Theatrical trailers are undoubtedly the biggest responsible factor for any movie’s box office opening. It’s the sole criteria for watching a movie within its first weekend for the majority of theatre going public. Since the first weekend business holds utmost importance in recovering the huge investments, theatrical trailer of a film featuring a megastar is nothing less than an event in itself.

[mks_button size=”medium” title=”Average Rating of All ‘Phobia’ Review – 3.3 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Phobia Review by Bollywood Hungama Rating: Director Pawan Kirpalani smartly weaves a thrilling story. Every scene has a deeper meaning and relevance. The screenplay stays true to the context. Nothing is out of the place. There are several scenes which are disturbing but then there are a few scenes which end up as humorous in spite of the thrilling built up (it isn’t unintentional, it is part of the plan). Radhika Apte is sensational as the helpless Mehak who grapples with her phobia as well as her vacuous loneliness. She’s fierce, vicious, vulnerable, aggressor and a victim at the same time. The best part is that her histrionics are devoid of the pathetic horror tricks that a few of our horror experts employ on a regular basis. The physicality of Apte’s acting is emanating from a psychological space and it is very creditable. Satyadeep Mishra is terrific as the guy who’s grappling between being a friend and a lover. He’s very realistic and human. Yashaswini as the young college going inquisitive but good hearted girl is an absolute Natural. She adds to the conflict beautifully. Ankur Vikal as the weird Manu does full justice to his role. Phobia Review by Saibal Chatterjee on NDTVMovies Rating: Phobia wouldn’t be half the film it is without the mercurial Radhika Apte. Watching her on the screen as emotions flash across her visage is an unalloyed delight. For the most part, the film is hers alone, and the camera revels in capturing the character’s innermost feelings on her malleable face and expressive eyes. It is like being witness to a solo pantomime act in which a world of sensations is conveyed without a word being uttered. Phobia is a canny flick that places known genre conventions in fresh light, the kind that bestows new life on them. Watch this film for the many surprises it springs and, of course, for Radhika Apte in full flow. Phobia Review by Sreeju Sudhakaran on Bollywood Life Rating: Phobia had the potential of being one of those rare Bollywood psychological thriller’s that you can proudly recommend to your friends. A genuinely claustrophobic first half and Radhika Apte’s fantastic performance were its aces. However the limp second half only demotes its status to a decent thriller. Phobia Review by Mohar Basu on The Times Of India Rating: Watching a horror film that has no chudail, no exorcist, no graveyards and no ugly make-up is almost like a breath of fresh air. Finally some can scare people without using the quintessential paranormal props. Director Pawan Kripalani does a fine job of weaving the story of a woman who is overpowered by her phobia. The credit here truly goes to Radhika Apte. She makes you buy into her world of eerie laughter, black cats, a cut finger amidst ice cubes and the story of a dead woman who had lived in her house before and had mysteriously gone absconding. Her agony and her helplessness look palpable as she takes us through her disturbing world. Phobia Review by Namrata Thakker on Rediff Rating: The first half of the film is engaging, terrifying and exciting, all at the same time. The camera work, too, is very sharp. There are quite a few scenes which will scare the hell out of you. The one right before the interval will certainly send shivers down your spine. Kripalani explores the theme of agoraphobia very well. Kudos to him for trying a new concept. I was super impressed with the first half and expected a thrilling ride in the second half as well. However, the film stretched a bit post interval. Also, I was wanted Phobia to end on a high but that didn’t happen. The story got a bit predictable and the whole build-up to the climax just didn’t hit me hard. Having said that, Phobia is undeniably a well-made thriller worth watching only in theatres. Review by Manisha Lakhe on Nowrunning Rating: Sigh. It’s practically a horror film, so you let logic stay out of the theater. The reveal is good fun and even though you figured it out ages ago, you nod your head in agreement when people around you say, ‘End was good, haan!’ Review by Shubhra Gupta on Indian Express Rating: Kripalani, who had helmed the scary ‘Ragini MMS’, delivers a smart, intelligent spook-fest which keeps us on the edge. His leading lady knows exactly what to do : Radhika Apte doesn’t put a foot wrong as she goes about scaling it up gradually– being alarmed, scared, petrified, and outright panicked-with-blind-terror. Review by Sweta Kaushal on Hindustan Times Rating: Despite the element of horror, director Pavan Kriplani manages to keep the supernatural, religious drama at bay and opts for a psychological mayhem that makes for an impressive viewing experience. The film has all the elements of a racy thriller — surprise, fear, mystery and shock. What it doesn’t have is the background music and actors preparing you for a surprise. In Phobia, the unexpected does happen. Review by Suhani Singh on India Today Rating: In Radhika Apte, the makers couldn’t have asked for a better actress to take on the responsibility of ensuring that the audiences are hooked to Mahek’s journey and fate. There are wordless scenes in which Apte demonstrates a range