Cheekatilo arrives at an interesting moment for Telugu cinema and OTT audiences alike. Marketed as a grounded mystery-thriller and led by Sobhita Dhulipala in her return to Telugu films, the movie promises a story rooted in truth, trauma, and moral responsibility. On paper, it sounds like a sharp, timely take on the true-crime obsession that has dominated streaming platforms for years. On screen, however, Cheekatilo struggles to fully live up to that promise, offering flashes of depth and sincerity but never quite finding its own voice.
The Premise: Journalism, Crime, and a Search for Meaning
Sobhita Dhulipala plays Sandhya Nelluri, a popular television crime reporter who has grown disillusioned with her own work. Her hit show thrives on sensational headlines, dramatic recreations, and punchy one-liners — everything that drives ratings but leaves her ethically hollow. Sandhya wants to tell crime stories with empathy and truth, but the TRP-driven television ecosystem has no patience for nuance.
When an intern named Bobby nudges her toward starting a true-crime podcast, Sandhya makes a bold decision: she quits her secure, high-profile job to chase a more honest form of storytelling. What begins as a professional reinvention soon turns deeply personal.
The narrative then folds in a chilling crime pattern from rural Andhra Pradesh — a serial rapist-murderer who attacks women at night and leaves jasmine flowers in their hair after killing them. When someone close to Sandhya becomes one of the victims, the case stops being a story and turns into an obsession. Her podcast, Cheekatilo, becomes both a tool for investigation and a mirror reflecting her own unresolved trauma.
A Familiar Genre, Played Too Safely
There’s no denying that the “truth-seeking journalist” has become one of the most overused tropes in thriller cinema. Cheekatilo is clearly aware of this fatigue. It keeps its runtime tight, avoids unnecessary subplots, and doesn’t overindulge in gore or shock value. As a straight-to-OTT release, it seems designed for focused, binge-era viewing.
The problem is that the film neither reinvents the genre nor executes its familiar beats with enough conviction. Instead of carving a distinctive identity, Cheekatilo settles for ticking off genre checkboxes. The investigation unfolds far too smoothly, Sandhya’s transition from TV anchor to podcast sleuth feels implausibly quick, and the obstacles she faces rarely carry lasting consequences.
The world of the newsroom — with its politics, power games, and ethical compromises — never feels fully lived-in. Similarly, the police investigation and political interference come across as functional plot devices rather than organic elements of a believable ecosystem.
Characters That Rarely Go Beyond the Surface
Almost every supporting character in Cheekatilo suffers from underwriting. Sandhya’s fiancé Amar exists largely to oscillate between being supportive and irritated, without contributing meaningfully to the story. The corrupt politician is cut from a familiar mould, while the honest cop aiding Sandhya feels more symbolic than substantial.
Despite featuring several experienced actors, the film rarely challenges them. Characters appear, deliver their designated lines, and move on, leaving little emotional residue behind. One supporting role does show promise, but even that arc feels curtailed before it can truly make an impact.
This lack of depth feeds into the larger issue — the film’s world feels assembled rather than discovered.
Sobhita Dhulipala: The Film’s Emotional Anchor
Where Cheekatilo genuinely succeeds is in its central performance. Sobhita Dhulipala brings a quiet intensity to Sandhya, portraying her not as a heroic crusader but as a woman constantly negotiating with her past. The film hints at a traumatic childhood experience — set in a crowded cinema hall — that subtly explains Sandhya’s fixation on violence against women.
This backstory becomes the emotional spine of the film. Sandhya doesn’t just investigate crimes; she recognises herself in the victims’ stories. The title Cheekatilo (“in the darkness”) takes on layered meaning here — darkness as danger, but also as a refuge, a space to retreat into when the world feels hostile.
These moments, handled with restraint and sensitivity, reveal what the film could have been if it trusted its emotional instincts more consistently.
Mood, Music, and Missed Potential
A good mystery-thriller thrives on atmosphere, and this is where Cheekatilo falls short again. The narrative rarely allows scenes to linger long enough to build tension. Just when a moment threatens to deepen emotionally or psychologically, the film moves on.
The background score does heavy lifting, often compensating for the lack of dramatic escalation. Visually, the film remains functional but rarely evocative. The result is a thriller that delivers occasional intrigue but struggles to sustain dread or suspense.
Final Verdict
Cheekatilo is not a bad film — it’s an incomplete one. It has a strong lead performance, a relevant thematic core, and a premise that resonates with contemporary concerns about media ethics and violence against women. But its cautious writing, formula-bound structure, and underdeveloped world keep it from becoming truly compelling.
Sobhita Dhulipala does everything she can to elevate the material, and the film briefly finds its soul when it aligns with her character’s inner conflict. Unfortunately, those moments are too fleeting to carry the entire narrative.
For viewers interested in slow-burn OTT thrillers with a socially conscious lens, Cheekatilo is worth a watch — just don’t expect it to leave a lasting mark.
Rating: ⭐⭐½ / 5
What works: Sobhita Dhulipala’s performance, thematic intent, restrained emotional moments
What doesn’t: Flat world-building, predictable writing, undercooked supporting characters 🍿
