Tag: Vijay Devarakonda

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Kingdom: A recycled tape of the chosen one

Vijay Devarakonda as the leader

Gowtham Tinnanuri does a fine job in dealing with the tumultuous dynamics between Vijay Devarakonda and Satyadev. The sibling relationship with the moral conflicts gives the movie an emotional resonance, both Vijay and Satyadev deliver strong performances. But the predictability of the core plot eventually makes it just about a decent watch. The film also suffers from the latest pan India obsession of dividing a movie into multiple parts.

Starcast: Vijay Devarakonda, Satyadev, Venkitesh, Manish Chaudhari, Bhagyashri Bose and others

Genre: Action drama

Director and writer: Gowtham Tinnanuri

Producers: Naga Vamsi and Sai Soujanya

Production Companies: Sithara Entertainment, Srikara Studios and Fortune Four creations

Music: Anirudh Ravichander

Cinematography: Girish Gangadharan and Jomon T. John

Running time: 2 hours and 42 minutes

Gowtham Tinnanuri’s Kingdom plays out like the pulp of Salaar, Kalki 2898 Ad and Khaleja if they were ever mixed in a grinder. The movie also bears a slight resemblance to the commercial classic Deewar directed by the late Yash Chopra. There is nothing wrong in being inspired from the past but it’s also necessary to give it a fresh spin as Mohit Suri proved with his box office tsunami Saiyaara. Kingdom on the other hand starts off well setting a solid base but runs out of steam in the later half with a hurried conclusion.

In brief Kingdom’s plot primarily focuses on the quest of a police constable Suri (Vijay Devarakonda) in finding his elder brother Shiva (Satyadev). As part of this Suri goes to Sri lanka . It’s a covert spy operation on the shores of Jaffna; the island consists of a refugee group under the control of a smuggling cartel. What starts off as a straightforward operation turns into something deeper with elements of reincarnation.

There is no denying that Gowtham Tinnanuri does a good job in setting a solid base specifically in the word half. He along with the cinematographers create an immersive world. The rugged landscape of coastal Sri Lanka coupled with the gritty texture makes the viewers feel that they are also part of the conflicts. Anirudh’s background score is also perfect amplifying the key emotional beats. The songs also jell with the texture of the movie. Specific mention must be made of the tune “Anna Antene” establishing the sibling bond.

The movie’s pace again in the first half is crisp. The developments happen at a good place without any unnecessary distractions. The reunion of the brothers in the backdrop of an action sequence has been wonderfully written and enacted.

Soori’s entry into his brother’s gang with the thread of Tribal history and the criminal cartels adds the necessary spice too. The interval bang with Soori’s real identity and Shiva’s shock sets a solid base for an equally gripping second half, however the film falters badly in the second half with overused tropes. There’s a key line from Manish Chaudhari playing Soori’s handler. It goes like this “There’s something in this soil that turns humans into demons”.

Gowtham Tinnanuri could have explored this aspect much more instead the line is strictly surface level not adding much to the proceedings. The nuanced first half is undone by a more predictable and hurried tone in establishing the reincarnation theme.

Its not that the second half is a complete downer. The emotionally charged moments between Vijay and Satyadev do make an impact and a key revelation connected to their childhood does make an impression, however the familiar action sequences coupled with the jaded narration makes it difficult to care for the proceedings.

It goes without saying that Kingdom is largely reliant on Vijay Devarakonda and Satyadev, both do a very fine job in pulling of the moral complexities. The best part of their roles is that neither are completely heroic nor entirely compromised. They are significantly shaped by the brutal systems. It also helps that Satyadev’s Shiva isn’t just a bystander to Soori, his journey is also textured.

Mention must also be made of Venkitesh as the cold-blooded villain. Its deliberately hammy however the actor sells it with the right mixture of cockiness and sadism. Manish Chaudhari as the cold-hearted handler does a fair job too as does Bhagyashri Bose. But the subplot of Soori and Bhagyashri Bose’s Dr Anu needed much better writing.

Final word: Kingdom can be watched for fans of Vijay Devarakonda and Satyadev. Don’t expect something earth shattering it will be an engaging experience.

