Teja gives us Telugu love story Keka after two years. In keeping with his trademark style, he introduces as many as 36 newcomers, including the lead pair. Since it is Teja's film, with P C Sreeram joining as the Director of Photography, expectations are bound to be high. But one was left disappointed as Keka (which means 'stunning') slipped into routine storytelling.

Keka is a triangular love story, which begins with a flashback. Arjun (Raja) teaches street children music in Kolkata, and plans to hold a concert to raise funds for a home.

One day, a local television channel does a programme on the home and when it is aired, a girl -- who lies on a hospital bed -- begs to see him. She gets in touch with a mutual friend, Kiran, and suddenly, there is an attempt to kill Arjun.

Arjun then tells the home inmates his story of how he met Sujata (Ishana) and both fell in love with each other when he was on vacation. When he returns home, his best friend Kiran tells him that he is engaged to Sujata, even though she doesn't want to marry him.

The first half of the film moves at a slow pace, but picks up in the second half. The film does have its moments but the story does not offer anything new. There is a twist in the tale, which may take many by surprise, but only for a few minutes. After the twist, the film returns to its routine path.

Certain dialogues are vulgar, and the actor playing Kiran's friend gives an over-the-top performance. The lead pair Raja and Ishana make a sincere effort, and put on the right emotions. The rest of the cast lend adequate support.

But the highlight of the movie is undoubtedly P C Sreeram's brilliant camerawork. He captures the pulse of the film. His visuals are stunning in some places -- especially in Rajasthan and some places down South. The cinematography in the songs is awesome. Sreeram's effort is top notch but unfortunately, cannot help a film where the story telling is routine.

Chakri's music is tuneful on the ear.

Director Teja seems to have got embroiled in the stereotypical pattern of filmmaking. Gone is the freshness associated with his films (as his earlier films Chitram and Jayam reflect). One can't help but wonder if he has lost his touch.

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