Best Bollywood Movies Of 2021
Review During the first few minutes of the film, Kabir Khan uses elaborate passport sequences to introduce the film’s characters to the audience. He also uses dialogue and casual conversation to talk about the fact that the Indians did not believe in India hosting the World Cup. It is only then that he realizes that this film does not win the world stage, but is a respected film. At every stage of the film, Kabir matched real-world imagery and footage to get him to sit down (scenes look just as good as real events in the field), confirming that he has invested heavily in research and entertainment. A defining moment in India’s journey to the 1983 World Cup. You understand that this movie isn’t all about dramatic or sports. An obvious attempt was made to combine the two. And to a large extent it was successful. India’s love of cricket has a lot to do with how the team in 1983 hit the then-nearly invincible cricket team, the West Indies, in that year’s World Cup final. At some point during the competition, expectations for the Indian team were low enough that the station could easily choose a match between the Giants, West Indies and Australia over a match between India and Zimbabwe. The latter is a game that India’s skipper Kapil Dev made history with with a mongoose bat, legendary innings that could not be captured on camera. If you pay to see this movie, this scene alone will take you on a trip to Paisa Vasul. The Kapil Dev inning not only saved the day of India, but brought the team a lot of respect it lacked in every way until the cricket control board returned home to the Indians living in India, where the team sat at the table. And from the foreign, international and domestic press, as well as those who have already left their mark on the game. The fact that no one took the captain’s intentions to win the World Cup seriously appears at several points in the film, confirming that he was ultimately the driving force behind the team’s supremacy. Little joys, sorrows, glorious victories, painful defeats, the inner turbulence each player has gone through, their own journey, and the path to being a reliable team capable of defeating the strongest man in a gentleman’s game – that’s Kabir Khan’s will be it’s all about The drama movie ’83’ is everything. Hearing Ranveer Singh perfectly recreate Kapil Dev’s unrivaled speech style, Natraj ball from the floor, bowling moves and body language, you know you’re in the middle of a sports drama that revolves around cricket. But when you hear him talk about why he does what he does, thinks, believes, and feels for the sport, you hear the guy tell you what makes him a great name in the game. We’ve all seen the iconic image of Kapil Dev hosting the World Cup. Movies show why we tend to feel emotionally burdened every time we watch them. At first glance, “83” is a victory for the outsiders team. Digging deeper, each actor easily imagining himself as the iconic cricketer of the team in 1983, the picture is created with expertly written storytelling, supported by nuances and inner behavior, a tendency to feel as though each department has lent its own unique technological prowess. There is this. thereto. Sakib Salim, Tahir Raj Bhasin, Ammi Virk, Hardy Sandhu, Jatin Sarna, Pankaj Tripathi and Boman Irani are among those who add light to this film, while Ranveer plays the captain’s role here. Of particular note is the way the iconic moment of India’s journey to the 1983 World Cup was recreated for the film. They blended beautifully with drama and emotion. The film’s scripting team should be credited with tying it all together with little to no trouble. This film is based on a true story and leaves little room for cinematic freedom. In the course of its passage, you will eventually come to realize that it was the inner journey of all of us Indians, especially a group of outsiders who fought against the differences between inside and outside, a connecting element in the context of sports. 83 Based on the time period in which a series of events occurred. Yes, 83 uses far more nationalist rhetoric than is required. The spirit of the film itself will convey to consciousness what the rhetorical scene is trying to convey. “83” had room for good music to speed up the story. But in doing so, Kabir Khan once again set his standards high.
