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Junooniyat Review by Saibal Chatterjee on NDTVMovies
Absolutely, all cinema has scenes and images. But not all scenes and images are not cinema. Pretty frames do not a film make. It isn’t that the pursuit of cloying sentimentality does not sometimes yield pleasantly surprising results. But don’t expect any such miracle from Junooniyat.
Junooniyat Review by Kriti Tulsiani on News18
The plot is so predictable that it’s not just the next twist that you’ll be able to guess but also the dialogues. It is riding solely on clichéd twists and turns. Even if the actors try to raise the bar with their performances, the script pulls it down. Out of the many done-to-death concepts this film has, the notable ones include family’s resistance for their daughter marrying an army officer and a big fat Punjabi wedding towards the end. There are a whole lot of cliched dialogues such as ‘Dil de rahi hu Captain, toddna mat’ to ‘Aisi koi paheli nahi jo maine suljhayi nahi’ which take you back to the to the era of melodramatic Bollywood fillms and makes the film fall flat. To the film’s credit, the picturesque Himalayan locales have been explored beautifully. Yami’s on-screen persona works well for this one.
Junooniyat Review by Namrata Thakker on Rediff
Pulkit and Yami aren’t bad actors but they need to stop working with each other for a while. And no romantic movies either, please! The Vicky Donor actress looks pretty throughout the film but, when it comes to acting, she is just about okay. So is Pulkit. The first half of the film is still tolerable, courtesy the exotic locations but the second half is just too much to handle with all the drama and sappy sequences.
Junooniyat Review by Meena Iyer on The Times Of India
In all fairness, Pulkit and Yami breathe life into their characters. We wish they were not saddled with such a lacklustre script. The only thing you take back from this film are the breath-taking visuals of the snow-capped Kashmir mountains captured in their entirety. For the rest, this one draws a huge blank.
Review by Rohit Vats on Hindustan Times
Pulkit Samrat tries, but never gets a chance to break free from the clutches of Bollywood’s stereotype of an army guy. Yami Gautam could’ve done better, but Junooniyat is more of a musical than a solid relationship drama. Confined to look good, dance well and act like typical Punjabi girls do in films, she fades. Gulshan Devaiah and the cinematography by Attar Singh Saini are the two good things going for the movie, but do little to salvage the bad script. Some melodious tunes may entice you, but that’s not enough to keep you hooked for the two-hours and odd saga.
Review by Shaheen Parkar on Mid-Day India
Writer-director Vivek Agnihotri seems to have put in a lot of efforts to come up with good production values — there are some picturesque locations and detailing of the regions where the film has been shot, including the costume department, seem bang on. But the bright and colourful phulkari dupattas of Punjab sadly cannot stop the film from being lacklustre.
Junooniyat Review by Mumbai Mirror
Yami Gautam’s Suhani is refreshing, enthusiastic and oblivious to the world around her — almost like someone in a talcum powder commercial. She pulls off the docile-yetheadstrong Punjaban to some extent and lines like “Main modern times hoon,” are mildly adorable. But in furnishing someone in love, she’s like a babe in the woods. Also, hoping to pass for a college-goer, she’s a bit overage, about a year or 10 that is. Pulkit Samrat has matured as an actor and flaunts a restrained confidence. But even he is unable to lift the low spirits of this predictable love story. It has been well established that Hate Story director Vivek Agnihotri is a master of none. To his credit, he manages to make the first half of this predictable tale bearable, if not enjoyable. But the second half drags on for eternity, making it a tiring watch.
Review by Subhash K Jha on Bollyspice
Thriving purely on corny lines and brainless situations the one bright spot in Junooniyat is Attar Singh Saini’s camerawork which captures the pristine snowpeaks of Kashmir with a care that is not evident in any other component that constitutes this excruciatingly trite and indifferent love story.
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