Movie Analysis : Detective Byomkesh Bakshy

Directed by : Dibakar Banerjee
Imdb link -> http://www.imdb.com/title/tt3447364/


Must watch for Dibakar’s brilliance, even though its not as great as his past movies. 

Spoilers ahead… 


When the news of Dibakar signing a 3 film-deal with Yashraj came, I knew something special is coming up. With the backing of Yashraj (great productional values and budget) and Dibakar’s style of film-making, you expect him to do wonders. But does he live upto the expectations ?

India’s first detective ‘Byomkesh’ is a fictional creation of 1930’s, by the Bengali bestseller writer, Sharadindu Bandyopadhyay. 

The story is based in 2nd World war torn Calcutta of 1940’s when Byomkesh Bakshy (Sushant Singh Rajput) fresh out of college takes up his 1st case. Ajit  Banerjee's (Anand Tiwari) father who is a chemical engineer is missing, he seeks help from Bakshy who starts connecting the clues. To his surprise, the case turns out to be very complex. How will Bakshy come out triumph in his 1st case against a very smart criminal in this bad, bad world of murder, international politics (involving Japanese drug lords) and seduction. 

I never read any of Sharadindu works, didn’t watch the televised series in 90’s either but that didn’t hinder my viewing at all. Dibakar sets up the mood perfectly with the 1st sequence of the movie, where Chinese people are loading opium from boat when a random shadow of a guy pops up. This guy kills Chinese telling them that he wants  his Calcutta back! Woah, the mood of the movie is set!

The film demands tremendous amount of patience which shouldn’t be a new territory if you have seen Dibakar’s Shanghai. If you are expecting a fast paced thriller, then you gonna be very disappointed. Also, you need to be very attentive as there is nothing insignificant shown in any frame, everything has a reason that you understand only in latter part of movie. 

The production design by Vandana Kataria demands extra praise, how well 1940’s Calcutta is re-created that for a moment I felt like I was myself present in that era. Notice how Dibakar shows the Calcutta streets through a tram window during opening credits. 

Normally we have a special entry for a detective in such movies, but Dibakar presents Byomkesh to us very subtly through a carrom scene in which he even gets slapped. Since its his first case, the journey of Byomkesh is full of vulnerable moments as he makes mistakes including his blood-phobia though that doesn’t stop him from investigating. Notice the scene when Kanai (Meiyang Chang) asks him how he came to know his real identity, Byomkesh answers and says ‘dheere dheere seekh raha hoon’, he is slowly learning the art of being a good detective. 

There is so much detailing done in each and every frame, that you feel like saluting Dibakar.  Each new clue excites you, as you see the movie from Byomkesh point of view. But, Dibakar does falter in the last act of movie. Why would Dr Guha (Neeraj Kabi) show up as a patriot to fool Byomkesh? Even if I accept it, then why won’t he kill Byomkesh knowing how big a threat he could be in his plans.

I loved the final scene of movie, a tad dramatic but it makes you wanna see next part straightaway. Also, the act of Neeraj Kabi in the climax was super-like! Some will say he hammed, but I think small dose of it ain’t bad at all.

Music as expected is used mainly in background, and at right moments with 'Chase in Chinatown’ standing out the most. Also the background score compliments the mystery feel of film very well. Nice of them to use my fav lines i.e female part from ‘Bach ke Bashy’ track.

The humor element I felt was slightly low, usually a spy/detective movie has lots of witty dialogues, like the climax when Ajit orders servant to make tea and not clean up all the dead bodies or blood.

There are several favorite moments in movie, one is when Byomkesh like a small kid excitedly shouts ‘khoon hua hai, khoon hua hai’ or the one where he and Ajit are being followed by a person, they enter inside a theatre place, get good make-over and change of clothes and come out following that person with Byomkesh dialogue ‘Chalo shikari ka shikaar karte hai’.

In performances, Sushant Singh Rajput nails the role perfectly, whether its his shyness while interacting with women or  smart mind that he uses at times too perfectly to his liking or how he comes up with quick ideas in tricky situations. Rajput brings alive Byomkesh character on screen, making it easy to connect and very likeable. 

Anand Tiwari is fantastic, specially his anger when Byomkesh would keep targetting his father as villain or dead. 

