Aditya Chopra’s Befikre has received mixed reviews. No critic has rated it 4 star or more, the highest rating is 3.5 stars. The average rating from 18 reviews that we have received so far is 2.7 stars.
Critic reviews isn’t very important for a film like ‘Befikre’ which should do well if audience – especially the youth – enjoy the film.
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Befikre Review by Indicine
Befikre doesn’t rely heavily on a story and on twists and turns. Befikre flows very fluidly from one half to another without losing any momentum inspite of the story being almost non-existent. The lead characters are spunky even with their idiocy when it comes to taking the important decisions. This is when the title of the movie makes sense. Befikre isn’t supposed to be a morally uptight movie, it just aims to give us a story of two people in a very entertaining manner. Aditya Chopra spins the first half of Befikre craftily with almost no dull parts, but the second half lands in a Paris of predictability and clichés. But we don’t mind that too much. Why? Because the aim was never to give us a meaningful tale of love.
Befikre Review by Bollywood Hungama
The film’s screenplay (Aditya Chopra) is a coming-of-age, fast paced, entertaining and has more to it than just the kisses, dares and frivolous one-night stands. The characterisations in the film are strong and the dares form the highpoint of the enterprise. What keeps the audiences hooked to their seats is the fact that each of the dares keep on becoming more audacious and adventurous than the previous ones (even though they are a part of a song and not the extended screenplay). The film’s dialogues (Aditya Chopra, Sharat Katariya) are funny, romantic, naughty, heartfelt and poignant… all at the same time. It will surely find its resonance with the audiences (esp. the Gen-Next). Even though the French dialogues in certain portions might act as a hindrance, it remains true to the ethos of the script.
Befikre Review by Aseem Chhabra on Rediff
Of course, Befikre is a Hindi film and no surprise how it will end. There are some messy moments in the film, especially the weird unruly slapstick scene towards the end in a church. And that is when one senses that Chopra is not in full control of the plot. He knows how the film will end, but the path to that seems forced and convoluted. Still much of Befikre is loaded with a carefree spirit. It is joyful and it will make you smile.
Befikre Review by Manjusha Radhakrishnan on Gulfnews
Singh and Kapoor are confident actors and they don’t shy away from letting go. One of my favourite parts of the film is when these two try being friends after going through an acrimonious break-up. They play that phase with conviction and you can’t help but smile at their collective idiocy. While the kisses don’t add much to the narrative, it’s heartening to see a director normalise that expression of love.
Befikre Review by Nihit Bhave on The Times Of India
Befikre is a victim of the inevitability of love stories. There really can only be two outcomes, and then, the journey to those outcomes makes the movie. The plot is unoriginal, but the sparkling chemistry between the leads pulls you through most parts of the movie. Essentially, it’s like the same banner’s Mere Yaar Ki Shaadi Hai, but in reverse.
Befikre Review by Sreeju Sudhakaran on Bollywood Life
While I appreciate that Aditya Chopra wanted to make a hatke movie, I believe at some point he didn’t how to give Dharam and Shyra’s friendship a proper conclusion. So thus the movie falls into the usual trap of clichés in the second half, filled with secondary lovers who are disposable at the right, a healthy BFF and getting in touch with your ‘Indian’ values at the right moment. After a breezy first half that’s so different from the usual Hindi movies, we expected Aditya Chopra to take a path less travelled in the second half. Instead, these positions are a potpourri of ideas taken from movies like Love Aaj Kal, Jaane Tu Ya Jaane Na, and even their own brand movie, Band Baaja Baaraat. The dare portions are seemingly inspired from the the French movie, Love Me If You Dare, Ranveer stand-up acts that are inserted in the narrative are so Seinfeld. Even the climax resembles to that of Dustin Hoffman classic, The Graduate, with a dash of Housefull. The director should have kept a tight rein on the tone in the second half. If narrative has been slicker and more original, the movie would have deserved more brownie points.
Review by Shubhra Gupta on Indian Express
You can see Vaani trying for more in a few scenes, but she appears stymied for the most part. Better fleshed-out, she could have been a truly spunky here-and-now leading lady, changing her own gears on love and life. As expected, Ranveer is the life and soul of the party. He has played the brash Dilli boy before, but he games his Dharam enough for us to keep wanting more (the maximum applause is naturally his, and involves a bare body part). But that thing, oh that thing, between the two people who are looking for forever, failing at it, and finding it — the crucial elements of terrific romcoms — needs more depth. It needs more feeling.