2. Chandigarh kare ashiqui
A love story is, after all, a love story. Basically, a man meets a woman and ends the story with a little romance, hash, conflict, makeup or parting. Well, here the boy meets the girl, but she has a past (not the clichéd affair, marriage, illegitimate or criminal past) that Manu has a hard time bearing because of his masculine tendencies. Without going into details (the idea of the story is attributed to Simran Sahni), let’s assume that Maanvi bravely faced every difficulty and “transformed” into the new person she always aspired to be. Whether society and her family will accept her choices, or what she calls “not normal” in her very normal world, as she feels liberated and proud of her new identity to be true to her true self. Director, Abhishek Kapoor, doesn`t beat around the bush and gets to the point directly and quickly. After introducing Manu, his friends and his family, he lets us into Maanvi`s world, slowly and subtly revealing her past. While preparing us for Maanvi`s revelations, he`s also readying us for Manu`s initial disbelief, shock and horror at discovering more about the girl he`s so intensely in love with. And when the moment arrives, he handles it finely, without too much dramatisation or theatrics – in performance or dialogues. While Abhishek maintains lighthearted humour in most situations, he handles the hardhitting reality of the subject with sensitivity and maturity. He explains everything. The rude and outrageous reaction of people to learning the truth about the subject, the general lack of knowledge and information about the problem to be solved, and how our society is sharply divided over the concept of existence. It is “inclusive” and gives everyone the freedom to be who they are and who they want to be. Abhishek does it wittily and is intertwined with humorous punches. Soft, soft and not too heavy. The honest and clear writing and dialogue of Supratik Sen and Tushar Paranjapa is evident in several scenes. Munjal family forcing Manu to marry; widower father waiting for marriage with Muslim girlfriend (Girish Dhamija); father of Maanvi supporting her choice despite mother’s objection (Kanwaljit Singh); Manu’s excessive sisters Manu It’s never boring to meddle in everything. Almost every scene is as intense as Manu’s six-pack and pumped biceps. The performance here is ‘Type Top’! Ayushmann Khurrana gets used to the character’s skin (literally!). Watch out for his super-physical transformation. He portrayed Manu perfectly and the fact that he was actually from Chandigarh certainly helped reveal him. He sees from the side, walks and speaks. Vaani Kapoor shows her uncompromising acting with a tooth-pick of her character right from the start. Not only do Vaani and Ayushmann look great together, they also share an explosive chemistry on screen. Gutam Sharma and Gurav Sharma (Manu’s twin friend) are hilarious and Anjan Srivastav (Manu’s grandfather), Kanwaljit Singh, Tanya Abrol and Girish Dhamija do a great job in supporting roles. Bindiya Chhabriya’s production designs are very colorful and cinematographer Manoj Lobo has captured this original love story beautifully.
Chandan Arora’s editing is crisp. The SachinJigar soundtrack with lyrics by Priya Saraya, Vayu and IP Singh moves the story forward. Holi’s song sounds abrupt at first, but serves as a decent trigger to bring Manu and Maanvi’s romance to the highest level. In the post-corona era, when we are pondering every day what the new standard of our lives should be, it is time to delve deeper and ask ourselves what is truly “normal”. Have we created our own norms and norms to meet the needs of a few who are caught up in a misunderstanding of what normal is? Isn’t it time to shake it up a bit, get out of your comfort zone, and cast off the shackles of stereotypes? Chandigarh Kare Aashiqui does this by making you feel comfortable and entertained.
Starting with the opening scene of the troupe’s bus going into the town of Kutch for RamLeela’s performance, director Hardik Ghajar, who wrote the screenplay, didn’t waste time on the story. Inspired by Rani, Raja Ram aspires to go to Mumbai to become an actress, fueled by the theatrical and audience reaction to Ravan’s portrayal. They are drawn to each other and begin planning a trip to the city of their dreams. Not everyone in the troupe knows what they know about their blossoming love story. Of course, Banwar, who is watching Rani, does not like the development. All of this also features local politician Ratan Singh (Gopal Singh). He is using Ramlila as preparation for the upcoming campaign for Shobha Yatra/Rat Yatra. Interestingly, just as actors in a touring troupe do more than one role, these Ram-Leela actors do more than one role. While troupe owner Bhanwar plays Raavan, Bajrangi Rajesh Sharma oversees productions, manages finances, drives a bus and also plays Hanuman, while Lachhu Ankur Bhatia works as an electrician besides playing Laxman. Although many of the past films (such as Delhi 6) have used Ramlila to tell their stories, Hardik also describes the townspeople’s blind beliefs and their mix of politics and religion.