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Family Star: This reunion of Geeta Govindam team leaves the viewers with a bitter aftertaste

The subject matter of celebrating a middle class hero is laudable but Parashuram Petla’s execution leaves a lot to be desired. Vijay Devarakonda brings his usual earnestness but that is not enough to salvage the film
  • Family Star
  • Rating: 2
  • Starcast: Vijay Devarakonda, Mrunal Thakur, Vasuki, Rohini Hatangade, Jagapati Babu, Vennela Kishore etc
  • Director and writer: Parasuram Petla
  • Producers: Dil Raju and Sirish
  • Production Company: Sri Venketeswara Productions
  • Music: Gopi Sunder
  • Runtime: 2 hours and 45 minutes
  • Genre: Romantic comedy/drama

Out of the eight films that Parashuram has directed Geeta Govindam remains his best. Sure in hindsight it does look like a project to alter the image of Vijay Devarakonda post the hugely polarized Arjun Reddy. Having said that Geeta Govindam was a charming romantic comedy with many enjoyable moments, in spite of Vijay Devarakonda’s recent box office failures there were certain expectations from Family Star given how Geeta Govindam had fared. The music director of that film Gopi Sundar is the composer of this one too. Leading lady Mrunal Thakur has had a terrific start to her career in Telugu with two back to back successes in author backed parts. Unfortunately Family Star is a slog for most part in spite of having a subject that can make for an entertaining commercial movie.

Vijay Devarakonda plays Govardhan who comes from a middle class background. He is single handedly keeping the joint family afloat. Govardhan is also quite a miser. For example there is an amusing scene where he makes very thin dosas of different shapes to ensure that the dough lasts longer. Ravi Prakash often seen in Krish Jagarlamudi’s films is an elder brother nursing past wounds. He is a regular drinker entangled in the web of alcohol. Vasuki is the long suffering wife who puts up with her husband’s drunkenness. Govardhan feels that his words are the reason behind the elder brother turning into an alcoholic. So he just puts up with his brother’s behavior before the dam finally bursts. Another brother is struggling to establish his own business.

At this time you have the arrival of a postgraduate student Indu (Mrunal Thakur). She integrates herself slowly into the family and soon love blossoms between her and Govardhan. However there is a twist in a tale just before the interval, a secret about Indu is revealed that severs their relationship. Govardhan feels cheated and decides to keep himself away from her. The rest of the story is about how the reconciliation happens when Govardhan is forced to work with her by circumstances.

Vijay Devarakonda and Rohini Hattangadi

The positives in Family Star can be counted on fingers and Vijay Devarakonda’s performance is one of them. In spite of the exaggerated middle class quirks Vijay pulls of a wonderful act. Vijay conveys a range of emotions from aggression, simplicity and stinginess in an admirable manner. He stands out particularly in the emotional scenes.

Vijay’s scenes with Mrunal are quite charming in the first half. Particularly the portions where Indu calls Govardhan ‘yevandi’, something flutters in Govardhan’s heart whenever she calls him that.  Mrunal Thakur’s Indu has two shades. In the first half she is a girl next door, in the later half we see Indu as a CEO who has a tough exterior with a compassionate nature. Mrunal does a good job in portraying both the shades.

Among the sprawling supporting cast veteran actress Rohini Hattangadi as the grandma is the only one who makes an impression. Her scenes with Vijay have been well written and are adorable to watch.

A major problem with Family Star is the superfluous writing. This comes out in a very glaring manner in the way the family members have been written except for Rohini Hattangadi. The discord between Vijay and Ravi Prakash’s character and why the elder brother is so neck deep in alcoholism is way too patchy and does not make any sense. What makes this scenario even more baffling is Govardhan’s self guilt about how he considers himself responsible for the elder brother’s downfall.

The redemption of Ravi Prakash’s character and the eventual reconciliation feels like more of an afterthought with extreme superficiality. The other brother played by Raja Chembolu has even less to do. His aspirations of opening own business feels like an unnecessary add on to increase the burden of Govardhan.

Family Star reminds the viewers of Geeta Govindham in more ways than one but not in a pleasant manner. For example here it is the hero who mistakes the girl’s intention and considers her to be a bad woman. There is a lot of ego tussle however unlike that film this movie has no soul. Often times Family Star feels like a lifeless imitation of that movie.

The US part in particular test the viewer’s patience. For example there is a scene where Vijay’s Govardhan is mistaken for a male prostitute. Cringe worthy would be an understatement to describe the entire scenario.

Vijay Devaraakonda calls his father Devarakonda Govarhana Rao his ‘Family Star.’