Review by Raghav Jaitly on Zeenews
The script struggled hard to bring free the no-strings-attached chemistry of youth. Apparently, that didn’t work well. In the second half, the scenario changes when a third person comes in between the duo. Obviously, we expected some clichés but ‘Befikre’ turned out to be too damn predictable.
Review by Rohit Vats on Hindustan Times
Befikre values entertainment as much as you want those Rs 100 notes these days. Be sure of getting entertained by Ranveer Singh’s charisma and Vaani Kapoor’s French. But, don’t wish for more.
Review by Saibal Chatterjee on NDTVMovies
There is no denying that Befikre is beautifully staged and lensed. So, no matter how insubstantial the film is as an exploration of physical passion and its pitfalls, there is no reason to believe that it wouldn’t be crowd-pleasing. The film ends by exhorting the audience to “kiss free, love free, live free” while it seems to suggest that marriage is akin to jumping off a cliff into the sea. But not to worry, the message that Befikre transmits is: if love is strong enough, you will float. If it isn’t, you plunge into the unknown. The corollary: “love is life”. And that takes us right back to the motto of Yash Chopra’s romantic dramas. So, all things considered, Befikre isn’t as radical as might seem at first glance. The script gives the currently high-flying Ranveer Singh all the opportunity he needs to give full rein to the natural ham in him.
Review by Rohit Bhatnagar on Deccan Chronicle
When a film doesn’t have a plot, even good performances can’t save it from sinking. ‘Befikre’ is like any other love story and seems more like a holiday trip for the film’s team. The only good thing about it is its melodious music, good-looking actors and their fair performances. If you are expecting a unique plot then trust me, you will come out disappointed. We advise you to watch Befikre with a strap of a disprin.
Review by Shomini Sen on News18
Written by Aditya Chopra himself, the film would have still been a refreshing change on Bollywood romances had the tempo of being carefree been maintained throughout the film. But while first half is breezy and entertaining, the second half is marred majorly because of the predictability. Because as much as he’d want his characters to be befikre, they all ultimately follow Bollywood’s school of romance. And that’s what Befikre is. A typical Bollywood love story with a yawn-worthy twist in the middle.
Review by Tushar Joshi on DNA India
Issues start creeping in as the film inches towards a climax that doesn’t necessarily spring a surprise. Dharam and Shyra’s change of heart, their realisation of how they feel for each other and that fear of taking it to the next level seems rushed. What felt organic and natural in the first half feels a bit superficial in the second. The dares get repetitive and you lose interest when the scene oddly breaks into a song sequence to portray a character’s state of mind. Befikre’s climax is a risk and it partially pays off. To end the film with slapstick set against the backdrop of a wedding scene is hardly an original idea. What you miss post interval is the freshness and candid honesty of Dharam and Shyra who seem to be muffled under the heavy weight of filmy expectations. Befikre proves that Aditya Chopra is a master storyteller when it comes to love stories. Watch it for Ranveer’s easiest and most natural performance. A true romcom the film won’t disappoint fans of the genre.
Review by Ananya Bhattacharya on India Today
Befikre is enjoyable thanks to its lead actors, with three-fourth of the credit going to Ranveer. Singh is the quintessential Dilli Da Launda, the act he probably does best. He is himself on screen; the loud, desi boy lost in a Parisian wonderland. A lot has been written about Vaani Kapoor’s chin. And that stands out like a sore thumb in every scene that Vaani is seen in. One gets a Katrina Kaif-throwback in her manner of talking in Befikre, something that was not there in Shuddh Desi Romance. The film is hinged on the performance of its lead cast and while Ranveer is spectacular, Vaani doesn’t disappoint. Although it will take a conscious effort to keep your eyes from going to her chin.
Review by Kunal Guha on Mumbai Mirror
For an Aditya Chopra film, this one is disappointing. The director, credited for epic romances, seems to be too consumed by his exploration of contemporary relationships, to be bothered to construct a story worth telling. The outcome of his befikre-ness: detailed sequences that represent various phases of a relationship, which when stitched together, don’t add up.
