Director: Rohit Shetty
Star Cast: Akshay Kumar, Katrina Kaif, Ajay Devgn, Ranveer Singh
Platform: Cinema Halls
In 2011, Rohit Shetty directed Ajay Devgn in Singham followed by its effect in 2014. Four times latterly he banded with Ranveer Singh in Simmba and decided to spin India’s demoiselle bobby macrocosm. After a long delay, the macrocosm has eventually expanded with Akshay Kumar joining in as ATS chief, Sooryavanshi. The film is set against the background of the 1993 Mumbai Blast and Rohit tactfully integrates it in the present environment of terrorism.
The megacity is on the target of terror outfits and one only person can save it – there’s no plutocrat for guessing as the man is Akshay Kumar as Sooryavanshi. He’s established as a no- gibberish bobby and has a resemblant ridiculous track due to his tendency to forget names. The humor is limited but works at utmost of the attempts as it flows organically in the script. With the original 2 hours of Sooryavanshi, Rohit Shetty gets near to his attempt of making an edge of the seat suspenser, much like his debut, Zameen. The first two hours are more in the suspenser zone with some larger-than- life rudiments; still, the narrative shifts the tempo to a different space in its extended climax wherein Ajay and Ranveer make a smashing entry.
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The premise and the cases passing through the narrative are predictable, and it’s a tale of convenience, still, Rohit manages to engage and entertain for a major portions. The picturization, scale and the action sequences are evidence to the fact that similar flicks are meant to be consumed on the big screen. The first half is engaging with some interruptions in the flashback scenes; still, the pace dips a bit in the original 30 twinkles of the alternate half. But it’s quick to pick up again in thepre-climax. A 10- nanosecond lemon drill sequence, with a commentary on Hindu Muslim concinnity is the major highlight of Sooryavanshi, which is surely among the stylish moments of a Rohit Shetty film, and elevates the vibe of the film. It’s unlike anything one has seen in either Rohit Shetty or Akshay Kumar flicks.
Talking about the specialized aspects, a film like Sooryavanshi called for better discourses. The punch lines that we got to see in flicks like Singham and Simmba are missing in Sooryavanshi, which is a slight let down. The cinematography is top notch whereas the film could have been edited more as there was a compass to cut short the run- time by 10 twinkles. There are two songs – Mere Yaara and Tip Tip Barsa2.0 – in the narrative. Rohit finds the middle ground in action scenes too striking a fine balance in keeping them real and larger than life. And Akshay performs them with perfection. It’s as if he was knitter made to perform these numbers and we wish to see him do this frequently.
In terms of performances, Akshay Kumar shines as Veer Sooryavanshi. He has graduated from the space of larger-than- life cinema and off late, aces the space of literalism – Sooryavanshi marries the two worlds, bringing stylish out of the Khiladi. He’s in his rudiments and puts up a solid performance. Katrina Kaif doesn’t have important to do in the film, and unexpectedly, Tip Tip Barsa2.0 doesn’t use her dancing chops to the full eventuality. The character does bring in a major conflict in the climax, but that’s all about it. Ranveer Singh is astral as Simmba. It’s his entry in the film that changes the serious template of the film, and gets some of the stylish one-liners. He’s sure to bring the single defenses down with his extended appearance. His chemistry with Akshay brings in the laughs. And well, Rohit saves the Iron Man of his macrocosm, Singham for the homestretch, who gets an preface fellow to a superhero. Ajay Devgn is made for Singham and just his walk in the Khaki Vardhi is enough to get cheers from the followership.
All by each, Sooryavanshi has its share of excrescencies, but also has enough going in its favor to entertain the followership on the big screen. It’s a vehicle driven by Akshay Kumar, who gets support from Ajay Devgn and Ranveer Singh in the homestretch, performing in a Diwali Dhamaka. It’s unlike any Rohit Shetty film to date, rather, among his aesthetically sound managerial, which just merited a little better jotting and editing.