Meri Pyaari Bindu has received better reviews than the other release Sarkar 3 – although the ratings aren’t good enough to make a big difference at the box office.
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Meri Pyaari Bindu Review by Bollywood Hungama
After having worked as an Assistant Director in highly acclaimed films like THE NAMESAKE, WATER and VANITY FAIR, Akshay Roy makes his debut with MERI PYAARI BINDU. While his direction is strictly okay, it’s the lack of a taut screenplay which majorly hampers his direction. Despite all the glitches in the film, Akshay Roy manages to sail his way through the film. The film’s first half is interesting, breezy and sunny, which will have everyone take an instant liking to it. The tempo of the first half is fast paced and in sync with today’s times, making one will feel connected with the proceedings. It’s the second half however that crashes the film like a pack of cards.
Review by Rajeev Masand on News18
Quite interestingly, director Akshay Roy has kept in mind, even the minutest details, to make sure this breezy romantic tale turns out differently from the rest. The bantam detailing– whether its recreating the old school charm or maintaining today’s connect – throughout add an unexplainable weight to the narration and ends up building a parallel universe of sorts. Special word for the way this film has been shot and the way dialogues have been weaved. Like there’s a scene shot at Marine Drive, where the two discuss their equation and Bindu calls Abhi her “chhat waala kamra (terrace room) wherein she can find solace at any point in her life. Another scene towards the end beautifully connects a cassette to one’s life.
Review by Shubhra Gupta on Indian Express
For a rom com (as one character in the film points out so presciently, how different can love stories be) to stand out from the ones that have been done before, setting, situations and characters have be new. Or new-ish. Ayushmann Khurrana, as the steadfast Bubla (lovely touch, that pet name), fares a little better because he is given more to play with. Parineeti Chopra is written minus requisite depth, and stays on the surface. Yes, she is bubbly, and cute, and all the descriptors given above, but that’s not enough.
Review by Dipanjan Sinha on Hindustan Times
The director, nonetheless, must be applauded for bringing the 80s Kolkata and current-day Mumbai on to the screen with the minutest of details. From the signature Goddess Durga idol overshadowing people to the property brokers of Mumbai advising a single girl that landlords prefer to rent out flats to a married woman.
Review by Nihit Bhave on The Times Of India
It’s a delight to watch Parineeti Chopra, especially because she has a lot more to do. Her character has quirks and flaws and lows and highs and she’s more realistic. In comparison, Ayushmann’s one-note character seems to exist only to deal with the consequences of Bindu’s actions. But Khurrana manages to be charming in spite of that.
Review by Ananya Bhattacharya on India Today
Akshay Roy’s hero Ayushmann shoulders Abhimanyu with an ease that even a Bengali-speaking actor might not have been able to. Parineeti is vivacious as ever. She shines in her role as Bindu. These two young actors are the fulcrum of a well-oiled machine that doesn’t leave you unsatisfied. Or ill-satisfied. Sachin-Jigar’s music adds to the overall charm of Meri Pyaari Bindu.
Review by Saibal Chatterjee on NDTVMovies
Meri Pyaari Bindu is a whimsical look at youthful ambition and the urge for freedom. The lead characters nurture opposing approaches to life and yet they get along like a house on fire. The boy has an overly protective mother (Aparajita Auddy) who does not leave him alone for a second; the girl has an alcoholic armyman-father (Prakash Belawadi) whose irresponsible ways has tragic consequences. But they aren’t moaners. They take the smooth with the rough without losing their cool.
Review by Sukanya Verma on Rediff
In the absence of nuance, all the gadgetry and dialogues overdosing on pop culture references beginning with the film’s title, are akin to the umpteen frames and furniture littering its two main characters’ rooms. While it doesn’t say much about their sloppy personalities, it sure reflects the messy state of Akshay Roy’s directorial debut written by Suprotim Sengupta.
Review by Manisha Lakhe on Nowrunning
One request to Yash Raj. Please step out of the studios and see how young people dance or behave when happy. They certainly don’t go to gigantic studio spaces fitted with empty tram cars and jump simultaneously in the air. The song is so pointless and out of touch with reality… But yes, Parineeti Chopra has a wonderful singing voice, and even though her songs are lost in the inanity of Ayushman’s droning of his story, she deserves half a star for her talent. I wish she has better luck with the script next time! This one was mostly ‘acting’ bindaas or dumb but pretty girl.
