Plot:

The movie unfolds with the manufacture of an exquisite, high-priced smartphone in China. Once imported to India, a film producer purchases it as a gift for his leading actress, Payal Rajput. However, due to her possessive boyfriend, Payal is compelled to part ways with the device. As it transitions from the actress` possession, the smartphone acquires the moniker `Maya Petika`. It then traverses through various individuals—a womanizing Municipal Councillor, a mechanic hailing from an economically disadvantaged background, a middle-class security guard and his spouse, a street performer entrusted with its safekeeping—and ultimately ends up in the possession of an unsavory character.

Performances:

Since the film is like an anthology where a new story starts every 30 minutes or so, the casting is wide and deep. Payal Rajput`s segment comes to an abrupt end before she can leave an impression. Rajath Raghav is seen as her boyfriend in a TV serial character`s frustration arc. `30 Years` Prudhvi is perhaps the only artist who manages to elicit some laughs, mainly because of his timing and not because of any never-seen-before comedy ideas.

Viraj Ashwin and Simran Kaur are seen as wannabe lovers who are united by the smartphone. Sammeta Gandhi has a role in their segment. They play their characters to type. Sunil and Shyamala are seen as married couple with middle-class issues; surprisingly, they look natural. They succeed in making us believe that smartphone means the world to them. Srinivas Reddy is good in an emotional character with a redemption arc. Himaja is okayish in the role of an assertive politician.

Technical Departments:

Music: Below average.

Cinematography: Purely functional.

Production values: Not even OTT stuff

Editing: Out of sync with today`s times.

Analysis:

The movie is helmed by Ramesh Raparthi, known for directing `Thank You Brother` in 2021. The narrative of `Maya Petika` comprises a collection of simplistic short stories, lacking depth and complexity. The portions featuring Sunil and the terrorists feel akin to a trivial Facebook post from an aspiring author seeking employment. The final segment, which involves terrorists, unintentionally evokes laughter instead of the intended seriousness.

The attempt to build a philosophical or dramatic viewpoint falls flat. Fake tension is sought to be built. Sunil and Shyamala rush to a smartphone service center and get relief the next minute. The smartphone, portrayed without any sense of individuality or character, is subjected to repetitive tossing, falling, and seemingly precarious situations throughout the film. The purpose behind these scenes remains unclear. If the intention was to convey that the smartphone`s resilience in surviving accidents signifies its destined role in impacting lives, whether positively or negatively, the execution falls short.

Merits:

Prudhvi`s track.

To an extent, some conversations are realistic.

Demerits:

No coherent story.

Random situations and artificial coincidences/accidents.

Boring narration of the love story involving two young individuals.

The failure to build a relatable narrative.

The over-simplistic climax where Rana Daggubati`s voice-over wraps up the film.

Overall rating: 1.75/5

Box-office verdict: Dabba phone!