The Raja Saab arrives with a promising idea and a popular star in the lead, but the final result turns out to be a clear case of missed potential. The film tries to do too many things at once and ends up losing focus on what it could have done best.
 

The biggest problem with The Raja Saab is its confused genre treatment. It wants to be a horror comedy, a fantasy drama, a mass action entertainer, and even a sci-fi adventure-all packed into one film. Instead of feeling grand or unique, this constant switching of tones makes the narrative messy and exhausting. The film never fully commits to any one genre, which weakens the overall impact.

Comedy, which should have been the film’s biggest strength, barely works. Most jokes fall flat, and the forced humour only slows the story. The horror elements are even more disappointing. Not a single scene genuinely scares or leaves a lasting impression. For a film marketed as a horror-fantasy, the absence of effective horror is a major letdown. The visual effects also add to the problem, as they look inconsistent and poorly finished in many key moments.

The screenplay is another major weak point. The first half is outright dull, with long stretches that fail to engage. The second half improves slightly and introduces some interesting ideas, especially around the fantasy angle. A few sequences, particularly in the pre-climax, show what the film could have been. However, just when the story starts gaining momentum, unnecessary songs, forced romance, and outdated commercial elements act as speed breakers. The editing feels choppy, making the film feel longer than it actually is.

Prabhas is clearly the film’s biggest positive. He looks handsome, brings energy, and his sarcastic humour feels refreshing after a long time. His emotional scenes, especially those involving Zarina Wahab, are handled well. Unfortunately, even his committed performance cannot overcome the weak writing. The trimmed “reverse fight” sequence, which was heavily hyped, further reduces the film’s impact.

Among the female leads, Malavika Mohanan is the only one whose character fits naturally into the story. Nidhhi Agerwal and Riddhi Kumar add very little to the narrative, and their portions feel largely unnecessary. Removing them could have helped reduce the runtime and improve pacing.

On the technical front, S. Thaman’s music manages to keep some scenes alive, but even the background score cannot fully mask the film’s flaws.

Overall, The Raja Saab had an interesting concept and the advantage of a star willing to try something different. Sadly, weak execution, poor genre balance, and a disjointed screenplay hold it back. If the film had stayed simple and focused purely on horror-comedy, the outcome could have been much better. As it stands, it is a disappointing watch, and its prospects at the Hindi box office look bleak.