Review by Rohit Bhatnagar on Deccan Chronicle
Ayushmann is natural in the film but the problem is he is the same in every film. Also, the light hearted scripts given to him could be blamed. He might change his game with Sriram Raghavan’s upcoming thriller. Parineeti Chopra herself is repetitive as the bubbly girl but that doesn’t take anything away from her convincing portrayal. One scene in particular, where she breaks down in the hospital, will leave you in tears. Another one where she converses with her father is moving as well. Rest of the cast is hilarious and apt in their respective roles but there is hardly much to do, Ayushmann and Parineeti being central characters.
Review by Harshada Rege on DNA India
Parineeti’s character is fun, but fickle. She gets a lot more to play with. The movie suffers because the plot is too thin and at times it seems to lose it’s way. Director Akshay Roy tries to attempt a rom-com that isn’t run-of-the-mill, but the pace of the movie is a letdown. He has successfully created the Kolkata of the 80s, but fails to draw you completely in this world.
Review by Shaheen Parkar on Mid-Day India
As Bindu, Parineeti’s main task is to look good and fulfill her singing aspirations. She is back on the scene after a three-year gap. Her last outings, Daawat-e-Ishq and Kill Dill in 2014, proved to be damp squibs. Her styling, however, looks extremely 2017 even when she travels back in time. The attention given to her look, is more than on the narrative. In one of the scenes while walking along Marine Drive, Ayushmann (he’s done his best) chomps on a badly burnt bhutta. It was overdone, just like the romcom which is far from engaging with too many layers. The parents are reduced to mere caricatures while the flavours of Kolkata are infused to explain the love of a Bengali guy for a South Indian girl.
Review by Kunal Guha on Mumbai Mirror
Director Akshay Roy fleshes out this one-sided love story sensitively but barely engages the audience in the experiences had by the lead cast. It is, perhaps, for investing less in establishing the characters and hoping to glide through their traits by spelling them out, that it comes across as lazy and ineffective
Review by Vishal Verma on Glamsham
Being an YRF movie, the technicalities and art work is fantastic. The essence of Kolkatta is felt thanks to the ‘jeebone ki pabo na’ number and special mentioned to those evergreen classics remembered in the film that gives a smiling deja vu. Music by Sachin Jigar on the other hand is hummable while watching the film. The chemistry between Ayushmann Khurrana and Parineeti Chopra is on and off and the writer is to be blamed for this and it’s a serious drawback.
Meri Pyaari Bindu Review by Indiaglitz
‘Meri Pyaari Bindu’ is a sweet and sour type of film, which has many sweet moments indulged in it and at the same time thanks to the weak screenplay the movie ends up with mild sour type of feeling.
Review by Subhash K Jha on Bollyspice
Khurrana as the hangdog loverboy is the saving grace of this dreadfully vapid non-romance about an annoyingly self centered chick who needs to exercise some self-discipline (unless she thinks Kangana Ranaut in Queen is a role-model) and a guy who needs to get himself a life. The film goes through several decades of fads and fashion changes until it comes to a screeching halt with a finale that is as pointless as the prattle and preening that goes on for the most tiresome two hours of your life.
Review by Meeta on Wogma
Meri Pyaari Bindu is that rom-com that doesn’t offer much new, but it still engages, entertains and makes you sob for you remembered that one heartbreak that took your faith in relationships away from you.
Review by Jaidev Hemmady on Movietalkies
The plot seems to be a combination of Ae Dil Hai Mushkil and the upcoming Half Girlfriend… which means, it has nothing new to offer and the sight of Abhimanyu mooning over Bindu throughout the duration of the film, may not appeal to the audience. This is not to say that the film doesn’t have its moments. The Kolkata vibe has been captured impressively by the director and some of the scenes are quite touching (like the one where Bindu reconciles with her estranged father), but such scenes are few and far between. Meri Pyaari Bindu is a slightly entertaining fare if you walk in with zero expectations.
Best Rated Films in 2017
- Anaarkali of Aarah – 3.4 stars
- Trapped – 3.4 stars
- Jolly LLB 2 – 3.2 stars
- Poorna – 3.2 stars
- Kaabil – 3.2 stars
- Rangoon – 3.1 stars
- Badrinath Ki Dulhania – 3 stars
- Haraamkhor – 3 stars
- The Ghazi Attack – 2.9 stars
- Raees – 2.9 stars
- Noor – 2.5 stars
- Ok Jaanu – 2.5 stars
- Naam Shabana – 2.5 stars
- Phillauri – 2.4 stars
- Running Shaadi – 2.4 stars
- Maatr – 2.3 stars
- Commando 2 – 2 stars
- Irada – 2 stars
- Mona Darling – 1.9 stars
- Kung-Fu Yoga – 1.9 stars
- Laali Ki Shaadi Mein Laddoo Deewana – 1.6 stars
- Coffee With D – 1.5 stars
- Machine – 1 stars
- Aagaya Hero – 1 stars
Off topic but movie ka collection aisa hoga aane vala movie ka
Rehnuma – 160-180cr
Golmaal 4- 150cr
Secret superstar -45-50cr
Dutt biopic – 140- 160cr
Tiger Zinda HAi – 180cr (clash) 250cr solo
FLOP HAI TO FLOP HAI.
