U Turn commences with a fairly easygoing mother-little girl discussion. They're situated inside an autorickshaw and the mother eggs on Rachna (Samantha) to stop her news coverage dreams and get hitched. "Namba kalyana panikalama (Shall we get hitched)," Rachna asks the autodriver spontaneously. It's one of only a handful couple of lighter minutes in a film that rapidly gets into genuine spine chiller mode.
Rachna works at a daily paper office and really likes Aditya (Rahul Ravindran), a wrongdoing correspondent. She's chipping away at her own wrongdoing story — one she has been following for some time — on the happenings at the Velachery flyover. That flyover is the centrepoint for the film; that is the place drivers, relatively consistently, pay little regard to the rocks and take a U-swing to achieve their goal quicker. Rachna plans to discover them and direct meetings, for a story on why individuals need fundamental municipal sense.
At the same time, she turns into a speculate herself. A spate of killings happens and abruptly, Rachna winds up right in the thick of things.
U-Turn audit
Sort: Thriller
Cast: Samantha, Aadhi, Bhumika
Storyline: A journalist gets captured amidst a wrongdoing story that is unfurling
So do we. Executive Pawan Kumar gradually, however most likely, steers U Turn into a thickly finished film that springs shocks once in a while. We believe this is a straightforward simple scenario, yet as Rachna and Nayak (a viable Aadhi) plunge further, they understand there's a whole other world to it.
U Turn is the revamp of an acclaimed Kannada film by a similar name and for those who've not viewed the first, the turns keep you snared. It plays out at most occasions such as a large number of those English wrongdoing books you read as a child — you can't rest without finishing the book.
Helping the reason on the extra large screen significantly is the camerawork (Niketh) which affectionately drifts around the various documents and suspects we're accustomed to finding in a police headquarters. Samantha gets a substantial part and scores. Watch her in the succession when she's simply back home following a whole night of police cross examination. She crumples on the floor, wimpering, taking us directly into the brain of what somebody would feel like in such attempting occasions. She falters, in any case, now and again in the second half, not looking as shocked she should be because of the occasions unfurling before her. The police cross examination arrangements do droop now and again and the frightfulness edge to the storyline unfurls rather comfortable, yet these are among the minor protestations with a generally tight content.
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