‘HIT 3' movie review: Nani lifts a visually slick but uneven thriller

The Hindu

01-05-2025

In a scene from HIT: The Third Case, a character describes Arjun Sarkaar's (Nani) actions as 'classy'. Arjun retorts that this time, he intends to show his true self — stepping away from the image of refinement often associated with him. In another moment, when someone warns him that he 'cannot survive here', he responds, 'I've been hearing that since the beginning of my career.' These meta-cinematic lines feel less like commentary on the character and more like nods to the actor himself.
In HIT 3, director Sailesh Kolanu leans into fan service, casting Nani — long embraced by family audiences — in a darker, bloodier setup. The film carries an 'A' certificate, and Nani effectively sheds his man-next-door image to become a ruthless cop whose methods, unsurprisingly, come under scrutiny.
Departing from the slow-burn whodunit tone of the earlier films, this third instalment in the HIT universe trades mystery for carnage. It is not about who, how, or even why — the perpetrators are beyond reasoning. The real question is whether the film successfully marries crime thriller elements with full-throttle action to offer a gripping cinematic experience. Some segments land powerfully; others feel stretched or overly engineered.
Arjun Sarkaar replaces the level-headed Krishna Dev (Adivi Sesh) as SP of the fictional Homicide Intervention Team's Visakhapatnam unit. His brutal reputation precedes him, and while he may appear to the outside world as a cop with a criminal streak, the film slowly peels back his layers.
HIT: The Third Case
Director: Sailesh Kolanu
Cast: Nani, Srinidhi Shetty
Run time: 157 minutes
Storyline: Cop Arjun Sarkaar, known for his ruthless treatment to criminals, has to enter a dystopian world to save the lives of innocents.
Sailesh Kolanu balances Arjun's tough-cop persona with a vulnerable personal side. While HIT 1 presented Vikram Rudraraju (Vishwak Sen) as a cop grappling with PTSD, HIT 3 positions Arjun as a man in the throes of a midlife crisis, with fluctuating blood pressure and a simmering sense of discontent. It is commendable that Nani portrays a character in his 40s, complete with greying hair, making a case for leading men embracing more mature roles.
A gentle humour underlines the early sections, particularly in the strained dynamic between Arjun and his father (Samuthirakani), and in his repeated failure to charm women he meets through dating apps.
The non-linear screenplay attempts to layer Arjun's character with mystery, but viewers familiar with mainstream storytelling may piece together the larger arc early on. The narrative spans Kashmir, Arwal in Bihar, Jaipur, and Arunachal Pradesh — though the crimes could easily have occurred within the Telugu States. The geographical sprawl, however, raises the stakes of the HIT universe.
The first two HIT films stood out for their attention to detail — especially the procedural aspects and the unexpected appearance of helpful pets. While there are no dogs this time, something else steps in to offer critical clues. As with its predecessors, the title card appears during a pivotal sequence. Familiar faces from earlier films return, some playing key roles, others making brief appearances.
The romance track, which at first feels like a digression, is eventually woven meaningfully into the plot. Still, one can't help but wonder — how did a cop famed for his observational prowess miss the obvious?
As the broader pattern of the crime emerges, the film shifts from mystery to action. The intermission card sets the tone for what lies ahead — for Arjun and for the viewers. The visual palette (cinematography by Sanu John Varghese) plays its part too: when men in white step into a darker setup, everything soon bleeds into crimson. Since the trailers have already revealed the most violent scenes, the remaining moments of brutality don't shock. The violence plays out in a surreal, dystopian setting, somewhat reminiscent of Squid Game. It's brutal, yes, but not gratuitous. Mickey J Meyer's musical score fits the setting. That said, the pre-climax and climax feel overstretched.
These moments — and Arjun's arc more broadly — suggest how thin the line can be between law enforcer and lawbreaker. Those familiar with Arthur Conan Doyle's work may recall how Sherlock Holmes and Professor Moriarty mirrored each other: one used intellect to solve crime; the other, to create it.
Nani captures Arjun's layered persona with conviction. He anchors the film through some of its weaker portions, clearly relishing the chance to break from his familiar romantic, comedic and emotional characters. He's entirely believable as a cop capable of lethal force, yet quietly wrestling with his own emotional fragility.
However, unlike its predecessors, HIT 3 limits its supporting characters. Earlier films relied on ensemble efforts to crack cases, but here, the spotlight remains largely on Arjun. Even so, Komalee Prasad manages to stand out. Srinidhi Shetty is a welcome addition to the franchise, bringing both elegance and an unexpected twist to the narrative.
Amid the chaos and violence, Sailesh Kolanu finds space for moments that matter. In one scene, Arjun praises a female colleague for a critical breakthrough and pointedly clarifies that the compliment isn't patronising or gendered — it is purely merit-based. Female officers play pivotal roles in key scenes, reinforcing the message that competence transcends gender. At the same time, the film makes a broader point: regardless of gender, human beings can be capable of immense good or profound evil.
In a recurring comic beat, the otherwise foul-mouthed Arjun tones down his language in the presence of women. There is also a quirky inclusion of pravachana (discourse) snippets by Garikipati Narasimha Rao, offering a brief but amusing contrast to the gritty proceedings.
In a refreshing casting choice, the principal antagonist is played by an unlikely actor from the Hindi film industry. He brings the required menace to the role, defying the stereotypical trend of casting hyper-masculine Bollywood stars as Telugu villains. That the antagonist refers to himself as an 'alpha' adds a darkly humorous layer to his pathology.
While HIT 3 attempts to deliver a grand, theatrical action spectacle, it is not entirely satisfying. However, it does succeed in setting the stage for the fourth instalment. The next film will hopefully marry the franchise's expanding scale with the taut, brooding thrillers that gave the first two entries their distinct edge.