of expressions – her extensive background in dance comes in handy here – to suggest the dread of the unknown. Almost without make-up, Apte surrenders herself to play the part of a woman inching closer to a colossal meltdown. Her heavy breathing, her big, wide and alert eyes, her tentative, trembling walk, all contribute in making Phobia a fright fest. Karan Gour’s background score does a commendable job of heightening the tension. The makers tie the loose ends together albeit with a few contrived events and a few question lurking. Nonetheless with Phobia Kripalani succeeds in his mission to keep the audiences engaged and also constantly thinking. Review by Martin D’Souza on Glamsham Rating: Apte, the girl makes Mehak her own. Body language, petrified eyes, emotions… she packs a punch in her delivery. The fright scenes are aplenty and genuinely scary but director Pawan Kripalani, who stitched together Ragini MMS wonderfully with back scenes, fails to recreate that seamless flow of events when he wants to take us to the past within the present. The horror (petrifying at times) is overdone. That is where PHOBIA fails and leaves a lot of questions in one’s mind. For lovers of the horror genre, however, PHOBIA will be a terrific watch. Phobia Review by Indiaglitz Rating: There are few repetitive moments in the middle of the film which could have been avoided. Also, Radhika’s visuals in the virtual tour were not justified. The second half might sound highly confusing for people who are not familiar with this genre. The masses too might find the film claustrophobia and not like such type of film which is set inside one apartment with minimal characters. On an overall basis ‘Phobia’ is full of twist and chills than the best horror film from our country ever had. It’s a skillful film with thrilling experience and will be loved by everyone who loves experimental films, as for all others who love masala entertainers, this is not your cup of tea. Review by Rohit Bhatnagar on Deccan Chronicle Rating: The film’s ‘chill factor’ rests on the shoulders of Radhika Apte, who’s expressions are flawless and tends to leave the audience wide-eyed and in awe of her performance. Her act in the climax which leads to a bloodbath shakes you to the bone. Her no make up look is just perfect and is close to the reality. Satyadeep Mishra has done a fabulous job as a friend cum admirer in the film. The pain he feels for Radhika’s character is believable. Supporting cast Nivedita Bhattacharya, Yashaswini Damaya and Ankur Vikal, have all done justice to their respective roles. Pavan Kripalani’s ‘Phobia’ is a good pick this week unless such psycho thrillers are not your cup of tea. Review by Shubha Shetty-Saha on Mid-Day India Rating: Pawan Kripalani, who’s earlier scared us with ‘Ragini MMS’, keeps the narration tight, thus making our hearts stay in our mouth throughout the 100-odd minutes of the film. The best thing about this film is that it doesn’t follow the trusted and safe route of horror films and gets pleasantly unpredictable at the end. Another huge plus point is its cast. Radhika doesn’t miss a single step as she gives an amazingly convincing performance of being someone who’s suffering from a terrible trauma, without going overboard even for a moment. Review by Harshada Rege on DNA India Rating: The first half is brilliant and will have you on the edge of your seat. Radhika Apte makes Mehak’s eccentric behaviour believable. She is in top form here. A large part of the movie has her interacting with the camera while reacting to the happenings around her with no help for any co-stars, a feat which she manages with much ease. Whether it’s her fight to throw out garbage or using multiplication tables to see her through difficult situations, she gets the rhythm of the character just right. Director Pavan Kriplani brings in an element of horror to the movie to draw in the audience and that’s what works for the film. The director throws in mentions of a childhood accident which makes you wonder if that too could be a cause of Mehak’s behaviour. Satyadeep, Yashaswani Dayama and Ankur Vikal make for a great supporting cast. Review by Kunal Guha on Mumbai Mirror Rating: Director Pawan Kripalani manages to tightly pack in the thrills, with careful consideration of timing and audio-visual technique. While he’s largely conservative and predictable in the execution of jolts, there are two which will surely catch you off-guard. It would be a spoiler to define the genre of the film as it would give away much of the plot. And the thrills you take away from the film are directly proportional to how wild your imagination is. But following this watch, and if you’re the kind to sleep with one eye open, ensure you grip your pillow tight, especially when you exit light. Review by Subhash K Jha on Bollyspice Rating: Phobia constantly veers the narration into slippery grounds, not to confuse or mislead but to imbue an aura of intangible anxiety in the viewer. Director Kripalani uses contextual terror rather than generating fear accessoried sources.For years we’ve wondered why the horror genre in Hollywood has not broken free of its amateurishness. Wonder no more. Take a trip of bonafide terror and witness the birth of a new psychological disorder. Review by Jaidev Hemmady on Movietalkies Rating: Pavan deserves a pat on his back for coming up with a spine-chilling thriller, which doesn’t need haunted mansions or creaking doors to scare you. The entire plot is set inside an apartment and though it will bring to mind other such films like Kaun and Paranormal Activity, Phobia is in a league of its own. The