The scene where the villagers see RamLeela actors as Lord Ram, Sita and Laxman reminds us of the late 1980s how Arun Govil couldn’t be seen drinking after playing his divine role in Ramananda Sagar’s “Ramayana”. In addition, the way some politicians use religious cards to conduct politics is also important, not to mention that the common people suffer from ambition and greed. For someone who has previously directed television shows like Devon Ke Dev — Mahadev and Siya Ke Ram, among several others, and also films and web shows, Hardik sure knows mythology and handles the film with finesse. He effectively uses the onstage characters to express the emotions the actors feel offstage. Pratik
Gandhi, who was previously known only for his Gujarati films and got national notice with Scam 1992, delivers a wonderful performance as Raja Ram. He convincingly portrays the conflict and the myriad emotions of his character and doesn`t falter one bit. Aindrita does a good job of playing Rani. Abhimanyu, Rajesh Sharma (Bajrangi bhaya), Ankur Vikal (Bhurelal/Ram), Ankur Bhatia (Lachhu/Laxman), Rajendra Gupta and Flora Saini pay tribute to their roles.
Chirantan Das’ cinematography is beautiful, pleasing to the eye and adorns the scene. A stunning soundtrack by Shabbir Ahmed (who wrote both music and lyrics), inspired by Gujarati folk music, completes the story. Bhavai also has an old-world charm, and what’s particularly noteworthy is the handling of the opening credits with the golden hues of black-and-white animation and a great classic soundtrack.
An iconic figure in Indian politics, Jayalalita’s political career is best known. Director Vijay unleashes her cold, cold image and sees her as a woman passionately drawn to love. Make no mistake. Women’s struggle for pride and the struggle against patriarchy are integral parts of this story. But at the heart of the story is an unconditional love for MGR despite social contempt. She considered extramarital affairs illegal and faced the wrath of her loyal followers who dishonored his noble reputation. As the days turned into decades, they became each other’s strengths and weaknesses. Despite the grim politics, power struggles, and the hell of those who tried to tear them apart, the innocence of their heart-bound love remained. The scene where they talk on the phone without saying anything, but their silence makes them speak, touches the heart. The film is essentially a heartbreaking love story. Recognized as the “other woman” in MGR’s life, who could have been comfortable with being a blue-eyed girlfriend, Jaya enjoyed everything except her respect early in her political career. Despite being cornered, slut shamed and humiliated time and again, she marches on with her head held high. Her relentless
fight to earn her place in the society forms the crux of the film. Kangana in the titular role channels her inner rebel and unflinching self assurance to make a point — she plays second fiddle to no one. A classic case of her screen character imitating her real life in a way. She renders a powerful portrayal of a lovelorn woman who keeps rising like a phoenix from the ashes. With calm determination and strong presence, he raises the script of the modifier and accurately conveys the tone and nuance of the character without imitating Xayah skillfully. As a woman who despises fearless love and deep emotions, Kangana excels. The actress finds the perfect companion in Arvind Swami with MGR, Mentor and Wind under Wings. He brings a certain stillness to the storm that has captured Jaya. Swami is impeccable in his demeanor and gestures. There has never been a better actor than this to play a Tamil screen icon and a people’s leader. Lots of dialogue and dramatic slow-motion fill the other half of the resilient politics. The former kinovali who came to power are not very popular with men, and misogyny is conveyed in a theatrical and repetitive manner. Poor editing and loud background sounds are annoying. The performance lacks restraint and objectivity. The director uses a one-dimensional approach to storytelling and observation of the protagonist. Jaya is ridiculed or worshiped. There is none between them. Conversion is piety, especially in the political realm. If there’s a gap in Jaya’s armor, there’s no way out. Dialogues are carefully crafted and hit the right notes. Mahabharat ka dusra naam jaya hai beautifully describes Jaya’s life. In the scene where Jaya tells her ailing mother that people only remember you when they need you, her mother correctly rebuts “Bina matlab ke log bhagwan ko bhi yaad nahi karte”. Jaya replies, “Krishna ko sab pashand karte te, phir bhi Radha ki sab mein ginti nahi hoti” when told that MHR is respected by everyone and she is no exception. Nita Lulla’s outfits are detailed and colorful. From tapered bras of the ’60s and ’70s to winged makeup, bouffins and vintage accessories, it’s worth reliving a bygone era if not specific. Thailaivii presents a touching ode to the heartbreaking love story of JayaMGR, an unlabeled relationship. The political side seems chatty, half-ripe, and one-sided. In the end, all that remains for you is the story of a woman who rejected her everything and wrote her own fate.
