Don’t Trouble The Trouble Review: ★★½☆☆ (2.5/5)
Don’t Trouble The Trouble benefits greatly from Fahadh Faasil’s comic timing and genuine chemistry with young co-star Ssara Palekar, but a predictable screenplay and sluggish second half keep the film from fully delivering on its charming fantasy premise.
Rating: ★★½☆☆ (2.5/5)
Language: Telugu
Genre: Fantasy, Comedy
Director: Shashank Yeleti
Cast: Fahadh Faasil, Ssara Palekar, Saurabh Sachdeva
Marking Fahadh Faasil’s first solo lead role in Telugu cinema, Don’t Trouble The Trouble pairs him with young actor Ssara Palekar in a fantasy-driven story that attempts to blend comedy, magic, emotion, and adventure into something genuinely unusual.
Director Shashank Yeleti clearly had ambitious ideas for this entertainer. While Fahadh’s performance and Ssara’s screen presence bring real energy to several scenes, the film ultimately struggles to maintain that momentum throughout.
The story follows Soori, played by Fahadh Faasil, an orphan always on the lookout for easy money. A cheating racket he gets caught up in lands him in trouble with a gangster named Aslam Bhai, who gives him a tight deadline to arrange twenty-five lakh rupees.
In his desperate search for cash, Soori crosses paths with Divya, a wealthy young girl who genuinely believes he is a magician. Seeing an easy opportunity to escape his own mounting problems, Soori decides to go along with her belief.
What initially seems like a simple scheme for quick money gradually becomes far more complicated once Soori learns the actual truth about Divya and the strange circumstances surrounding her life.
Fahadh Faasil once again proves his versatility, taking a genuine leap into lighter fantasy comedy territory, a space quite different from the more serious, intense roles he is typically known for.
Several scenes draw real energy from his sharp comic timing, expressive body language, and overall screen presence. His Telugu dialogue delivery works impressively well too, helping make Soori feel like a genuinely believable, grounded character despite the fantastical elements surrounding him.
The film also benefits from how effectively Fahadh pulls moments of real vulnerability and emotion out of a character who starts off purely self-interested.
Ssara Palekar is another clear highlight here, bringing genuine innocence and spontaneity to Divya. Her character shifts between playful and intense across different scenes, giving the role real depth beyond what a typical child character in this kind of story usually gets.
Fahadh and Ssara share genuinely good chemistry throughout, and the contrast between their very different personalities creates several of the film’s lighter, more enjoyable moments. Saurabh Sachdeva and the rest of the supporting cast also do justice to their respective roles.
What truly sets Don’t Trouble The Trouble apart is its central fantasy concept, giving Fahadh real room to explore comedy and whimsy in a way audiences rarely get to see from him. The production design and overall presentation support this fantastical setting nicely, adding to the film’s distinct atmosphere.
Unfortunately, consistency becomes the film’s biggest issue. The screenplay grows increasingly predictable as it progresses, and the second half noticeably loses steam. Several sequences stretch on longer than they really need to, which ends up hurting the overall pacing significantly.
The emotional beats, too, do not always land with the impact the story clearly intends, which weakens the power of the central relationship between Soori and Divya. As the story moves forward, the fantasy premise alone simply is not enough to sustain genuine interest through every stretch of the runtime.
On the technical side, Shashank Yeleti brings some genuinely interesting ideas to the fantasy premise, even if the screenplay execution could have been sharper. Kaala Bhairava’s music, Brad Francis’s cinematography, and Praveen Anthony’s editing all support the film competently without ever overpowering it.
In the end, Don’t Trouble The Trouble is a genuinely good fantasy premise elevated by Fahadh Faasil’s performance and Ssara Palekar’s charming screen presence, but its early promise gets hampered by a predictable script and a sluggish second half. It works in pieces rather than as a consistently engaging fantasy adventure throughout.
If courtroom drama or crime thrillers are more your pace this week, our review of Pooja Meri Jaan and our review of Drishyam The Conclusion are both worth checking out too.