K-RAMP Review: A Noisy College Drama That Trips on Its Own Formula
Sarkar Rating: 2/5 Release Date : Oct 18, 2025
Cast
Kiran Abbavaraam, Yukti Thareja,Vimala Raman & Others.
Crew
Writer – Director: Jains Nani
Producers – Razesh Danda, Shiva Bommak
Banner – Hasya Movies, Ruudransh Celluloid
Co-Producer – Balaji Gutta
Music – Chaitan Bharadwaj
Cinematographer – Sateesh Reddy Masam
Production Designer – Brahma Kadali
Editor – Chota K Prasad
Story
K-RAMP follows Kumar, a carefree, wealthy, and spoiled youngster who travels to Kerala for his studies. There, he meets his love interest (Yukti Thareja) and gradually becomes involved in a personal issue troubling her. The film traces how this revelation shakes up his privileged life, how he learns from his mistakes, and how both characters evolve through the process. That’s the broad outline — a predictable one at that.
Performances
Kiran Abbavaram finally breaks out of his usual zone, showing more expression and energy through his body language and dialogue delivery. His efforts are visible and commendable, and it’s clear he’s striving to grow as a performer. Regardless of the film’s fate, this role will stand as a good learning step for him. His styling suits the youthful tone, though a bit more fitness and finesse could’ve elevated his on-screen presence further.
Yukti Thareja looks pleasing and fits well in her role, but the writing doesn’t give her enough scope to make a lasting impact.
Analysis
Writer-director Jains Nani starts K-RAMP with a familiar formula — a spoiled rich kid, a strict father, and some college fun. The initial humor works in parts, but it feels like déjà vu throughout. The story’s Kerala setting could’ve added freshness, but it’s barely used — most characters behave like they’re in a generic Telugu college. Apart from the heroine’s residence, the backdrop adds little value.
The romantic track between the leads lacks natural flow. The emotions and conversations feel staged, as if inserted by obligation rather than growing organically. On the other hand, the comedy track involving senior actor Naresh crosses into cheap territory, aiming for laughs through vulgarity that feels both forced and uncomfortable. It’s disappointing, considering Naresh’s calibre and dignity as an actor.
Songs like the Onam number and the accompanying fight sequences are purely routine, ticking boxes without creating any high points. Despite a few mild laughs, the first half is only passable — entertaining in bits but lacking freshness or grip. The interval twist does spark brief interest, hinting at a stronger emotional arc.
However, the second half quickly falls apart. Once the heroine’s issue becomes central, the film drowns in loud, cringe-worthy comedy. Emotional beats feel rushed and superficial, and the hero’s sudden change of heart lacks conviction. The final “message” is tacked on in true formulaic fashion — as if moral lessons can magically redeem a messy narrative. It neither moves nor inspires, instead adding to the fatigue.
The writing also overuses drinking scenes to portray the hero’s emotional state, which soon becomes repetitive and tiresome. The Kerala backdrop remains an unexplored asset, making you wonder if it was added merely for visual variety.
Performances by Other Actors
Veterans Sai Kumar and Naresh appear in brief but contrasting roles. Sai Kumar as the hero’s father delivers with authority and composure. Naresh, however, is wasted in a poorly written part that doesn’t suit his stature, relying more on cheap laughs than character substance. Muralidhar Goud once again proves dependable, while Vennela Kishore’s track is a misfire — unfunny and disconnected from the main story.
Music and Technical Departments
Chaitan Bharadwaj’s music is serviceable, but none of the songs leave a mark. The background score oscillates between decent and distractingly loud. Cinematographer Sateesh Reddy Masam captures Kerala’s greenery and landscapes neatly, giving the film a polished visual texture. Editing by Chota K Prasad could have been tighter, especially in the stretched-out second half. The production values from Hasya Movies and Ruudransh Celluloid are adequate for a campus-based film but don’t compensate for the weak storytelling.
Bottom Line
K-RAMP starts off mildly entertaining but collapses into chaos in the second half. Despite Kiran Abbavaram’s sincere effort and a few visually pleasing moments, the film ends up being a noisy, predictable, and exhausting ride that fails to deliver on its potential.
Verdict
A passable first half followed by a painfully loud and pointless second half. K-RAMP trips over its own formula.
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