5. Bell Bottom
In the spy thriller Bell Bottom, Akshay Kumar plays an undercover agent from the Research and Analysis Wing (RAW), codenamed Bell Bottom. Kumar, the seventh hijacking in five years after the plane was hijacked and landed in Amritsar, has called for rescue. The plot centers on his plans for a daring covert operation to rescue 210 hostages and neutralize four kidnappers. Even more impressive is the fact that his surgery involved a personal tragedy. Like many other Kumar films inspired by real events, this film by Ranjit Tiwari is based on two events that took place in the late 70’s and early 80’s when Indira Gandhi was Prime Minister of India. Films shot in various parts of India and Scotland during the pandemic are commendable. Kumar’s stunning appearance as Belle Bottom certainly gets boos and applause as the fact that he looks slim at the age of 53 cannot be ignored. He is slender, healthy, agile and has a distinct military personality. Bell Bottom, who appears to be playing his husband Vaani Kapoor, is a country-level chess player.
He has a sharp memory and is fluent in Hindi, English, French and German. Kumar’s wife, Vaani Kapoor, is great on screen and supports her characters well, even with limited screen time. The film also starred Adil Hussain, Huma Qureshi and Lara Dutta. Considering the buzz the film has generated mainly for Datta’s makeup, it can be safely said that her makeup as former Prime Minister Indira Gandhi is pretty neat. She is hard to find! Huma Qureshi appears to be helping an Indian team rescuing an Indian citizen stranded on a hijacked plane. Akshay Kumar is fully formed and reliably strong. He takes full advantage of his star powers. Playing Indira Gandhi on screen is no small feat and Dutta looks confident and convincing in the role. Kumar’s mother is played by Dolly Ahluwalia, and the two go through a touching and entertaining scene together. Written by Asim Arrora and Parviz Sheikh, this
eye-catching film lasts 123 minutes. However, there is a lot of movement back and forth in the storyline, so you have to catch every moment of the action as it unfolds. The pace of the movie remains stable and the narrative and characters do not lose momentum. As long as you follow the story, the unfolding events don’t overwhelm you emotionally. You’d expect a lot of goosebumps from a movie in this genre, but this isn’t the case. The film also leaves some unanswered questions, such as the
torment of the hostage and the terrorist takeover plan. The film’s climax is rather disappointing and ends abruptly. The movie has its flaws overall, but it can’t erase the fun. “Bell Bottom” lives up to the glamor of a Bollywood big commercial movie worthy of a big screen release. And, of course, audiences can indulge in an epic cinematic experience as this film celebrates the reopening of cinemas that had been closed for months due to the second wave of the pandemic.
Champions are not born overnight. Done. Saina Neval, daughter of Usha and Harveer Singh Neval, daughter of Hyderabad married couple Usha and Harveer Singh Neval, made history in 2015 as the first Indian woman and the second Indian after Prakash Padukone to win the world number one in badminton. She’s only 31 years old and if you’re interested in sports, you probably know pretty much about her achievements, her affair with coach Pullela Gopichand, and why she owes everything thanks to her parents and her humble middle-class education. But there is always more to history than meets the eye. Even in one sport, there are people and experts who hope to help restore faith when it is on the verge of losing it. After suffering a near fatal injury and locked up at home for months as she watched her world pass by her, Saina’s mother said to her, “You are Saina Neval. Hello. Don’t let the world and the media think of you differently. Self-doubt This is your biggest
enemy. Shak en apney dil mein ghar na karne dena.” A mother who longs for her daughter to become the number one in the world, that is the beginning of Sina. Like a poignant ode to a desperately optimistic mother who knows how to rush, Saina works. Most Indian electric sports dramas follow the safety-seeking pattern. What you get is Hagiography that barely scratches the surface or goes beyond the obvious. The struggle, the road to glory, the fall and the resurrection – you know how it works. Few people dare to head to the skeleton of the wardrobe because the country has respect for the athlete. Amole Gupte also keeps her story simple.