Another example of the extreme bad writing can be seen in the portions involving Ravi Babu as a loan shark who misbehaves with Vasuki’s character and asks her to sleep with him if the debt is not cleared; this happens in the first half. As excepted there is a mass sequence where Govardhan brings the entire family to Ravi Babu’s place in an auto. He breaks heads and beats men to pulp. The children look traumatized but Govardhan insists them to watch and learn from him on how to deal with bullies. What makes this sequence even worse is the final punch that Govardhan delivers to the bad guy. He threatens the villain with a rape threat involving the women of antagonist’s household.

Gopi Sundar’s music while not as good as Geeta Govindam does have its moments. A couple of songs do work “Nandanandana” and “Kalyani Vacha Vachaa”,

The idea of raising a toast to the star of every middle class family is admirable but the execution makes it yawn inducing.

https://www.primepost.in/it-leaves-the-viewers-with-bitter-aftertaste

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Disasters Of Tollywood 2023: These Telugu Films Failed Big Time In Meeting The Box-Office Expectations

2023 has not been a great year for many star actors in Telugu — Chiranjeevi, Pawan Kalyan, Ravi Teja, Vijay Devarakonda, and Samantha.

In the case of Megastar Chiranjeevi, he started off the New Year well with a commercial hit Waltair Veerayya. Though not a great film, the festival season of Sankranthi along with the mass elements made it a profitable venture.

However, his Bhola Shankar failed big time in getting a thumbs-up from critics and audiences.

Chiranjeevi’s co-star in Waltair Veerayya, Ravi Teja also delivered big financial disasters in the form of Ravanasura and Tiger Nageswara Rao in 2023.

Likewise, Pawan Kalyan’s Bro did not attract the audience in a big way, despite Trivikram writing the screenplay and dialogues.

Following is an overview of some of the Telugu films that failed to meet the expectations:

Bhola Shankar

Nothing worked for Bhola Shankar since its inception. Its director Meher Ramesh delivered two massive disasters before this — Shakti (2011) and Shadow (2013). In fact, he never had a significant success in his career.

On top of that, Bhola Shankar was a remake of a regular commercial potboiler Vedalam (2015, Tamil), which had nothing extraordinary in terms of storyline.

So, it was quite baffling to see Chiranjeevi remaking this, that too with a flop director.

Expectedly, the film bombed even with the loyal fans.

Meher Ramesh made Vedalam look like a classic with his direction.

The most cringeworthy scene in Bhola Shankar is the recreation of the famous bench scene of Khushi (2000) where Pawan Kalyan keeps looking at Bhumika’s navel. Here, you had Chiranjeevi and anchor Sreemukhi. It was so awkwardly filmed and definitely was not a pretty sight.

Ravanasura and Tiger Nageswara Rao

Both Ravanasura and Tiger Nageswara Rao had interesting storylines where Ravi Teja did push himself as an actor.

For example, Tiger Nageswara Rao was based on a real-life dacoit and the events that happened in Andhra Pradesh in the 1970s.

Ravi Teja’s character had some grey shades, which the actor pulled off with conviction.

However, the problem was with the inconsistent direction of Vamsee along with repetitive shots of bloodshed. What also did not help Tiger Nageswara Rao were the romantic subplots of Ravi Teja with his leading ladies.

Ravanasura, too, had Ravi Teja playing a character with grey shades.

In the beginning, we see him as a bumbling junior lawyer, but soon enough, there is a significant U-turn. Ravi Teja did a fantastic job of portraying the unhinged nature of his role.

However, his efforts were not enough to save the movie from drowning.

A major reason for the failure of Ravanasura was the haphazard flashback of his character Ravindra. Viewers did not feel any emotional connection with him.

Once the flashback ends, the proceedings become even more tedious.

Only the Ramayana connection was well done, but it does not add much to the film in the overall scheme of things.

Kushi

Shiva Nirvana’s Kushi was a crucial film for Vijay Devarakonda, Samantha, and of course, the director himself.

As the title suggests, Kushi had a safe subject, which could have given a lot of happiness to everyone. However, Shiva Nirvana did not make complete use of this opportunity.

Kushi had an interesting backdrop of two vastly different families. The hero’s father is a staunch atheist who does not shy away from expressing his opinions on God and astrology.

The heroine’s father, on the other hand, is not just a staunch believer in God but also gives religious lectures.