Where is your review of Meri Pyari Bindu
How did Baahubali do in China? Has it met the expectations? Has it failed to rake in big money in China? What could have led to this situation? Questions like these have been doing the rounds ever since Baahubali released in China on July 22 and rightfully so. Not many of us understand numbers and least of all those coming from a country which is completely alien to our (Telugu) films.
Soon after the release, the news arrived that Baahubali, the first South Indian film to find a foothold in China, had collected about $630k in its opening weekend. By the end of the week, the film had collected close to $900k-$1 million at the box-office in China. These numbers are nowhere close to Aamir Khan starrer PK, which went on to collect more than $19 million in China when it released in mid 2015. For that matter, for all the hype and positive buzz that Baahubali had, the box-office numbers were disappointing at best. However, numbers are often misleading and unless we dig deeper into the actual story behind these developments, we might continue to believe that the audiences in China didn’t embrace the film. The latter part isn’t true at all, going by the enthusiastic response from the number of people who ended up watching the film in the theatres.
Recently, in our feature on Baahubali’s release in China, we had mentioned that the film released in less than 2% of screens in China and the average attendance was just 12 moviegoers per screenings. Throwing more light on what had actually happened, Shobu Yarlagadda says, “On the same day when Baahubali released (July 22), we were competing with three other films. All of a sudden, the Japanese animated film “Doraemon: Nobita and the Birth of Japan 2016? too released on the same date. Initially, both these films (Baahubali and Doraemon) were supposed to release on different weekends. As a result of all these sudden developments, Baahubali couldn’t get as many screenings as we had expected initially.”
To put it in perspective, Baahubali got just 4000 shows (not screens) on the opening day of its release, whereas Aamir Khan’s PK, which went on to become a blockbuster, got more than 17,000 shows on its opening day back in May, 2015. Besides, comparing the box-office performances of Baahubali and PK, especially in China, is like comparing oranges and apples. PK didn’t turn out to be a huge success just by a stoke of luck. It was the result of a four-year process. ‘3 Idiots’ was the first Aamir Khan’s film to release in China and it went on to collect $2.2 million at the box-office in 2011. Later, Dhoom 3 made $3 million in China and by the time, Aamir Khan-Raju Hirani’s PK was ready for release in China, they were already a household name in the country.
In contrast to all this, Baahubali is the first South Indian film to venture into a completely new market and the fact that it managed to break free from the clutter and secure a release in China is in itself a big deal. Why? Because the Chinese government has imposed strict regulations on the number of foreign films that can release in China in any given year. Right now, the annual quota is just 34 foreign films in a year and out of these 90% of the films are those churned out by Hollywood. Due to all this, only 1-2 films from India can manage to get a release in China, if the producers can tie up with a local distributor.
In this context, Baahubali has a clear advantage since E Stars, which distributed the first film, will also be distributing the second part of the Baahubali series. “It’s very easy for people to say that our film hasn’t done well in China, South Korea, Japan and other countries. But you must also remember that this is just the beginning and we are among the very few people from India who have managed to get a foothold in such foreign markets,” Shobu Yarlagadda says, adding, “By the time Baahubali 2 hits the screens in China, it’ll be a different ball game altogether.”
China is still a big myth for Indian filmmakers. Whi
Why you are promoting meri pyar bindu.Rajiv masand gave it 2 star not three.
Will definitely watch it for Parineeti. The girl is super talented. Just praying that she quickly moves out of her comfort zone and take on more challenging roles.
Baadshaho- 300 – 500cr pakka
Because Ajay Devgan is coming back with a bang. Emraan Hashmi is also there which adds another big impact hoping set new records.
1st Day – 45 cr
1st weekend – 150cr
2nd weekend – 120cr
3rd weekend – 100cr
India collection – 300cr – 500cr
worldwide – 250cr
total collection – 550cr – 750cr
Verdict – All time Blockbuster