Alleged competition between PV Sindhu and Saina is not mentioned. The director highlights the famous ups and downs in Saina’s life to make sure his narrative isn’t patriotic or overly patriotic. It’s unclear if this is true because the film is a theatrical narrative, but her mother doesn’t hesitate to slap her 12-year-old daughter proudly showing off her second-place medal. There is no place for those who are second in the sports world. Sensitive young Saina soon finds her father comforting her, who tells her why victory is her everything. Expected that this event would shake the little girl’s beliefs and thoughts about the arduous journey ahead, she lifts her head high and her racquet high to destroy her flaws. Gupte digs into the psychology of the characters little by little, and the story of parents who want to achieve their dreams through their children does not find an exit. You don’t see him glorifying wrestling or idolizing victory. It captures the protagonist while she continues to work. There is a degree of carelessness in his acting, which reflects Sayna’s attitude towards himself. It’s like your favorite vanilla ice cream. It is rather uncomplicated, straightforward and sincere. Making a seemingly coherent life interesting isn’t easy because he doesn’t have enough props to attract attention, but he succeeds. The highlight of the film is the director’s skill in working with children. Seeing the talented 10-year-old Mumbai athlete Naisha Kaur Bhatoye (as her young Saina) demonstrate her skills on her court will take her breath away. Not only does she look like real Sina, her acting skills dominate the film. It captures the unbridled energy of the Gupta athlete and Sayna’s ascetic ambitions he so desperately wants to paint. You want him to see how she continues to play Sayna in her films as he plays Richard Linklater and she ages her in real time. For Parineeti Chopra, who has no sports experience, becoming a badminton champion was not an easy task. No one expects her to master her acting and technique in her short time, but expect her to master her emotions, body language and mannerisms correctly as an actress. Her best Parineet alone isn’t enough because in some important scenes she doesn’t seem to be at the moment.
Her eyes are sometimes reminiscent of a sea of emotions she expects to radiate everywhere. But her ability to push herself into physically demanding characters is admirable, and many would not dare fall into that trap. Amaal Mallik’s music is accurate and captures the pulse of the film perfectly. In particular, Chal wahi chalein Shreya Ghoshal and Parinda will be with you. Amole Gupte has always had a hard time because Saina’s life was sober, relatively undeniable and transparent. The fact that he is an active sportsman amplifies expectations. Her path to world domination was unreasonably unshakable. She has very supportive parents, lovely sisters, a great group of friends and a husband who is also a fan (Parupalli Kashyap). She grew up to be a winner and loved since her childhood. There are no devastating conflicts that pull the strings of her heart. Amol Gupte is still trying to capture Saina’s tiger spirit behind her humble personality. His film is a delightful story about an Indian badminton poster girl. The movie may be more memorable, but it does not fall behind in terms of inspiring young people.
For years, Bollywood didn’t give the horror comedy genre a chance. But he seems to be gaining popularity with filmmakers lately. Director Hardik Meta attempts to mix the two genres in Rukhi, with little success. The three actors at the center of the story in the film, Rajkummar, Varun, and Jhanvi, boast great bodies and complement each other’s performances. Rajkummar returns for another role, playing a small town boy with dyed hair and a silly smile. His character may be similar to his role on Stree, but he makes this character stand out with different mannerisms and body language. But I wonder if this is the only role he’s taken on too much. Barun shines with a comical timing and a perfect expression. The actor easily copes with comedic roles and here again shows his sense of comedy. Whether it’s Ruhi or Afza, Jhanvi never misses. She gets goosebumps with the same ease of playing Afza as the timid Rukhi does. The film gets quite a laugh, with references to cult movie moments like Rose who “killed” Jack in the iconic Titanic and unforgettable “joyful” moments in Dilwale Dulhania Le Jayenge. Written by Mrigdeep Singh Lamba Gautam Mehra, the film is mostly full of well-written, one-liner lines that sound smooth. What this film lacks is deeper storytelling. There is a brief mention of what the main characters do with the backstory, but few are remembered. This film, which is over two hours long, could definitely use a tighter cut. Apart from the fun, the concept of narcissism and self-confidence works to some extent, but the ending is a bit comfortable and random, and it feels like it lacks the pressure that comes from the beginning.