In structure, Kushi is similar to Mani Ratnam’s Sakhi (2000). Like Sakhi, here too, you have two rebellious lovers who decide to make their own home.

Both Vijay Devarakonda and Samantha delivered good performances and shared a scintillating chemistry on screen.

But the first half of Kushi dragged a lot, particularly in portions where Samantha’s Aaradhya is pretending to be a Muslim. As a result, viewers felt restlessness, despite Vennela Kishore’s comic excellence.

The second half was much better when the focus shifted to marital issues. When Samantha’s character has a miscarriage, she thinks that it happened because of her husband not doing homa (homam). Expectedly, some serious arguments lead to discord in domestic life.

The music of Hesham Abdul Wahab was melodious for the most part. However, all these elements were not enough to save Kushi from bombing.

Bro

Bro, directed by Samuthirakani, had a decent pre-release buzz, thanks mostly to Sai Dharam Tej and Pawan Kalyan coming together. Additionally, you had Trivikram writing screenplays and dialogues.

Markandeya (Sai Dharam Tej) is a man with many family responsibilities. He cannot afford to give time to anyone, including his girlfriend. One day, he meets with a road accident on the way from Visakhapatnam. Pawan Kalyan plays “Titan”, also known as the God of Time.

He gives Markandeya 90 days to complete his duties. In these 90 days, Markandeya undergoes a major transformation.

Stories revolving around God-giving life lessons are as old as hills. Still, they can be engaging if the narration is interesting.

Unfortunately, both Samuthirakani’s direction and Trivikram’s screenplay were subpar.

Bro had too many references to Pawan Kalyan’s political ideology and his previous hit songs.

It was clear that Samuthirakani banked heavily on audiences coming to see real-life mama-alludu (uncle-nephew) on screen. The chemistry between Sai Dharam Tej and Pawan Kalyan was pleasant but nothing great.

Agent

Director Surender Reddy’s Agent tried to be an action-packed spy entertainer like Shah Rukh Khan’s Pathaan, but the required sharpness was missing.

The film was definitely lavish in scale along with some well-executed action sequences.

However, Agent suffered from a meandering storyline along with a vapid heroine — Sakshi Vaidya.

Another problem with the Telugu film was the weak back-story of Dino Morea’s character, who calls himself God.

Akhil, in his new avatar, delivered an uninhibited performance, but that was not enough to save the film from sinking badly.

Skanda

Boyapati Srinu’s Skanda is a signature Boyapti macho film that is high on testosterone but low on emotional coherence.

The director has been most successful with Nandamuri Balakrishna. Their duo delivered three blockbusters — Simha (2010), Legend (2014) and last year’s Akhanda (2022).

However, Boyapati Srinu did not have the same level of success as other actors like Ramcharan in Vinaya Vidheya Rama (2019) and now Ram in Skanda.

At its core, Skanda is a tale of revenge with the backdrop of the two-state chief ministers. Ram tried his level best to save this sinking ship. He definitely looked at ease in this Boyapati universe, but the film, on the whole, did not appeal to even hardcore Boyapati fans.

Shaakuntalam

After burning hands with the 2015-released Rudramadevi, director Gunasekhar yet again tried his hand with a large-scale epic. This time, the film is based on the famous play Abhigyana Shakuntalam, written by the legendary playwright Kalidas.

Gunasekhar tried to marry the sensibilities of an Indian epic with the texture of a Hollywood Disney film.

But Shaakuntalam turned out to be an even bigger dud than Rudramadevi. It was a colossal disaster, particularly for Gunasekhar and Samantha.

Samantha did justice to the different shades of Shakuntala; the naivety of an ashram girl in the beginning and then, the inner strength of a wronged woman.

Shaakuntalam had its share of powerful moments, like the court scene where Shakuntala questions the inability of Dev Mohan’s Dushyant to recognise her.

Allu Arha also made a sparkling debut in her short screen time. But the film never came across as a cohesive whole.