Swastika Mukherjee appeals with her acting skills and her beauty,  yet I was disappointed with the role written for her, specially when you think of it after end of movie. Her over dramatic scene asking  Dr. Guha ‘pyar karte ho ke nahi’ doesn’t help either. Wish she got a better debut, would love to see more of her in future Hindi movies. 

Neeraj Kabi is splendid both as smart Guha and crazy evil Yang Guang. Divya Menon is good in her small role, might have a bigger part to play in 2nd case if casting remains same. 

Detective Byomkesh Bakshy is another great movie in bag of Dibakar Banerjee, however it does fall short of his previous gems. Even though the film failed at box-office, I would love Yashraj show faith in Dibakar and continue Byomkesh franchise.

Verdict : 4/5 

Trailer : Bombay Velvet

Not always does the MOST ANTICIPATED comes with the desired result. Same is the case for trailer of Bombay Velvet. Being a huge admirer of Anurag Kashyap cinema, I had been waiting for this since the day this movie was announced. Who doesn’t want to see Anurag go main-stream and have Ranbir as main lead. But the trailer says something else, mind you just the trailer, not the film!

The dark tone Anurag movies have isn’t visible in trailer at all, which was very surprising because even if its a commercial cinema I expect Anurag to insert all the dark flavors into it (ala Dev.D probably). The trailer has been badly cut, bg is very loud at start and end making the dialogues not easy to listen, and even felt the rhythm in cuts was missing.

The story is about journey of Johnny Balraj (Ranbir Kapoor) who is a street fighter and wants to become a big shot of Bombay in the 1960’s.

Ranbir  shines in each and every frame, its bit early to say it but could be his career best performance even with that accent(though that means he has to surpass Jordan of Rockstar). Love the shot where he is practicing fighting while having cigg, and when he tells Anushka that it is just the start of becoming big shot, how far he still has to go. And the scarface tribute (maybe like GOW-Godfather car shoot scene), where Ranbir goes mad, oh how I would love if that is as long a sequence as it was in Scarface.

Retro feel is visible entirely, specially loved Anushka’s look who plays a jazz singer though I am slightly worried that maybe they revealed too much about her character unless Anurag did it intentionally.

Bombay of 1960’s looks spectacular, hopefully movie won’t be just limited to punchlines else we already have seen OUATIM.

Karan Johar could prove to be miscasted going by his shots, mainly for the dialogue delivery, he was looking very awkward while saying ‘main jo bhi karta hoon, khud ke liye karta hoon'.

Love the romantic bg that plays after 40th sec, I was hoping its Amit Trivedi but his tweet suggests that the bgs used in trailer are by Raju Singh, so have to wait for music release to know better.

Raveena Tandon(cameo), Kay Kay Menon (just one quick shot visible) and other cast aint shown in trailer.

I still fully believe in Anurag Kashyap, the ensemble cast this film has, plus Thelma as editor and Amit Trivedi as Composer.. this trailer would be the only low thing about the movie. And fingers crossed Karan might be likable in the movie. Lets just wait and watch!



Abhi toh apan Small se Large hua hai.. abhi Patiala hona baaki hai!

Movie Analysis : Badlapur

Directed by : Sriram Raghavan
Imdb link -> http://www.imdb.com/title/tt3678782/

Sriram Raghavan of ‘Ek Haseena Thi’ and ‘Johnny Gaddaar’ is back!

Spoilers ahead… 


Revenge based themes have been happening a lot in our films since some years now, like Gangs of Wasseypur, Agneepath, Ek Villain, Haider etc. But Badlapur is very different from all of them, and it has the flavor of Sriram Raghavan that was found missing in Agent Vinod.


Raghav/Raghu(Varun Dhawan) loses his wife Misha (Yami Gautam) and son in a bank robbery, they both are shot dead by Liak (Nawazuddin Siddiqui) and his partner Harman (Vinay Pathak). Liak is arrested but he hides his partner’s name. Raghu seeks revenge from Liak and wants to find his other partner at any cost even if he has to take a unusual path for it.

The tagline of movie says ‘Don’t Miss the Beginning’, which serves its purpose in a very skillfully directed long opening wide angle shot where it takes almost a minute for us to make out what is about to happen until Misha enters into the frame, or if you are watching very closely when 2 guys on bike enter and pull the shutter of a bank down.

