Hate Story Review
Bollywood Hungama | Taran Adarsh
Director Vivek Agnihotri has filmed HATE STORY most stylishly. In fact, his approach to the narrative flabbergasts you and at times also renders you speechless, but a cohesive script would've worked wonders. The reason that compels Paoli to seek vengeance is completely justified, but the wars fought in the board rooms and the corporate jargon at places doesn't leave the desired impact. The twist in the tale in the final sequence, though shocking, seems unwarranted. A better thought culmination would've only been more impactful.
Glamsham | Martin D'Souza
Gulshan Devaiah who was first seen in THAT GIRL IN YELLOW BOOTS throws in another spectacular performance. He has an equal amount of screen time with Paoli. Nikhil is relegated to the background but there is no awkwardness in his performance. He is comfortable playing second fiddle to a female lead.
Rediff | Raja Sen
Exploitation films are those which tease audiences into the theatres making softcore promises about nudity and risque behaviour, films that bank on the lure of the lewd even if the film's content turns out to be tamer than expected, and even, sometimes, almost entirely unrelated to what the film advertises on the posters. Like selling a car using a girl in a low-cut top.
Movietalkies | Movietalkies
Paoli Dam, who plays the female lead Kavya, is not only an ineffective actor but also falls short of the whole 'femme fatale' image and it is hard to imagine why every man in the movie lusts for her to the point of losing his power of independent thinking. One does not understand why it is necessary for Kavya to speak every line in a husky come hither whisper even when the situation does not demand it.
Nikhil Dwivedi, who plays Vicky, seems to have nothing better to do than wag his tail faithfully (figuratively speaking, of course) whenever Kavya snaps her fingers. Last but not the least; it is a pity to see a fine actor like Gulshan Devaiyah in the movie. Though an antagonist, Gulshan's Siddharth is not menacing at all and on the contrary, comes across as a 'poor little rich boy', who suddenly transforms from a stammering scion into a snarling bad guy without any conviction. Mohan Kapoor as a corrupt politician too seems wasted.
DNA India | Blessy Chettiar
If you walk into Hate Story in the hope of catching clothes shedding, bodies rubbing, silhouettes forming, sweat dripping, you won’t be disappointed. Intimate scenes are aplenty and aesthetically shot. At least they don’t make you wriggle in your seats.
On the other hand, Gulshan’s character is suave and well-spoken for the world, but stammers nervously around his father. The underlying conflict is unexposed yet crystal clear.
Koimoi | Mrigank Dhaniwala
Vikram Bhatt’s story is ordinary and predictable. However, Bhatt’s screenplay works in parts because of the mind games between the two opponents, Kavvya and Siddharth. The screenplay also creates ample scope for explicit scenes (many of which have remained uncensored, in spite of a few obvious cuts). The second half is much more arresting than the first half, which has several scenes that are unintentionally funny.
Paoli Dam is good in some scenes and not so good in others. Gulshan Devaiah gives a confident performance as Siddharth. His change of personality when he is in front of his father is impressive. Nikhil Dwivedi gives a restrained performance in a short role.
Vivek Agnihotri’s direction leaves a lot to be desired as his narrative works only in the second half. Besides, he is not able to make the drama convincing enough. The film also, unfortunately, lacks any highlight scenes, apart from the explicit ones, which will appeal to a section of the audience.
Zeenews | Zeenews Bureau
Even though revenge sagas are not new to Hindi cinema, the premise still held some promise. But sadly due to a weak and prolonging script, the viewers are left bored. For those who are eager to know about whether there are bold scenes or not, well, most scenes are just merely suggestive. There is lot panting, sighing, huffing which just plain suggests lot of action between the sheets but that’s all.
Bengali actress Paoli Dam may titillate you with her bare back in the posters but will leave you unimpressed with a performance which lacks any kind of spark. Nikhil Dwivedi, who plays Paoli friend in the movie, just remains in the background. The baddie of the film, Gulshan Devaiah is perhaps the only actor in the film who gives a convincing performance.
NDTVMovies | NDTVMovies
Paoli doesn't give a damn if her bare back or flesh flash across the screen. She displays a healthy attitude of disdain for the camera, letting it swoop down on her vulture style, never allowing her vengeful character's erotic journey to get sleazy, cheesy or lurid. The camera violates her character's privacy with her consent.
Vikram Bhatt's screenplay is Sidney Sheldon territory. It doesn't shy away from showing the heroine in an unflattering light. This is new-age cinema with no room for conventional narrative devices or apologies for what the protagonist sets out to do.
Dailybhaskar | Dailybhaskar
The story is all about the chase game driven by hate. While the protagonist uses sex, and antagonist power and money, as weapons. The initial part of the film is gripping and forces one to expect thrill, but soon it turns into a failed expectation.
Vivek Agnihotri has been successful in creating the thrill element for the audience, but a predictable storyline makes his efforts tasteless. Director’s vision and making his star cast perform, fails only owing to the routine revenge formula. However, few scenes which showcase different shades of human behaviour are been brilliantly done.
The Times Of India | Srijana Mitra Das
But there are pluses too - Devaiya stands out as a stammering little egomaniac and the electricity between him and Dam crackles. There are memorable shots - Dam staring with agonised eyes at Sid's office while having car-sex with a stranger outside, a moment of acute tension when she meets Raj's wife in court. One more encounter follows - but let's leave something to the imagination. Appreciate, if you will, the thriller, not the diet-erotica - that's rather an anti-climax.
Wogma | Meetu
In the entire film, there are only two things that are just about okay. One is Gulshan Devaiya's stammer and the other is the attempt at making the story a business-mind game. But these are barely things that I can call that 'work' or 'are going for the film'. They just happen to be there for me to be able to say at least a few things nice about the film. Okay fine, Nikhil Dwivedi broods just about right.
Mid-Day India | Shaheen Parkar
Paoli, who makes her Bollywood debut, looks like a mix of B-Town’s Bong brigade that includes Tanushree Dutta and Koena Mitra. She appears to be extremely comfortable in front of the camera whether with her clothes or without them.
There’s also Nikhil Dwivedi as her buddy who has precious little to do except watch from the sidelines what she’s up to or prune plants.
Agnihotri (whose earlier flicks include Chocolate and Goal) tries to bring alive the tale but is hampered by the script despite the good production values making it for just an okay watch.
Nowrunning | Mansha Rastogi
A revenge saga, if dealt properly, can at least make for an interesting one time watch. However, Vivek Agnihotri falters at the basic premise of it. The entire 'normal girl turning into a prostitute to seek revenge' doesn't quite gel well with the storyline as in the process she is seen sleeping around with only two men to work her way up the ladder. A task for which she needn't necessarily had to hire a prostitute to learn the tricks of fake
Bollyspice | Kartik Iyer
Sadly, due to a weak script, the film has turned out to be an ordinary vengeance story. Whilst the PR agency of the movie would have wanted to have this one tagged as an erotica of 2012, all Hate Story has in store as a part of its sex quotient is a lot of moaning, groaning, grunting, puffing and sighing. Having said that, I would want to give due credit to Vivek Agnihotri, who except for a couple of intervals has managed to keep the pace well throughout the movie, which is crucial for any thriller flick. Amar Mohile’s background score is commendable and the song ‘Dil kaanch sa todeyaan’ does stay lingering into the viewer’s mind when they leave the cinema hall. Harshit Saxena’s music composition and Kumaar’s lyrics are decent. Attar Singh Saini’s cinematography is good, while editing is Satyajeet Gazmer is crisp.