Musically, the two main tracks, Nadiyon Paar (Re-Version of Let Music Play) and Panghat, played in the opening and closing credits, remain and remain the highlights of the soundtrack primarily composed by Sachin-Jigar. your memory. even after the movie is over.
A rookie release is a daunting task for any filmmaker. It’s also important to give the actor ample opportunity to showcase their products while doing the best they can. The first few seconds in Milan Luthria’s Tadapa make it clear that the purpose of the film is to highlight the prowess of Ahan Shetty, who made her debut as an evil action hero sparked by his passion for love, played by Tara Sutaria. This film is a remake of the 2018 Telugu film RX 100 based on a true story. Until the break, Tadapa’s narrative resembles the classic love story of a poor boy and a wealthy girl who seem to be forced to marry another gentleman of their father’s choosing. After the intermission is over, the narrative, which suddenly has a lot to reveal, rushes to uncover everything that triggered the lover’s breakup. Ishana’s character’s plot in the film is tense, intense, and remains stable despite her deep passion. And that’s exactly how it works in Ahan’s debut film. His effort to internalize a character as strong as Ishana in the first film is noticeable. While there is room for fine-tuning in the delivery of dialogue, Ahhan has an impressive screen presence and sparks on her debut stage. However, to portray him as a truly romantic action hero, the film’s screenwriter Rajat Aroraa (screenplay and dialogue) and director Milan Luthria put a lot of effort into completing it with heavy dialogue that is almost poetic and gets you stuck in some scenes. . Some sort of time warp and plot point that doesn’t effectively give a cause. As Ahan’s stepfather, whom the whole Mussoorie calls daddy, Saurab Shukla has great warmth and confidence. Adds weight to this story.
Ishana’s lover, Tara Sutaria as Ramis, looks great in every frame, whether she’s naughty, romantic or broken. She could have been more dazzling if the script had
provided more than a twist in the second half. The film stretches over time, lame at the level of the plot. Tadap feels lethargic before the break, but takes a dramatic twist in the second half, with some action-packed action literally in his sneakers.
Viewers will eventually want to simplify some of these halves into the first half, making their time more immersive. You can sing Pritam’s song. The cinematography depicts Mussoorie as a city, making it look dreamy and beautiful, and provides a beautiful setting for a love story. It’s nothing to worry about that Tadap is an inexcusable commercial hack. However, we cannot ignore the fact that it is full of images and scenes that look tired as time goes by. Also, the passion in these love stories often doesn’t awaken them because the script doesn’t hold them together.
To recap, Tadap brazenly plays the gallery with action, music, and well-crafted visuals, but it would be very helpful if his script gave the actors more space to take home a more memorable love story.
In his first scene, director Mahesh Manjrekar sets the stage for a rebellious gangster story as Rahulia rushes to save her poor father Sathya (Sachin Khedekar) from being beaten by an unscrupulous local gangster. This man also usurped the ancestral land. What follows follows Rahul’s rapid transformation from an unemployed youth into a vicious gang when Pune’s most powerful thug, Nanya Bai (Upendra Limaye), takes him under her control. However, there is one problem.
