini’s Cinematic Universe, or SCU. In addition to getting to know Mahesh Das, the protagonist of the Birbal Trilogy, you also get to witness a lengthy, fascinating prelude to Ghost 2.

Saptha Sagaraludache ello-side A

Middle-class Priya (Rukmini Vasanth) and her partner Manu (Rakshit Shetty) have modest life goals. They each glimpse a dream together. But Manu’s main goal in life is to make sure he provides Priya the life she deserves and desires. He goes too far in an attempt to accomplish that, landing him in jail. Priya and Manu find comfort in one other amongst the mayhem around them. Without a doubt, they are each other’s homes. Despite being divided by prison walls, they are mutually energizing. Can they do it indefinitely, though?
SSE burns slowly. The movie starts out slowly, introducing the characters and creating the setting in which they live. One is captivated to the screen by the soundtrack, visuals, and color scheme. Like a cool summer breeze, the second half comes in strong.
The performances in the movie are its strongest point. The seven phases of grieving are integrated throughout Rakshit’s performance. Rukmini has a captivating and contagious smile. Her modest attire, which features a variety of blue hues, adds to the allure of this beach-loving figure. Metaphors abound in the philosophically inclined conversations. Prominent performers like Achyut Kumar, Sharath Lohitashwa, Gopalakrishna Deshapande, Ramesh Indira, and Pavitra Lokesh assist the protagonists in creating a genuine, vulnerable, and convincing environment.

The off-screen heroes are cinematographer Advaitha Gurumurthy, music composer Charan Raj, and director Hemanth, if Rakshit and Rukmini are the on-screen heroes. Godhi Banna, Sadharana Maikattu, and Kavaludaari, Hemanth’s previous two movies, were flavorful packages. Despite the fact that SSE is centered around the criminal world, the filmmaker has resisted the need to include pointless commercial themes.

The appropriate notes played in the right locations in Charan’s music release energy. Songs are a valuable element to the movie because they are woven throughout. The movie offers a dynamic experience, for example, starting with the title track and concluding with contrasting music that concurrently shifts between two powerful sequences.
Advaitha reveals the hidden layers of every scene on screen, capturing them all. Don’t pass up the allure of vintage Bengaluru, which makes a big-screen comeback in this movie.
SSE is a must-watch because it combines excellent performances with deep technical values. We are currently waiting on Side B, the second section, which looks to take us farther into this emotional trip.

Saptha Sagaraludache ello-side B

Manu (Rakshit Shetty), who was released from prison ten years ago and is now fighting COVID, longs for Priya (Rukmini Vasanth). The cassette tape, which is already worn out, is his favorite relic from his previous existence. Manu is assisted in starting a new life by his former prison buddy Prakasha (Gopal Krishna Deshpande). He meets sex worker Surabhi (Chaitra J Achar) and attempts to find Priya in her. However, Surabhi consistently demonstrates that she is not Priya, and this inexplicably brings Manu and Surabhi closer together. He does, however, want to know if Priya is leading the life she deserves and has always dreamed of. Manu consequently follows her and learns every detail of her life. Manu makes the conscious decision to go above and above to assist her in finding love, light, laughter, and, of course, her voice after learning that she is leading a simple, depressing life. Is Manu able to achieve without going too far?

Similar to Side A, Side B benefits greatly from some of the best performances given by Rukmini Vasanth, Chaitra J. Achar, and Rakshit Shetty. Side B Manu, still a fool in love, is half-alive on the outside and half-dead inside, whereas Side A Manu was an eager man, full of love. When needed, Rakshit expertly brings out both Manus and pulls off a masterful balancing act. His eyes hurt for Priya, and Rakshit has made him feel a range of emotions. As endearing as ever, Rukmini Vasanth is a mother of two and the wife of a guy who has given up on life. Her brilliant smile has been replaced by the dejection that comes with routine, and her salwars have been replaced with sarees. Once more, Chaitra demonstrates how well she fits into positions, much like water fits into a container. In sensual moments, she projects confidence, demonstrating that she is no longer a beginner. As a kind friend, Gopal Krishna Deshpande naturally injects lightheartedness into poignant moments. With his cunning smile, Ramesh Indira plays a fantastic bad boy who has a love-hate connection with Manu. Full marks go to director Hemanth M. Rao for producing a pleasant sequel while bringing out the best in the actors. His attention to detail is a bonus.

The film begins slowly, introducing the audience to both the new and improved Manu and the characters from both his old and new worlds. Side B makes its aims clear right away, settles in quickly, and guides all the characters toward the satisfying resolution they all deserve. The tone of the movie is different from that of the first one. Although the screenplay is fascinating, it does not move quickly. Composer Charan Raj and cinematographer Advaitha Gurumurthy keep giving the narrative new angles. Charan Raj’s music, particularly the songs Olave Olave and Kadalanu (from Side A), gradually enthralls the audience and leaves them wanting more even after they leave the theaters. The background music is excellent in a number of ways, especially for Ramesh Indira’s “brewing a surprise” role. Furthermore, in many circumstances, the quiet speaks louder than the spoken words. Advaitha has ensured that the audience enjoys every square inch of his frame by using symbolic touches. A special mention should also go to the way his camera captured Bengaluru’s hidden yet seen aspects.
For a poetic love story, the pre-climax scene seems a little over the top, as it is written primarily for the general public. Despite Manu’s best efforts, there is something unsettling about the first half’s stalking scenes in this politically correct society. We can’t help but think of the online series YOU. The movie doesn’t drag overall, but it does seem to go a little slowly toward the finale.