If you belong to the category who prefers to see complete romantic story before the tragedy appears then Sriram will disappoint you, as he doesn’t believe in these cliches.  Raghu-Misha story gets least possible screen time, that too in 2 mins flashbacks. Consider the scene where Raghu is having coffee rewinding to a old memory and suddenly comes back to reality, makes a phone call, and enters song ‘Aaj mera jee karda’, its like Sriram keeps the key of romantic moments hidden with him and uses very rarely in narration, pretty much similar to how Raghu keeps his memories locked in a room shown earlier in the movie.

And what this does is that we end up watching almost 90% of Varun Dhawan in a not seen before role, most of it in that bearded look. Something I feared won’t happen before going for the movie, and how happy I was.

There are various dark humor elements inserted in very unexpected situations, like Liak’s conversations with fellow jail people or his hilarious attempts to run away from jail,  or Liak telling the guy who follows him everywhere that they should can go to Pune on sharing to save money, or wife of Harman so willing to sleep with Raghu to save her husband that she tells him ‘bedroom upar hai’.

Another high point is the various sub-plots that have their own significance while the Raghu-Liak tussle goes throughout the movie. Be it Liak-Jhimli (Huma Qureshi, playing a prostitute role) relationship where they share light moments in form of Liak’s ‘gandi baat kar na’ or post 15 yrs gap scenes where they miss the old times. Liak’s relation with his caring mother results in a very well done scene where his mother’s constant blabbering against his father makes him question her if she even remembers anything good about his father, and the decision he takes following that conversation turns the film around. Also the role of Shobha (Divya Dutta) in lives of Liak and Raghu, who is willing to find whereabouts of Raghu so that she could help Liak who suffers from cancer, a punishment for his deeds even before Raghu takes revenge. And Inspector Govind Mishra (Kumud Mishra) who wants to retire by solving the robbery case, and how he ends up seeking retirement fund with the robbery money.

Sriram’s movies always have references to old hindi movies, and he has a knack of doing it very stylishly, same is the case here when Raghu tells a landlord he wants house for 20 yrs and its cut to Sholay’s gabbar dialogue scene on Liak. Or the use of ‘Ek ajnabee haseena se’ song, and the brilliant bg piece used when Liak comes out of jail (was it RD Burman?).

Pooja Ladha Surti has done a commendable work in editing department, she cuts scenes before the action in them has even ended, and it works because there’s no need for us to see further, plus it provides a great pace to narration. Also love how she cuts the cafe scene.

Dialogue writing is good, but the standout one is when Liak comes looking for Jhimli after 15 yrs and gets sarcastic reply from a new prostitute (whose name is Imli), ‘Yeh maratha mandir nahi hai’,  damn hilarious!  The background score is top notch, but special mention to the sound mixing as I loved how they used the passing of train sound from Raghu’s home in different ways into narrative specially the one before Jeena song. Also,  the mixture of heavy rain sound and a religious song (don’t know lyrics) to return Raghu’s character builds that revenge emotion very well. Another religious bg is very well used in latter part of 2nd half too.

Every song by Sachin-Jigar is a gem in this film, and all are used in short background pieces only. 'Jeena Jeena', my least liked song from album is brilliantly used in a very emotional manner, probably the only scene where Sriram lets Raghu go deep into his memories as he dances with imaginary Misha, almost brings tears to eyes. 'Judaai' kinda of disappointed me, should had got more out of it. ‘Badla' is aptly used, specially those beats when we see word ‘Revenge’ written. 'Jee Karda' starts at very wrong note, making a sharp unpleasant sound but is cut brilliantly with no lip synch which I hated in its promotional video.

The promotional video is however used in the end-credits which is a shame as it reduces the impact of a very powerful and different ending dialogue scene.


There comes a point in the movie when Raghu indulges in a violent act which isn’t less evil if not more than what Liak did to his family (Remember Prisoners, something similar happens in it too). Its not a easy choice to make in the end, on whose side you wanna be, because both Liak and Raghu are grey characters, they are good as well as bad. Infact if you consider the timeline of film, Liak’s graph goes from bad to good and vice-versa for Raghu. As the years pass by to death of Misha, Raghu becomes heartless to the core, and in a superbly cut ‘date' scene with Shobha, you feel scared for her as it might be her turn to die, that reflects as to what extent Raghu’s character has changed by then.

Another great aspect of the movie is great use of violence and sex. Two scenes specially standout, one is Raghu meeting Jhimli to find out Liak’s partner, and other is the brutal violent hammer scene of Raghu which comes as such a surprise that it shakes you off your seat (Even after knowing from trailer, that a certain hammer scene will come at some point).