Inspector Rajveer Singh (Salman Khan) knows when and how to use his brain and power to rid himself of all malice, from loud rapists and power-hungry politicians to armed gundams. This is a space specially designed for mass artists with heavy action opportunities. But there is more dialogue than dhihoomdhishoom, and it often slows down the pace of the story. Luckily, there is a key twist in the first half that helps build and maintain momentum for a big showdown in the second half. Mainly located in the Marathi region, Manjrekar skillfully captures the rural and urban flair of Maharashtra with Karan Rawat’s captivating shots, characterized by wide shots that
showcase the city’s ruthless growth. This was further reinforced by the fact that many Maratha actors played important character roles. However, the film has the problem of dragging the viewing time due to too many characters and repeated conflicts. In addition to that, it seems that there are only four songs that fit perfectly, but there is not a single melody. Salman Khan returned to the police, this time as the fearless Sardar. It’s easy to play a cop role as Salman hangs out in the gallery, rips shirts and pulps bad guys. Aayush Sharma makes an honest attempt to get the right look with her sculpted body and match Bhai’s mojo. The actor has certainly come a long way from the first film and struggled to endure Rahul’s pain and glory with confidence. To some extent he succeeded, but the overall script of the film could be more tense, less melodramatic, and preachy. The chemistry with Mahima Mawana, in his debut film playing his lover Manda, is rather monotonous and often slows the film down.
With intense action and drama (a bit too much), Antim: Ultimate Truth picks up some boxes of mainstream entertainment. It also highlights the issue of land expropriation by mafia money who have succeeded in circumventing the law, often flirting with politicians. So, if you like old-school Bollywood movies that are overly rich in everything, then Antim: Ultimate Truth is the movie for you.
10. Satyamev Jayate 2
The only way Satyameva Jayate 2 (SMJ2) takes ahead from its prequel Satyameva Jayate (SMJ) is by tackling corruption and greed for power. At the onset, writerdirector Milap Zaveri and the film`s team have maintained that it`s a massy fare, like the popular cinema of the 1980s. When you see John Abraham turn into a vigilante to punish those who caused the death of innocent citizens, you`re not as surprised as you are when you realise it`s Satya who`s handing out the death penalty, and Jay is being roped in to bring the vigilante to justice. Milap makes no effort to hide that he`s paying a tribute to the 80s movies, and his pride in that is
abundantly evident in the screenplay and dialogues — be it Satya calling the ACP to tell him that he won`t stop punishing the guilty, Jay`s introductory sequence or even Dadasaheb Azad (John Abraham yet again, as their farmer father) singlehandedly ploughing a poor farmer`s field, or the brothers wearing saffron and green, fighting each other in the preclimax. All this and more only adds more masala to the meat of the story. Besides the threat of corruption, Wax does quite a bit about farmer suicide, violence against women (Nirbaya in Delhi and veterinarians in Telangana), the Rockfal Law, the importance of social harmony and religious tolerance. The writer-director also provides an eloquent commentary on today’s media and social media, focusing more on capturing the news and creating sensations on cameras and smartphones, even when someone is bleeding on the street in broad daylight. John Abraham seems comfortable at this old school and has tried and tested commercial hacks too often. Be it a twin brother or a father, he fulfills the triple role with equal ease. If he shows some restraint as Satya, he’s not shy to serve as a gallery for Jay or Dadasaheb, a simple farmer leading the fight for Lokpal law in Congress. Divya Khosla Kumar is pleasant and has a fairly prominent part to play in this otherwise maledominated movie. As the righteous Vidya, she minces no words when she disagrees and strongly opposes her husband Satya and her Minister father (Harsh Chhaya) on different issues. Gautami Kapoor lends due support as Dadasaheb`s wife and Satya`s and Jay`s mother. Harsh Chhaya, Annup Sonii, Zakir Hussain, Dayashankar Pandey and Saahil Vaid perform their parts well. The soundtrack is easy on the ears, be it the wedding song Tenu Lehanga or the KarwaChauth track Meri Zindagi Hai Tu, while Nora Fatehi sizzles in the Kusu Kusu number. Rough hardcore action is the highlight of the film, and John doesn’t disappoint as he picks up and throws a motorcycle with his rider, rips off the engine of an SUV or even smashes the ground while smashing a few meters. His plow in the field. There are a few Seetimaar moments for action lovers to enjoy. We understand that the film is a kind of homage to the 1980s+ movies we once enjoyed, but some scenes, like three John Abrahams blocking a helicopter takeoff with their bare hands, could be too big of a hit for OTT too. Emotion. . If you love to eat masalas from the past in bulk and are willing to handle three times the size of John Abraham at one time, you will want to indulge in this.