Boni means ‘first catch or the opening transaction’ and the title is about DD's first catch when he gets into abductions to make a fast buck. Boni, a comeback movie for Sumanth after he had some forgettable movies in the last two years, seeks to be a mass entertainer in every sense. Only it lacks the punchy dialogues and sharp one-liners that the real moviegoers love to whistle at. The last time Telugu audiences loved a mass entertainer was Mahesh Babu’s Pokiri (2006) was because of its super cool dialogues and racy numbers. In Boni, the real namak (masala and mass numbers, as Tollywood audiences call it) is missing. For a movie like this to sustain, there should be a continuous attempt to keep the spice on the surface through one-liners and superb puns. Boni is a like a soda full of fizz. Only it is not chilled and that takes the zing out of it.

The screenplay is effective enough but only until DD falls in love with Pragathi. Now, you know he wants to become nice and if possible, make her reciprocate his love. It gets all too predictable from here as we all know how the rich girls finally treat the poor guys. The last half hour, in particular, becomes a big mish-mash as everybody seems to be after Pragathi’s life. There is no explanation why suddenly her own uncle, whom she trusts a lot, does a turn around to get her bumped off. The mafia don bit is used as a comic relief rather than for seriousness or adding any twists to the movie. The comedy track with the two bumbling cops is just about okay though Chinna's asides about DD’s love escapades do manage a smile or two. Most of the movie takes place in construction sites and unsightly gallies while the songs have been nicely shot and look picture postcard good, but at the same time appear to be in a totally different world as the scene cuts abruptly from the jhopdis to the picturisque moss-green landscape. But of course all's well that ends well as Pragathi realizes that neither her Minister father nor her so-called well-wishing uncle really love her while it is DD who can sacrifice his life for her.

Sumanth is well suited to the silent and brooding type of hero – both his personal life and roles in previous movies corroborate that. To suddenly watch him in an action flick and in the role of a hardened criminal is a little tough and not very convincing. He neither has the menacing look nor the aggressive body language his character demanded. A seven o’clock stubble and faded jeans hardly impart the necessary mafia look to him. However, his mild mannerisms and plaintive eyes do lend charm to the romantic and sentimental scenes of the movie. Like when he helps Pragathi splash water on her face with his palms (as she has hurt her hand) and when he corners her to assure him he will take care of her. The highlight, however, is the scene where he takes his fist from his heart all the way to her hand and leaves it in her palm, signifying his heart in her hand, and has been handled brilliantly by Sumanth. Kriti looks the Mumbai model, especially in the sensuous duets. The beach song has been shot aesthetically without making it look sleazy. She looks good and elegant in those flowing chiffons rolling on the sand. Otherwise, even though her part is crucial to the movie, the focus is more on DD and his feelings than about her.

Ramanga Gogula’s music is inspiring, in parts. Nammaleni Kala and Boni are bound to be chartbusters. Gogula does well in melodies but Boni could have done with at least a few more mass numbers. The title song has the potential to become a big hit and should have probably used during the movie to add weightage but it doesn’t show up on the screen until the movie credits roll at the end, and that too in the background. Cinematography is more than efficient, especially in the last action scene where the visuals change to sombre greys and blacks cleverly masquerading the blood and gore. At the same time, Andrew’s work is beautiful in contract in the songs. Seychelles (or is it Mauritius?) never looked more beautiful. The editing tries to be tight without giving to much meandering anywhere.

Director Raj Pippalla, an NRI from Los Angeles with an advertising background, shows promise in his handling of the romantic and action scenes. But he needs a better story and an overall more cohesive script to showcase his cinematic talents better.

One is not sure if Boni will be the breakthrough film for Sumanth’s new action avatar, but it certainly has its moments, even if the film could have been better.