Kudos to casting director for such a great ensemble cast.

Varun Dhawan shines wonderfully in this new attempt, going away from those larger than life comic roles. His dialogue delivery does falter at some places in film, but if you see the larger picture, he succeeds very well in portraying his revenge and mad lover part. His imitation of Liak when he re-meets him after span of 15 yrs was too good, and when he plays around Harman (Vinay Pathak) and his wife Kanchan (Radhika Apte) at their home in one of movie’s most insane sequence. Also, he excels in the emotional hospital sequence. Special mention to that smile he gives after telling Liak that Harman won’t come.

Nawazuddin Siddiqui is the real star of the movie when it comes to acting, completely flawless (as if its a surprise). Be it his numerous funny scenes, or his equation with his mother and Jhimli, specially love his 1st escape attempt scene, his reply to a fellow guy in jail ‘Bangkok mein bahut mazza aaya’ and his final dialogue to Raghu.

Huma Qureshi is very good in her supporting role, her chemistry with Nawaz has always been terrific. And how good her dialogue to Raghu is at end of movie.

Vinay Pathak has been one of my most fav actors, good to see him back and expectedly he does well, only disappointment was that it was a very small role. Watch his expressions when Raghu enters lift and Harman for a second thinks ‘I have seen this person but where.. Oh no, its him. Its that girl husband who died in robbery.. Does he know me, how can he know me. But if he does, then I am gone’, that was a super scene and very rightly done with Jee karda bg.

Don’t really remember Radhika Apte in a movie before, but here she does make her presence felt in a loving wife ready to go to any extent to save her husband. Her scene to watch out is, when she tries to convince Harman that Raghu didn’t even touch her but Harman cries and gives a non approval look, the irony of the scene is that just moments before Kanchan was pleading Raghu to forgive her husband because she trusts him that he didn’t kill Misha and his son.

Finally after Rockstar, Kumud Mishra gives a performance to applaud (he was good in Filmistaan too though). Watch out his superb desperation scene with Liak, when he literally pleads him to say ‘bol tune khoon nahi kiya hai’.

Yami Gautam, Divya Dutta, Murli Sharma, Pratima Kazmi, Ashwini Kalsekar and Zakir Hussain chip in with good cameos.


Badlapur is the first of brilliant dark thriller to come out this year and most likely will top the list by the end. Its unpredictable, brutal and insane at times. Not for usual masala audience, but for rest this film should work. Sridhar may not have outdone his previous works of ‘Ek Haseena Thi’ and ‘Johnny Gaddar’, but personally Badlapur might be my fav film of Sridhar till his next movie atleast.


Verdict : 4.5/5

Movie Analysis : The Theory of Everything

Directed by : James Marsh
Imdb link -> http://www.imdb.com/title/tt2980516/

A biopic of a famous physicist that unfortunately prefers to show his love life rather than achievements. 

Spoilers ahead … 


Stephen Hawking (Eddie Redmayne), a student of cosmology at Cambridge in 1960’s, falls in love with a art student Jane Wilde (Felicity Jones). But soon its learnt that Stephen is suffering from symptoms of ALS and would not live for more than 2 years. Yet Jane agrees to marry him and thereby go through lots of years of pain and longing for a lover.

When a film is based on a real famous physicist Stephen Hawking, and with a title ‘The Theory of Everything’, what you expect is a very good biopic on his achievements in life with a sub-plot that showcases his love life. But instead this film ends up focussing completely on his two marriages and its struggle and that too in a very disappointing manner.

There’s one scene where Stephen’s roomie recalls him about a particular college work that was supposed to be done, and we see him quickly attempt to do it as he was more of a carefree guy then, cut to scene where he stuns every student including professor with the accurate answers he did. We aren’t told how he got this genius mind, instead we just get to see glimpses of how good he is, whenever director feels like taking a break from Stephen-Jane disaster marriage, like that blackhole speech he gives later on.

