K-Ramp is an insensible and sloppy script marred by unsuitable comedy
K-Ramp review by Kausalya Rachavelpula
K-Ramp, directed by debutant Jains Nani and starring Kiran Abbavaram and Yukti Thareja, is a film that tries to blend romance, comedy, and dark humour around a serious psychological condition. On paper, it sounds like a unique attempt, but on screen, it ends up being an incoherent mix of tones that leaves the viewer unsettled rather than entertained.
The story and premise
The movie follows Kumar (played by Kiran Abbavaram), a rich and reckless youngster who is sent by his father (Sai Kumar) to study in Kerala so he can learn discipline. There, he meets Mercy Joy (Yukti Thareja), a charming student with a rare disorder. The rest of the story unfolds around how Kumar falls in love with her, discovers her condition, and tries to deal with the challenges that come with it.
It’s an idea with genuine emotional potential. A young woman dealing with a mental health struggle could have been the heart of a stirring story about love, empathy, and healing. Sadly, K-Ramp trivialises its own core by injecting unnecessary humour and glamour where sensitivity was needed the most.
Poor handling of sensitive themes
The most uncomfortable aspect of the film is a CPR scene that bizarrely turns suggestive. It’s a moment that leaves the audience wondering whether the filmmakers truly understood the meaning of emotional restraint. Watching a medical emergency used as a romantic or comedic turning point feels deeply inappropriate. Scenes like these are exactly why many viewers agree there should be basic guidelines for content depicting serious or sensitive subjects.
When the government mandates cigarette or alcohol warnings in films, the purpose is to encourage responsibility. Similarly, when a film touches on mental health, suicide, or bodily harm, creators are expected to show awareness and provide context. K-Ramp unfortunately lacks this sense of accountability. Instead, the humour comes across as misplaced and tasteless.
Performances and presentation
Kiran Abbavaram delivers his part with his usual spark. His lively screen presence and energetic dialogue delivery help prevent the film from completely collapsing under its tonal confusion. That said, the performance cannot save a script that is unsure of what it wants to be.
Yukti Thareja brings a touch of sincerity to Mercy Joy, though her character is underdeveloped. She is introduced with glamour and given barely any emotional depth before her condition becomes the focus of the plot. Had her character’s pain, confusion, and resilience been explored fully, the audience might have connected better.
Sai Kumar’s role as the father feels abruptly inserted, and while the second half attempts to soften the chaos with emotional drama, it never really lands effectively. Comedy actor Naresh’s subplot, though intended as comic relief, is uncomfortable at times and dilutes the emotional weight of the story.
What went wrong
The first half of K-Ramp follows the usual romantic-commercial format, full of predictable sequences, college jokes, and dance numbers. It all feels generic, until the movie tries to flip into something more serious during the interval. Yet this shift doesn’t feel earned. The humour in the latter half, meant to introduce dark comedy, fails because it never respects the seriousness of what it’s dealing with.
If the filmmakers had taken time to build Mercy’s character with genuine care, showing her internal struggles, how they affect her life and relationships, the movie could’ve succeeded both emotionally and conceptually. Even simple scenes of awareness or tenderness could have changed the audience’s reaction.
Instead, the film uses Mercy’s condition as a mere plot device. It feels like the disorder exists solely to create twists and jokes rather than building understanding or empathy. As a result, the movie turns into a shallow blend of commercial elements wrapped around a medical condition, without meaning or nuance.
Technical aspects: The visuals by Sateesh Reddy Masam capture Kerala’s colours effectively but do little to elevate the story. Editing could have been tighter, particularly in the first half where scenes drag. The production quality is competent, yet the writing lets it all down.
K-Ramp review verdict: K-Ramp could have been a compelling drama exploring love and mental health through humour and heart. Instead, it becomes a confused entertainer that fails to be either funny or responsible. Its insensitivity towards the disorder it portrays makes it hard to enjoy even the lighter moments.
Kiran Abbavaram’s energy is commendable, and Yukti Thareja shows promise, but the film’s tone and execution reduce their efforts to mere flashes in an otherwise misguided story.
At its best, K-Ramp is a mildly entertaining watch in parts. At its worst, it’s a sobering reminder of how important sensitivity and understanding are when handling emotional or medical subjects on screen.
K-Ramp review: A poorly written film that raises serious questions about responsibility in storytelling. It’s not offensive in intent, but careless in execution, and that makes all the difference.
Fridaywall rating: 1/5