Review by Vishal Verma on Glamsham
The second half is a complete surrender to the known cliches; a throwback of Chopra’s BAND BAJA BARAAT, DDLJ and SALAM NAMASTE becomes so evident. No matter how much Dharam and Shreya kiss and try to tell us its different but Aditya Chopra in BEFIKRE is just plain routine in second half that goes on and on and on with a surreal scene in the church just before the end that almost killed the film. The mushy end however saves it. Ranveer Singh’s infectious energy throughout and amazing spontaneity makes you sit through. Vani Kapoor turns as Ranveer’s perfect muse on screen. Their last dance in one word is ‘sexy’. Beautifully shot and it’s no longer news that mostly films from YRF and Dharma are glossy in the feel targeting the multiplex audience with good looking actors and locations. So if the plot goes wrong, the locations, actors, their costume can get you hooked. This time the kisses are also in equal proportion.
Review by Meeta on Wogma
That the storyteller in him had to adopt a non-linear style of narration gives away the fact that he wasn’t too sure about holding the viewers’ attention with the story as is. And of course, it seems like no one can help self-referencing these days. That aside, none of the supposedly “aawwww” moments reach out. None of the supposedly “crazy” moments feel crazy enough or real. There are only so many times that we can believe a person getting away with offending the authorities in France (or anywhere for that matter). There are only so many times we can see the whole world revolve around the lead pair – which is no more restricted to background dancers in songs.
Review by Jaidev Hemmady on Movietalkies
As for the film, Befikre is quite fun and frolicky, with gorgeous locations, snazzy dance numbers, good songs and a youthful boisterousness. However, having said that, the film also lacks depth and despite being a fun fare, tends to come across as quite frivolous. Dharam and Shyra seem hell-bent on complicating their own lives in the absence of any significant issues. Chopra also slyly inserts DDLJ references in a few scenes (there is also a mother-daughter sequence, which will remind you of the scene from DDLJ featuring Farida Jalal and Kajol).
Review by Mayank Shekhar on Mid-Day India
The movie flits back and forth in time, chapterised almost like a Woody Allen flick. Can there be a Woody Allen, mainstream Bollywood hit-pic? No. Maybe, I’m just perfunctorily referring to actors walking around cobbled streets in Europe. They’re completely nuts in their own ways. Love is a cynical idea. And there’s a minimalist background score, with lots of conversations in the fore.
Befikre Review by Indiaglitz
‘Befikre’ fails to rise above Aditya’s finest film ‘Dilwale Dulhaniya Le Jayenge’. Aditya gives us something which his assistants and outside directors have been making for his banner. Vaani Kapoor’s looks go apt with her character but at the same time one cannot fail to notice her face structure which lacks the cuteness factor which she used to once have. ‘Befikre’ is all body and no soul type of film, which looks cool and has decent fun but nothing that important to be cherished forever on the lines of ‘DDLJ’ or ‘Mohabbatein’.
Review by Manisha Lakhe on Nowrunning
Thankfully you know the film is going to end soon. It doesn’t. Not before it gives you a horrible homily about how love is like bungee jumping. You don’t want to know. You are suddenly missing the scene where bua from DDLJ is buying herself a shaadi saree and Shah Rukh is telling her which one to pick… Befikre is hornier than DDLJ could ever be, and that’s fine, but it needed a little bit more soul.
Review by Lokesh Dharmani on Masala
What’s interesting is that Ranveer’s libido was in a severe competition with his hamming!! And thankfully both worked consistently, because nothing else in the film was! And then there was Vani Kapoor, the only reason I could sit through the film. She is electric, super confident and so comfortable in front of the camera. She held me by my collar and demanded attention and I simply obliged. And this is when she shares screen with Ranveer who has such a strong screen presence himself!
Review by IANS on Sify
The first half of the film has its moments of exaltation, but the second half, though racy, gets predictable and drags in parts. The chaotic climax that takes place at the wedding altar accompanied with a loud screechy background score, does not add any chutzpah to the narrative. The songs are beautifully choreographed, but they punctuate the narrative rather oddly. Visually the film is all gloss and Cinematographer Kaname Onoyama’s frames are good. In fact his aerial-sweeping shots are rather impressive. If only Aditya Chopra was not bogged down with the business of filmmaking and instead made a romantic film in a carefree manner from the bottom of his heart, his latest missive would have been a different tale to tell.
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