Fahadh Faasil’s Telugu debut, Don’t Trouble The Trouble, arrives in theatres today after months of high-octane promotion and the imprimatur of SS Rajamouli’s production house. The film, directed by debutant Shashank Yeleti and produced by Rajamouli’s son Karthikeya, was billed as a fantasy comedy with emotional heft — a genre blend that promised to surprise. The trailer alone set expectations soaring: a street-smart conman played by Fahadh Faasil teams up with a runaway girl who believes he’s a magician. Mahesh Babu, Anil Ravipudi, and Jr NTR all praised it publicly before release. But the final product, according to early reviews, fails to deliver on its own premise. Filmy Focus calls it a ‘different film, but the execution doesn’t match the ambition’. Track Tollywood labels it ‘Only Trouble, No Thrill’, adding that despite the promising setup, the screenplay is ‘mostly dull and lifeless’. The film’s central conflict hinges on Soori (Fahadh Faasil), an orphaned trickster desperate for Rs. 25 lakh after being threatened by local gangster Aslam Bhai (Mahesh Manjrekar). When he encounters Divya (Ssara Palekar), a wealthy girl who mistakes him for a sorcerer, he sees her as a way out, not just of debt, but of his own moral inertia. The story pivots on whether he’ll exploit her or protect her. But the script never gives either path enough weight. Fahadh Faasil, known for layered performances, is described as ‘convincing’ but underused. His natural screen presence keeps some scenes watchable, even when the writing falters. Ssara Palekar, credited with bringing ‘innocence’ to the role, shows promise, though the narrative offers her few moments to shine. Supporting actors Venkatesh Kakumanu, Subbaraju, and Saurabh Sachdeva are deemed adequate but lacking depth. Mahesh Manjrekar brings intensity, yet his screen time is limited. The technical aspects are mixed. Cinematography supports the grounded tone, and visual effects for the supernatural elements are ‘decent’ and ‘never look out of place’. Production values are neat, bolstered by Rajamouli’s name. But Kaala Bhairava’s music. Both songs and background score, is called a ‘disappointment’ by Filmy Focus and ‘doesn’t elevate’ the film by Track Tollywood. Editing, particularly in the second half, is criticized for being loose, with pacing that drags through unnecessary scenes. The biggest flaw? The screenplay. Both outlets agree: the film starts with a strong hook. A conman and a spirit child, but never builds a meaningful connection between them. Emotional beats fall flat. Humor rarely lands. The police investigation subplot adds little. The transformation in Fahadh’s character is delayed until the very end, making the journey feel stretched. The climax, instead of delivering payoff, descends into ‘increasingly illogical territory’. One reviewer notes the film struggles with ‘pacing issues throughout its runtime’, stretching what could’ve been a tight 100-minute entertainer beyond necessity. The target audience remains unclear. Too slow for children, too simplistic for adults. The film’s ambition is evident, but its execution collapses under its own weight. It’s not a failure of talent, but of structure. And with Rajamouli’s name attached, the disappointment cuts deeper. The film opens today. Whether it finds its audience remains uncertain.