“HIT: The Third Case” – A Gritty Attempt That Struggles to Stay on Target

HIT: The Third Case steps into the shoes of its gripping predecessors with a promise to delve deeper into the dark underbelly of crime and psychology. With its third installment, the HIT franchise continues its tradition of placing emotionally complex protagonists at the center of layered investigations. Directed by Sailesh Kolanu, the film stars Nani in the lead role, introducing audiences to a brooding, intense new character who must navigate a maze of deception, grief, and murder. However, despite the compelling premise, the execution in this installment falters on multiple fronts.

Set in the backdrop of a high-profile murder mystery, HIT: The Third Case wastes no time plunging the audience into a chilling narrative. A brutal crime, the discovery of a mutilated body, and a web of secrets set the tone early on. Nani plays Arjun Sarkaar, a no-nonsense police officer with a sharp intellect but haunted by personal trauma. His character is emotionally shut off, carrying the scars of a past relationship and battling inner demons. He’s transferred to the Homicide Intervention Team (HIT), where he must take on a particularly gruesome murder that appears too orchestrated to be a random crime.

Nani’s performance is intense and driven, with a focus on the stoicism of his character. His transformation into Arjun Sarkaar brings a raw edge to the screen—he embodies a man living on the brink, barely holding his sanity together. Yet, as powerful as his presence is, the script doesn’t always support the performance with equally compelling character development. The emotional beats often feel rushed or underexplored, especially when it comes to Arjun’s backstory, which is hinted at but never fully unpacked.

Meenakshi Chaudhary plays the female lead, giving a restrained and subtle performance. Her character adds a layer of emotional complexity to Arjun’s psyche, but her screen time is limited, and her role in the narrative feels underwritten. The chemistry between the leads remains mostly functional and doesn’t reach the emotional intensity expected from a film so steeped in personal trauma and psychological themes.

One of the biggest strengths of the previous HIT films was their grounded approach to police work—focused, procedural, and intelligent. In The Third Case, however, the investigation seems to lose that edge. The plot begins promisingly with forensic analysis, crime scene examination, and subtle clues. But as the narrative progresses, it starts veering into sensationalism. The film attempts to balance gritty realism with dramatic twists, but the combination doesn’t always land. The writing oscillates between sharp and clunky, with certain dialogues feeling overly expository.

Visually, the film maintains a dark and moody aesthetic, in line with the themes of crime and psychological distress. The cinematography captures the bleakness of the story world, with greys and shadows dominating the frame. The background score complements this atmosphere, enhancing the tension during key moments of discovery or confrontation. However, overuse of stylistic choices—slow-motion shots, intense close-ups, and dramatic music—sometimes detracts from the gravity of the unfolding events.

Supporting characters, who could have added richness to the story, are treated as functional plot devices rather than fleshed-out individuals. The forensic team, the victim’s acquaintances, and even other members of the police force are reduced to one-dimensional roles that serve only to push the plot forward. The antagonist, when finally revealed, lacks the depth and psychological weight that the film builds toward.

The screenplay attempts to introduce psychological complexity by drawing connections between Arjun’s personal trauma and the mindset of the killer. But the exploration is surface-level, relying more on dramatic reveals than a deep dive into motive and behavior. Unlike previous entries in the HIT series, which spent time understanding the emotional and ethical dimensions of the crime, The Third Case hurries through these aspects, prioritizing shock value over substance.

Editing choices further contribute to the uneven pacing. The first half moves with a measured build-up, establishing characters and setting up the murder. But the second half speeds up dramatically, introducing twist after twist with little breathing room. The climax, while unexpected, feels unearned due to a lack of coherent buildup. Instead of gradually peeling layers off the mystery, the film opts for a sudden info-dump that feels disconnected from the emotional journey of the lead character.

Despite the uneven storytelling, there are moments where the film shines. Certain investigative sequences, particularly in the early part of the film, show glimpses of the franchise’s original charm. Tense interrogations, subtle body language cues, and forensic nuances help maintain audience interest. Nani’s occasional breakdowns and his silent grappling with unresolved grief allow for moments of empathy and emotional resonance.

There is a noticeable attempt to expand the HIT universe in this film. References to other officers, cross-case connections, and hints of an overarching narrative suggest a possible larger plotline that might unfold in future installments. This ambition to create a cinematic crime universe is commendable and shows the director’s vision beyond a single film.

However, in trying to do too much—character study, murder mystery, psychological thriller, and franchise setup—the film ends up being overstretched. The layers pile on but are not always interconnected in meaningful ways. Emotional scenes feel abrupt, and character motivations are not always convincingly justified. The film demands a suspension of disbelief that undermines its initial grounding in realism.

Arjun’s journey, while compelling in fragments, suffers from insufficient emotional scaffolding. His backstory—central to understanding his character—is barely scratched. His breakdowns, panic episodes, and emotional repression hint at a deeper psychological struggle, but the narrative chooses not to dwell on these aspects long enough to make them meaningful.

The production design adds to the film’s immersive quality, with crime scenes carefully crafted to evoke horror and curiosity. The use of urban decay, dim lighting, and tight frames builds a claustrophobic tension. Yet, all this technical finesse cannot mask the script’s structural weaknesses.

With HIT: The Third Case, there is a clear aspiration to elevate crime thrillers in Telugu cinema by merging strong performances with psychological complexity. Nani brings intensity and gravitas to the lead role, but the film doesn’t provide him the narrative support he deserves. It touches upon themes of trauma, identity, justice, and redemption—but doesn’t go deep enough into any one of them to leave a lasting impact.