Side-B is a suitable reply to Side-A, if Side-A is a one-sided love letter. If you enjoyed Side A, you should definitely see Side B in theaters to discover how Manu and Priya’s lives finally come full circle. Even if you haven’t seen Side A, Side B is still a magnificent tale that demonstrates the extent a human will go in the pursuit of love.

Hostel HUdugaru Bekagiddare

The main character of Hostel Hudugaru Bekagiddare is absent. The pranks of college males are central to the narrative. Ajith, a student with aspirations of making short films, writes a narrative that, after the hostel warden is discovered dead under suspicious circumstances, seems uncannily genuine. Though it doesn’t last long, the students become terrified.

After the warden’s death, viewers—especially those who have liked their time in hostels—are treated to nonstop enjoyment mixed with suspenseful components that transport them back in time. The fact that the film doesn’t adhere too closely to any one genre is one of its advantages.

The film appeared to be running out of material at several times, but the filmmaker keeps things interesting with a few surprising turns and twists. In his role as warden, Manjunath Nayak has performed admirably. Ramya’s persona is guaranteed to captivate you. In addition, the plot is spiced up with cameos by Pawan Kumar, Diganth Manchale, Shine Shetty, and Rishab Shetty.

Nithin Krishnamurthy is a bright director to watch out for in Sandalwood because he checked off most of the boxes in his debut film. The whole credit for the film’s visuals should go to cinematographer Arvind Kashyap, who carried the entire production on his own. Many fresh actors have given excellent performances. Watching Hostel Hudugaru Bekagiddare over the weekend is highly recommended.


Arriving at Thamas Katte, a little charming village in Coastal Karnataka, newly appointed station inspector Sampath (Bharath GB) is getting ready for the traditional festival, Maari jatre. Chaitra J Achar’s character Jenny visits the police station in search of her father Toby, who has been absent for the past two days. Sampath is drawn to Jenny’s unusual clothing and sets out to find Toby, an eccentric man that the villagers frequently fear due to his strange demeanor. Some refer to Toby as the “devil” or the “Shaitan” when Sampath first starts to question him, while others see him as a simple-minded angel with a childlike innocence. Is it possible for a man to be both an angel and the devil? Or is there more to uncover in order to uncover the true Toby?

Toby is a kid that was abandoned. He is only familiar with battling to survive. An incident that happened to him when he was a child causes him to lose his voice. It’s the first time Yogi Banekshwar has ever been hugged and shown affection by Father Iglesias at the local church. With the help of his father Iglesias, a mortician named Damodara (Gopalkrishna Deshapande), a baby he found by the pond and adopted as his own, and a sex worker named Savitri, Toby makes a small world for himself. Toby is content in his little world—until Ananda tampers with it, that is.

The movie Toby is all about the performances and the technical details. Raj B Shetty is a beast who gives a strong, real performance in every single scene. Although he doesn’t speak, his acting makes sure that nothing is lost in translation. The writer Raj B Shetty also excels, delving deeper into multiple sequences. Raj is Toby, and Toby is Raj. Chaitra demonstrates her talent as an actor. She portrays a fierce lady who must care for a man kid who has only caused her suffering, and she does so with equal power. Their portrayals genuinely conflate acting with reality. The one-liners from young Jenny are brilliantly written and offer much-needed comedic relief. Samyukta’s detached, monotonous act stems from his intimate observation of society. Despite having very little to say, her tiny character communicates a lot.

Although the scenes are visually striking, they are shallow. The film is made more complex by Praveen Shriyan’s cinematography. The wide images do a fantastic job of capturing Toby’s savagery and the beauty of nature. Midhun Mukundan, the composer, is the unsung hero. Audiences got to witness the magic on the big screen because the songs from the film were not released. There are two songs in the movie, one for each half, and they magically blend in with the film.

There is no genre that the film belongs to. It includes a small amount of each item. With a rather predictable plot, Toby suffers greatly from the slow-paced narrative. There isn’t anything unexpected or overpowering. Thanks to the preview, the climax plays out quite normally without providing the audience with a climactic event. The movie has a fantastic pre-climax, but towards the conclusion, it falls flat.

In South India, it is customary for every hamlet to have a Maari Gudi, or maari temple. The Goddess is regarded as the village’s protector and is frequently seen on its periphery. She is also not allowed inside the house since she needs to commit acts of violence in order to get over her anger. Toby and Maari are similar.


