Sarkar 3 Review by Indicine
Sarkar 3 is a film that had no business of being made in the first place and unfortunately the jaded story and the tired characters come across from the start of the film. The pace of the film doesn’t elevate from its initial stages even though a thriller should have had much faster pacing. If you’re in the mood to spend your money on entertainment, then Baahubali 2 is still the best option this weekend.
Sarkar 3 Review by Bollywood Hungama
First things first. All those who plan to watch SARKAR 3 because of the track record of its previous two instalments, will be hugely disappointed because of the film’s majorly flawed writing (Ramkumar Singh). The film has absolutely no story plot or premise. It is just loaded with gimmicks based on the previous two films (SARKAR and SARKAR RAJ), and the makers are just trying to encash on the franschise name. The film lacks detailing in every aspect. The dialogues in the film are way too corny and one can’t help but just laugh at it after a point.
Sarkar 3 Review by Sreeju Sudhakaran on Bollywood Life
There is a major scene, where an important character gets killed mid-way, but apart from a newsbreak, there is no follow-up to this scene. Once again, RGV allows his cinematographer to go haywire, making this look like some student is attempting to impress his mentor with his camera-work. The background score is an ear-sore, with the popular Govinda Govinda theme sounding like it has been remixed by Badshah.
Sarkar 3 Review by Mayank Shekhar on Mid-Day India
You might wish to dig deeper. But between Sarkar’s long glances; dark, excessively moody, pretentious lighting in this flick that’s totally ‘indoorsy’ to the point of being claustrophobic, what you get is a wholly de-humanised view of the world, and a five-people economy, where people simply drop dead like pins, making you wonder if killing itself was so easy then what was the point of politicking in the first place.
Review by Vishal Verma on Glamsham
As and when Amitabh Bachchan comes on screen it reminds of the 2005 Subash Nagre, this deja vu is good for RGV as it still manages to give a glimmer of hope that all is not lost for RGV till yet. His comments on social media may not be taken seriously but still those who have grown up watching his cinema since SHIVA in 1989 know about his capabilities and are still waiting. The sentiments mentioned however are bad for SARKAR 3 as the movie follows the form of the original SARKAR but to diminishing effect.
Review by Meena Iyer on The Times Of India
Coming to the all-important question—is Ram Gopal Varma of Shiva, Satya, Company and the first part of Sarkar back in form? Well, you can see some flashes of the filmmaker’s intensity here. His Mahabharatha tale or palace politics as it is termed, plays out uninterruptedly. However there isn’t much intrigue because most of the twists are easy to guess. Some of the dialogue is pithy but then again, this accounts for little.
Review by Rohit Vats on Hindustan Times
Sarkar’s success relies on Amitabh Bachchan’s charisma, and he knows his character by heart. Despite over-chewed dialogues in the opening sequence, he holds our attention. The same can be said about Ronit Roy who sparkles in an emotional confrontation with Nagre.
Review by Manisha Lakhe on Nowrunning
Ronit Roy gets to play right hand man of Sarkar, and thankfully he gets to die in the crossfire when characters are double and triple crossing each other at the beat of the infernal ‘Govinda Govinda’ chant and beat that dominates the film score. When that chant showed up in Sarkar the original film, the audience loved it, because it turned the college graduate Shankar into Sarkar, In this film of all the double crosses crammed into the second half, the film collapses into one gigantic nought. Yes, Amitabh Bachchan certainly earns a star for his performance, but the half goes to whoever figures out why ‘Darling’ needed to be in the film…
Review by Shubhra Gupta on Indian Express
Bachchan shows signs of the towering actor he can be, but is captive to the way his Sarkar has been conceptualized and played: he declaims rather than speaks. And there are moments where you can see flashes of the director RGV used to be, when he pulled off films full of creative leaps, and crazy flourishes.
Review by Jaidev Hemmady on Movietalkies
The dialogues too are quite unimpressive and at many places, Nagre is seen saying his dialogues in Marathi and then repeating the same in Hindi, which comes across as absurd. The sub plots too are quite 70s with factory workers being victimized by their employers and shady builders plotting to clear slums by employing violence for their high-rises. To sum it up, if you are still a RGV fan, better stick to his earlier classics like Satya, Company and Sarkar….