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Khushi: Love, God And Marriage

The film takes some time to get going but director Shiva Nirvana eventually finds his footing particularly in the second half

Khushi (Telugu)           

Starcast: Vijay Devarakonda, Samantha, Murali Sharma, Sachin Khedekar, Saranya, Vennela Kishore and others

Director and writer: Shiva Nirvana

Producers: Naveen Yemeni and Yalamanchili Ravi Shankar

Production Company: Mythri Movie Makers

Music: Hesham Abdul Wahab

Production Company: Mythri Movie makers

Running time: 2 hours and 45 minutes

Genre: Romantic comedy/drama

Shiva Nirvana’s Khushi doesn’t particularly boast of a novel plot. There are certain similarities that the viewers will find with Mani Ratnam’s Sakhi. However,  there are some interesting things also that the director does. Chief among them is the background of his two protagonists. The hero’s father is a renowned atheist with an absolute distaste for god and astrology. On the other hand the heroine’s father is a staunch believer in god who is also known for his religious lectures. This adds a lot to the story, more so when the drama part kicks in. These two characters are played by Sachin Khedekar and Murali Sharma respectively. 

Samantha and Vijay Devarakonda

In brief it is a usual love story with a happy ending via many twists and turns. The conflict point in this movie is faith versus non faith. Viplav Devarakonda’s (Vijay Devarakonda) family represents non faith while Samantha’s family represents faith. Vijay’s father is Lenin Sathyam (Sachin Khedekar) and Samantha’s father is Chadarangam Srinivasa Rao (Murali Sharma). Previously a huge debate on TV had happened between them. Understandably both Chadarangam and Lenin aren’t too happy with their children’s choices. Yet they agree to meet to discuss their marriage. But Chadarangam declares that Viplav will have to do a homam along with his father before marriage; otherwise Aradhya cannot become a mother. Lenin Sathyam is enraged and tells his son to forget about Aradhya. But the two rebellious lovers decide to follow their hearts. In Sakhi style they make their own home. The rest of the story is about the issues that crop up given the two vastly different family backgrounds and how they resolve them.  

For any romantic film to work two aspects are of prime importance. One is having a likeable lead pair and the other is having hit music. Khushi scores in both these departments. Vijay Devarakonda and Samantha are in fine form both individually and together. They share a good chemistry.

Vijay devarakonda, Sumantha and Shiv Nirvana

It is refreshing to see Vijay Devarakonda shed his mass avatar and do an urban character. Vijay does a terrific job in portraying the various shades of Viplav; whether it is his lover boy act in Kashmir or the dramatic portions of the second half. Vijay’s comic timing also leaves viewers in splits. In the Kashmir portions Viplav speaks in broken Hindi and this leads to many amusing moments. Maybe a revenge on SRK’s broken Tamil in Chennai Express.

Vijay also takes a jibe at his own hugely successful yet hugely controversial Arjun Reddy in an interesting scene. There is a bit where a lady maid gets scared on seeing Viplav. He assures her that people have unnecessarily created a bad image of him in the market but he is actually a feminist. This leads to many laughs in the theatre.

Samantha is also in fine form complementing Vijay well. She is particularly effective in the more intense scenes.

Sachin Khadekar

The music of Hesham Abdul Wahab is another major winner. My favorite songs in the album are Na Roja Nuvve and Aradhya. Except for one number the rest of them are rich in melody.

The second half of Khushi is more engaging as it deals with the marital problems that the couple faces. For example there is an episode of Aradhya’s miscarriage. Aradhya believes that the miscarriage happened because of Viplav not doing the homam leading to some arguments. There is certain realisticness to the way Shiva Nirvana has staged these scenes.

 Murali Sharma and Sachin Khedekar shine the brightest among the supporting cast as two men who firmly believe in their respective ideologies. There is a touching scene in the pre- climax where both the fathers have an emotional moment.

Murali Sharma

What doesn’t work for Khushi is the stretched first half. The Kashmir portions needed to be trimmed down. Aradhya’s façade of being a Pakistani Muslim comes across as stretching things too far just to prove viplav’s broadmindedness.

Also there are some characters which could have been better developed like the ones of Rohini and Jayaram. Rahul Ramakrishna as Vijay’s buddy is underutilized as always but Vennela Kishore does raise some laughs in the first half.

Overall Khushi is an enjoyable romantic drama as the title suggests. The message of love triumphing over everything is something that all of us could imbibe given the politically troubled times we are living in.

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Liger: A Crossbreed That We Didn’t Need

Not long ago Puri Jagannadh was considered as one of the most successful commercial directors in Tollywood. The director had made a niche for himself with Ravi Teja’s Amma Nana O Tamil Ammaye and Pawan Kalyan’s Badri among other films. Puri reached his peak with the blockbuster Pokiri starring Mahesh Babu.