In Ganesh’s film Baanadariyalli, love is a heart-shaped beacon that effortlessly transcends national boundaries and linguistic barriers. This film, directed by the well-known romantic dramatist Preetham Gubbi, is unlike any other love story. The film, which was written by cinematographer Preetha Jayaraman, highlights its uniqueness by telling a story that deviates from the norm and combines adventure, suspense, and agony in a way that is masterfully woven into the visual fabric. The movie is unquestionably a significant divergence from Ganesh-Preetham’s previous productions.

First and foremost, Puneeth Rajkumar is the first person that springs to mind when you hear the term Baanadariyalli. His moving performance of the song Baanadaariyali Surya Jarihodha gives the narrative and the movie a unique touch. The plot centers on two characters, Leela (Rukmini Vasanth) and her father Vasu (Rangayana Raghu), who both have an ambition of visiting an African safari. Leela meets Siddhu (Ganesh), a cricket player who aspires to play for his state, by chance as she is out on the road holding a tree-saving demonstration. After a few first meets, he falls in love with her at first sight, and Leela feels the same way. Gaining her father’s consent for their marriage is the only requirement. Vasu hesitantly accepts Siddhu’s proposal after considerable pressure. Vasu and Siddhu’s dreams are dashed just when love is in the air and they are ready to tie the knot due to an unforeseen turn of events. The remainder of the narrative investigates whether Siddhu can grant Leela’s wish and examines the relationship between Vasu and Siddhu. Kadambari, a companion traveler, is also included.

A flurry of emotions is thrown at the audience by Baanadariyalli, particularly in the captivating first half that makes you smile with its witty one-liners from Ashok Sharma, who plays his brother, and Ganesh. During the intermission, the movie takes a surprising turn and expertly explores the fallout from heartbreak. This love story is special because of the uncommon affinity between the two characters, which is set against a background of travel and athletics. The stunning wildlife and scenery of Africa give the images an additional layer of beauty, and the work of cinematographer Abhilash Kalathi further enhances the film’s allure. Arjun Janya has made an effort to incorporate a variety of tunes, but they don’t stick in your head.

The final thirty minutes of the performance offer an emotional journey that will resonate with the audience, even though the second half might have benefitted from a faster tempo. The performances by Ganesh, Rangayana Raghu, and Rukmini Vasanth among the film’s highlights. In his role as a cricket player, Ganesh excels at comedy, romance, and particularly poignant moments. He has a captivating on-screen chemistry with Rukmini. When it comes to emotionally charged scenes, Rangayana Raghu shines and makes an impact. The highlights are the sequences involving Ganesh and Rangayana Raghu. Rukmini Vasanth confirms her acting abilities in a variety of roles including those of a loving daughter, a surfer, and a lover. Reeshma Nanaiah’s presence lightens the mood in the second part of the intensely emotional drama and lends charm.

Overall, Baanadariyalli is a family-friendly film despite a few issues.   Baanadariyalli is an excellent film to watch if you value the intricacies of relationships, love, and the emotional journey of two people in love.

Gurudev Hoysala

Dhananjaya plays Gurudev, a fierce policeman. He marries an orphan Bhoomi (Mayuri  Natraja) and Ravi (Anirudh Bhat), an intercaste marriage, but subsequently finds out  that Bhoomi is the daughter of the local landlord. Dada, Bhoomi’s father Avinash BS,  is furious about the union and sends his army to retrieve his daughter, dead or alive.  Additionally, Gurudev receives a directive from his superiors to revive Bhoomi. Despite  Gurudev’s best efforts to save the pair, destiny has other ideas. 

Dhananjaya had a rough year in 2022, but the action movie Gurudev Hoysala offers  the actor a fantastic comeback. He looks good while taking stylish aim at villains.  Nevertheless, Naveen Shankar is a revelation. The full extent of Naveen’s talent as  Bali has been explored by director Vijay. He lets loose the beast, sometimes even  outperforming Dhananjaya in certain sequences. When the two finally meet, they both  try their hardest to outdo the other, which has helped the movie. On screen, they both  exude enthusiasm. 

But the ending could have been more powerful. Hoysala presents police in a positive  light, which is a welcome departure from the current practice. The plot is enhanced by  the idea, which is set in North Karnataka. The treatment has a significant impact even  though the story is not really new. The bond between Pratap Narayan and Naveen Shankar is reminiscent of that between Duryodhana and Karna in the Mahabharata. 

Hoysala is a polished commercial performer with catchy lines. It is necessary to give  writer Masthi credit for strengthening Hoysala’s dialogue. Amrutha Iyengar portrays a  perfect spouse. She plays a subdued role and does a good job of conveying the idea  that the Hoysala family values people above everything else. There isn’t a needless  love track, which is frequently included as a bonus in action movies. 

Important contributions include Nagbhushan, Pratap Narayan, Achyut Kumar, Avinash,  Rajesh Nataranga, and Raghu Shivamogga. The performances are improved by  musician Ajaneesh Loknath’s ability to maintain a steady beat throughout the movie.  Vijay, the director, has made a stylish police movie that addresses broader societal  issues.

Leave a comment