What’s disappointing is that the science aspect from Stephen’s POV is so far and few in the movie. Even if for a second you forget his achievements, and see the movie from the angle of the tragedy his life was while with Jane, its almost impossible to have any feelings for her. Because in all her scenes before marriage with Stephen, I never saw that love feel from her side for Stephen. And then all of sudden to see her ready to sacrifice her life for 2 yrs by marrying Stephen because she loved him, had no impact whatsoever. I could feel sorry for Stephen’s  declining health year by year, but watching Jane feel probably guilty (over her decision to marry him) or that longing to go away from this tired life that starts and ends at taking good care of Stephen, it didn’t make me feel bad for her. The new love angle only worsened her plot for me.

It would had been ideal if director James tried to show more love from Jane in early part of Stephen’s life when she met him, he rushed too soon to the denial phase. Now I felt that she hardly loved Stephen or tried coping with his health, and gave up too easily. The likable part of Felicity Jones performance was when she tries to take care of Stephen during 1st year of marriage, and the scene where she comes to a realization that no matter how much she tries, the marriage won’t work now.

What keeps me going in this movie is only Eddie Redmayne’s performance, the head tilt mannerisms were perfect, and so was that leg movement, or the smile. I hardly know real Stephen Hawking, but can bet that Eddie brought the character on screen completely with his performance. He makes the scenes where his organs gradually stop working look very uncomfortable to watch, reference to that scene where on his own he goes to college without anyone’s help or climbing stairs of home. Won’t be a surprise if he wins a oscar award.


The movie may work for you if you see it more like a dramedy rather than a biopic, but for me The Theory of Everything would had worked only if it was more a biopic of a physicist with details of his findings and success.



Verdict : 2.5/5 

Movie Analysis : Dolly ki Doli

Directed by : Abhishek Dogra
Imdb link -> http://www.imdb.com/title/tt4332114/

Sonam and Rajkumar makes this average movie watchable.. 

Spoilers ahead… 


Story revolves around Dolly (Sonam  Kapoor) who believes in fake marriages, and running away with belongings of groom and their family on the 1st night of marriage, and therefore named as Looteri Dulhan. She is accompanied in it by her team that includes a acting brother Raju (Mohammed Zeeshan Ayyub) who actually loves her. But Dolly has a past story too behind this profession.

First time director Abhishek Dogra hits the right note with the start of movie, with Dolly’s victim Sonu (Rajkumar Rao), a haryanvi guy wanting to have romantic time with her, only getting denied as Dolly believes in marriage first. Even the hunt to get the next bakra Manjot (Varun Sharma) is well done.

Where the film actually misses out badly is, not trying to explore more out of Dolly-Raju subplot which was almost untouched. Infact it was surprising to see Raju first express his feelings, then betray Dolly in jail, and then return to team up with her again. Another plot that film didn’t work out was Sonu’s return to life of Dolly when she marries Varun. Inspite of all what Dolly did to him, Sonu still had love for her and wanted her back, but again we hardly see much story in that regards.

Instead we get the monotonous, another bakra and this time getting caught scenario that has Saif in a special appearance. The climax was a let down too, the message of ‘this is what I love and is good at, even though knowing it is bad’ was kinda of ridiculous.

The title song is hilarious, a montage of uncountable guys Dolly marries and runs away from.

Sonam Kapoor gives a good performance, which is expected as these roles are tailor-made for her.

Varun Sharma still had the hangover of Fukrey. Pulkit Samrat appeared like he was made to watch Salman’s Dabangg before started shooting and he forgot he was playing a new cop character.

Rajkumar Rao was superb in his haryanvi accent, wish his character had more significance in 2nd half though. There is a surprise moment in terms of his excellent dance you see for 1st time (whose glimpse we have already seen in one of song from 'Gangs of Wasseypur II').

Special mention to the lady whose only dialogue in movie is ‘beti de di, sab kuch de diya’, too funny.

Dolly ki Doli could had been a very good film, but average scripting and casting lets the film down. Still, it has some good moments involving Sonam and Rajkumar mainly.


Verdict : 2.5/5 

Movie Analysis : Alone

Directed by : Bhushan Patel
Imdb link -> http://www.imdb.com/title/tt4271730/

Bipasha should give horror genre a break.

Spoilers ahead …. 


Two twin sisters, Sanjana and Anjana (Bipasha Basu) conjoined at birth, made a promise to each other that they will always be together and never separate. But yet Sanjana opts for separation from her, which leads to death of Anjana, and she gets terrified of the scares she gets away from home, and then when the spirit of Anjana makes her return back. The misery of Sanjana begins then, and so does for viewers.