Vijya and the super rich Tanya, Ananya Pande

But since Pokiri Puri Jagnnadh has seen a dip with many indifferent films like Kalyan Ram’s Ism, Allu Arjun’s Iddarammmayilatho etc. These films lacked the solid masala that the director is known for. In the recent past only Junior NTR’s Temper and Ram’s Ismart Shankar have brought in some profits for the director. When Liger was announced people were excited to see what Puri would bring out from Vijay Devarakonda. Karan Johar backing it along with Mike Tyson’s special appearance made Liger an exciting project. Thanks to COVID Liger has been in the making for over two years and has finally released in a period of huge uncertainty. An apt description for Liger’s quality would be dead on arrival. It is a hotchpotch with zero direction.

Vijay’s physical appearance as MMA fighter is bang on

Balamani (Ramya Krishna) and her son Liger (Vijay Devarakonda) move from Karimnagar to Mumbai. Balamani wants to make her son big in the world of MMA (Mixed Martial Arts). Balamani makes her life by selling tea. The father was also an MMA fighter who died some time back. Liger has the appearance of a hulk with stammering issues. His stammering is ridiculed at certain points in the film. Ronit Roy plays the tough coach. He has a connection with Liger’s father; Ronit Roy teaches Mixed Martial arts for free to Liger. Both the coach and the mother give a warning saying that girls are a distraction and Liger shouldn’t get distracted.

This is the cue for Ananya Pandey’s super rich Tanya to come in. She is a social media celebrity with Hollywood aspirations. Tanya is impressed with Liger’s fighting skills and soon love happens. What follows is a cross pollination of genres that leaves your head scratching.

Liger, the largest cat in the world

Liger’s only redeeming qualities are the performances of Vijay Devarakonda and Ramya Krishna.  Vijay gets the physical appearance of an MMA fighter bang on, it is quite clear that the actor has worked on his physicality. He also pulls off the stammering part pretty well; to the credit of Puri Jagnaath the stammering aspect does bring a new dimension in the initial portions. Ramya Krishna also does justice to her part as a feisty mother with big dreams for her son. Sure Balamani comes across as screechy on more than one occasion but the fault here lies with the director and the writers. The mother and son bits are the only scenes where audiences feel some kind of emotion.

Vijya Devarakonda, the poster that shook the nation

The biggest issue with Liger is the lack of clarity on the part of the director; even the weakest Puri Jagnaath films had more cohesiveness than this one. The initial part of the film gives you an idea that it is going to be a mother and son story with the backdrop of MMA. But soon the love story takes way too much attention than needed.

Ramya Krishna justifies her part as a feisty mother and Vijay Devarakonda

Man woman relationships in Puri Jagnaadh’s universe have never had any political correctness but here the director takes it to a whole new level. Tanya falling in love after seeing Liger’s fight is the most clichéd thing you will ever see. Her flirting with Liger is more cringe worthy than fun. Right through the first half she is depicted as Menaka who is going to sabotage Liger’s ambitions. These are just some of the clichés that the director piles upon on. In the second half there is a forced attempt at patriotism with a chaiwalla representing India on the stage of mixed martial arts. There is zero creativity in the way the scenes involving the mixed martial arts have been shot.

The love story makes reappearance in the last twenty minutes where the twist about why Tanya dumped Liger is revealed. This leads to the most bizarre special appearance that you will ever see in the climax. You just wonder what Mike Tyson saw in his part to accept this drivel.

Ramya krishna, Vijay Devarakonda, Ananya. On quite a lot of occasions the cameraman focuses on her midriff. It is sad to see the actress in role like this after a fairly decent part in Shakun Batra’s Gehrayiyaan

The songs and their picturisations give another major headache. The abrupt placements also don’t help. Vijay and Ananya have zero sizzle in spite of the way Ananya is presented. On quite a lot of occasions the cameraman focuses on her midriff. It is sad to see the actress in a role like this after a fairly decent part in Shakun Batra’s Gehrayiyaan.

None of the supporting actors register a strong impact. Ronit Roy is suitably dapper but he is mostly reduced to giving speeches and giving serious glares. Senior actor Ali is thoroughly wasted in an inconsequential role. You wonder what made Ali do a role like this.

Final word: It is high time that the makers think of what they are making in the name of pan India cinema, because this isn’t pan India.