Review by Samrudhi Ghosh on India Today
Amitabh Bachchan is the highlight of this film, from his cold grey irises to his baritone that lets you know he means business. Ronit Roy and Amit Sadh hold their own in front of him. Manoj Bajpayee has an extremely interesting role in the film, but just when you think his clash with Sarkar will make Sarkar 3 worth its while, he is bumped off, without any follow-up or consequences.
Review by Kunal Guha on Mumbai Mirror
A large part of the film has been shot in dark rooms, where blurry shapes indulge in heavy-duty dialoguebaazi. One that sticks, is where Sarkar shuns his grandson, asking him to never show his shakal again. That this exchange happens in one such room where we only see silhouettes, is ironical.
Review by Saibal Chatterjee on NDTVMovies
Sarkar 3 is a noir thriller that reduces politics to mere gunfights and bland verbal exchanges while the director of photography Amol Rathod goes to work with great gusto to offer us fractured frames in which nothing seems full and everything appears a tad tilted. He plumps for shadows and silhouettes and weaves geometric patterns with the way faces are aligned within the visual compositions.
Review by Sreehari Nair on Rediff
Satya ended with Varma talking directly to the audience as he scrawled out: ‘My tears for Satya are as much as they are for the people he killed.’ Here’s what is paradoxical: For sheer power, no imagery he has thought up since beats that white text on black screen. In his interviews, you felt that there burned in Ram Gopal Varma a constant yearning to be viewed as an enigma. If it helps, he has now truly become one.
Review by Rohit Bhatnagar on Deccan Chronicle
Amitabh Bachchan shot Sarkar Raaj in 2008 so naturally he has aged in the third film. He surely leads this not so thrilling film with his captivating performance but he is losing his impeccable script sense. Rohini Hattangadi and Supriya Pathak are passable in their cameos. Manoj Bajpayee is completely wasted in this political mishap of a film. Ronit Roy and Amit Sadh are good in their intense roles but Yami Gautam looks stoned throughout. She is just a pretty prop who is heart-stricken by her father’s death. The funniest of all, however, surprisingly is Jackie Shroff, who tries to ape Don (SRK) in every possible manner and makes a fool out of himself. His dialogues are unintentionally funny and his constipated face in the climax will leave you in splits! Parag Tyagi and Bharat Dhabolkar are mere pushovers in the film.
Review by Rajeev Masand on News 18
Sarkar 3 is an improvement on many of Varma’s recent films, which, quite frankly, were unwatchable to say the least. Yet it’s steeped in familiarity and an overwhelming sense of repetition and pointlessness. Did we really need another Sarkar film? Sadly, the answer is no.
Sarkar 3 Review by Indiaglitz
‘Sarkar 3’ is not a bad film but is not a great nor an exciting film. Amit Sadh is loud and jarring. Bajrangi Singh, Yami Gautam, Rohini Hattangadi, Parag Tyagi and Supriya Pathak are highly wasted. Jackie Shroff overacts. ‘Sarkar 3’ is like a squeaky roar due to bad screenplay and lethargic direction. The movie had all the potential to become big just like a mighty roar of a lion.
Review by Subhash K Jha on Bollyspice
Watch Sarkar 3 for the way Varma frames the familial feud in flames of fury. The performances are largely effective specially those by Ronit Roy and Amit Sadh. The latter comes into his own as Mr Bachchan’s uncontrollable grandson. But above all, this is one more triumphant celluloid outing for Amitabh Bachchan who invests his role of the aging tiger-neta with a kind of cosmic resonance that goes way beyond that famous baritone. Yup, they don’t make star-actors like Amitabh Bachchan any more. Ram Gopal Varma reminds us of the Bachchan charisma in ways that are deeply nostalgic and exceedingly provocative.
Review by Meeta on Wogma
This idea of mystery – to point the audience to the other direction and throw in something supposedly shocking – is the lamest way to narrate a thriller. The rest is the usual Ram Gopal Verma do. Dark rooms, loud drums, weird camera angles. In this midst, it seems out of place, but I am thankful that the purity of “jay dev jay dev” aarti (prayer) is retained. The decision is really easy. Pass this one, unless you have sworn to watch every single Amitabh Bachchan film. Yep, if you are the regular fan, you can easily give it a miss.
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