Bhushan Patel employs almost every possible cliche our horror movies has, like going in a isolated place with no neighborhood and big haveli place surrounded by river and trees only, the slow opening of door, girl walking alone in home at night, even outside home like she is at a picnic spot, girl’s husband putting a hand on her from behind scaring her and audience and of course a big secret to be revealed at right end. All of this crap only brings humor into the plot instead of scares. And then there is a romantic plot between Sanjana and Kabir (Karan Singh Grover) that has erotic scenes but hardly good acting in it.

There are also extra characters like the maid and her bahu working at Sanjana’s house who one by one get horror feel from house and Sanjana, and of course they face consequences at climax. And Zakir Hussain gets the role of a person who tries to help Kabir get rid of spirit, good initial scenes and then a weird end scene resembling Ashutosh from Raaz. They even have a Conjuring tribute.

The major problem in script comes for me when the reason for split between Sanjana and Anjana becomes their love feel for the same guy i.e Kabir. It would had been better if the reason was something else, and then the spirit of dying sister returns as spirit to haunt both of them.  And of course without all the cliches. I still didn’t understand why spirit tried to kill or hurt Kabir in the climax, and then later rescue him out.

The only likable portion in the movie for me was that piano tune that plays at many places. Even most of the songs with exception of Awara were mediocre.


Among performances, Bipasha Basu looks glamorous and hot, but is getting terribly boring now in her non-stop horror acts, she should stay away from this genre for atleast 3 yrs now for my liking.

Karan Singh Grover doesn’t really make any impact, plus not a role I would say a actor would like to start film career with.



Alone has no scare thrills and no good performances. It only gives good locales views, and some laughs.


Verdict : 1/5 

Movie Analysis : Tevar

Directed by : Amit Sharma
Imdb link -> http://www.imdb.com/title/tt3398048/

Another avoidable masala movie… 

Spoilers ahead… 


Isn’t it a cause to worry that there are many aspiring new directors that want to begin their film-making journey with a masala movie. Not saying that its the easiest genre to make, it is one of toughest as you need to balance non-logic and style with the story that goes through comedy, drama, romance and action. But creatively if you ask me, if I was to debut as director, I would choose a project that would showcase my skills rather than the genre overpowering me.

Tevar’s story is about a kabbadi player Pintoo (Arjun Kapoor) from Mathura who accidentally meets Radhika (Sonakshi Sinha) and rescues her from a faction leader Gajendar (Manoj Bajpayee). Pintoo who leads a care-less life upto now, has a responsibility of saving Radhika from Gajendar and his men’s threat.


The film begins with a over the top scene ‘Lets slow motionize’ the entry of main lead. Followed by a kabaddi match that is melodramatic to the core. Infact in the entire movie, you would be forced to look for scenes where you can like Arjun Kapoor, he is that bad (coming from me who doesn’t fall in the category of people who hate his acting).

The interesting bits of movie are, first conversation between Gajendar and Radhika, the entire Pintoo and his sister scenes (hardly 10 mins screen time) and to some extent Pintoo and his father scenes.

I was so much interested in Pintoo-sister(played by Gunjan Malhotra) plot that I wished Gajender fell in love with her instead of Radhika, after all who wants to watch Sonakshi Sinha doing the same act. But Sonakshi does have one creative scene in movie, she doesn’t like eating matar in matar-paneer sabji, so she keeps taking matar out one by one in her plate. And best of all, this time she isn’t shown saying disgusting things as a female, like she did in Action Jackson or R.Rajkumar. For some 30-40 mins we see Pintoo struggle saving her, getting himself wounded and then finally when he manages to take Radhika to Delhi airport , she has fallen in love and doesn’t want to leave Pintoo. Someone tell script-writer, why burden us viewers with the nonsense if the girl has to have change of heart.. I felt like please someone kill her. And probably the frustration of watching Sonakshi’s stubbornness to do another masala movie was getting to my nerves too.

The main part of movie is actually Pintoo-Radhika love angle, and it doesn’t work one bit. Manoj Bajpayee does have 1-2 brilliant acting scenes, but even he won’t give you any satisfaction.

Music by Sajid-Wajid is completely forgettable. Dialogue writing is laughable, including a sequence where Gajendar decides he won’t wear trouser till he finds Radhika. Climax has been done umpteen times before, and with greater impact, here you only wait for it to end.


Tevar is a avoidable masala movie, watch at your own risk.


Verdict : 1.5/5