editing is super crisp and at no point in time will you be tempted to take a popcorn break. The thrill factor in the film is super and Pavan has done a great job of escalating the tension and making it a part of every scene. The beauty of this film is that at times, you conclude that it’s a psychological thriller and in the next scene, you are convinced that it is a horror thriller. Pavan effectively keeps you on your toes and unnerves you with the ample twists and turns. Review by Rajeev Masand on News18 Rating: I’ll hold off giving away any more about the film except to say that it rests completely on the shoulders of its leading lady, and that Radhika Apte is in top form. Alternately fragile and fierce, she chews into the part, at once embracing Mehak’s contradictions and humanizing her complexities. It’s a nicely nuanced performance and Apte makes it look urgent and spontaneous. I found myself chuckling at the end of the film, which is not usually the response one tends to have to a thriller. But Phobia is no standard thriller. Review by meeta on Wogma Rating: Of course, Phobia could have been miserable to sit through (in the wrong way) if it were not for Radhika Apte. One of the main things that get annoying for me in this genre are wide-eyed fear. Radhika Apte’s eyes work here, though. They go with the rest of her completely freaked out body language. So over-powering is her performance and screen presence that the rest of the main cast is completely over-shadowed despite good acts. The side characters are caricaturish and try to add a quirk to the film that goes against the film. Best Rated Films in 2016 Neerja – 4 stars The Jungle Book – 3.8 stars Airlift – 3.7 stars Kapoor & Sons – 3.7 stars Nil Battey Sannata – 3.7 stars Fan – 3.5 stars Dear Dad – 2.7 stars Azhar – 2.6 stars Traffic – 2.6 stars Sarbjit – 2.5 stars Laal Rang – 2.5 stars Ki & Ka – 2.5 stars Jai Gangaajal – 2.3 stars Fitoor – 2.3 stars Baaghi – 2.2 stars Rocky Handsome – 2.1 stars Buddha In A Traffic Jam – 1.9 stars One Night Stand – 1.9 stars Love Games – 1.7 stars 1920 London – 1.3 stars Santa Banta Pvt. Ltd – 1.1 stars

[mks_button size=”medium” title=”Average Rating of All ‘Waiting’ Review – 3.3 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Waiting Review by Saibal Chatterjee on NDTVMovies Rating: Waiting is elevated several notches by the two central performances. Naseeruddin Shah, effortless and characteristically effective, is an epitome of Zen master-like poise. He moves from sorrow to hope and from anger to cheerfulness with minimum visible effort, which, of course, is par for the course for the seasoned actor. Kalki Koechlin, in the garb of a far more temperamental figure, provides the ideal foil, adding immensely to the emotional depth of the tale and heightening the conflict between two unlike poles. The cameos by Rajat Kapoor, Suhasini Maniratnam, Arjun Mathur and Ratnabali Bhattacharjee are no less impactful. One supporting actor who stands out is Rajeev Ravindranathan as Girish, the simple-minded but helpful guy from the Kochi office of the female protagonist’s husband. It’s an intelligently written role and the actor does full justice to it. Kudos are also due to director Anu Menon for creating an authentic Kochi milieu with the aid of minor characters who nail the local accent without turning into caricatures. Waiting is beautiful and believable, a well-chiselled marvel that is watchable all the way. Waiting Review by Sweta Kaushal on Hindustan Times Rating: Packaged with Naseeruddin as the adorable old man struggling to understand a younger generation and Kalki as the charming young, energetic woman, Waiting is a delight. Powerful performances and a realistic approach make this a film you’d want to watch. Waiting Review by Mohar Basu on The Times Of India Rating: It is commendable that director Anu Menon has whipped up a warm tale about love, loss and surviving life’s catastrophic blows, with such simplicity. Her lead characters – Shiv and Tara – have nothing in common. Menon plays on their generation gap to offer some genuine smiles. He can’t utter the ‘F’ word. She is brash but awkwardly loving. His coping device is faith; hers is shopping. And yet, the two bond over the vital stats of their spouses. Waiting Review by Rohit Bhatnagar on Deccan Chronicle Rating: I thoroughly enjoyed the film, but there are a few special scenes that shines bright in this gloomy tale. The argument of Shiv and Tara towards the intermission is so natural and relatable. When Kalki chants “Nam Myoho Renge Kyo” (a Buddhist chant) holding Rajat’s hands just shakes you to your core. Flashes of Tara and Rajat’s intimate moments are so adorable that it gives you a peek into the life of a newly married couple. ‘Waiting’ is a refreshing subject that is engaging enough right up till its open ended climax. Director Anu Menon’s 100 minute feature presentation is rich in its luminous performances and subtle vision to a sensitive issue. Anu Menon, who made her directorial debut with Ali Zafar and Aditi Rao Hydari starrer ‘London Paris New York’, is surely back with her unconventional way of handling a subject. She has marked her came back after a 4 year break with this heart touching film. Waiting Review by Moumita bhattacharjee on Bollywood Life Rating: Unfortunately, the scenes you see in the trailer are the only highs of this film. It lacks drama or touch of sentiments. It’s a witty way of tackling grief but you will hardly feel the sorrow. The screenplay is so flat that it becomes tedious to watch after sometime. The humour also becomes repetitive after a few instances and emotions lack depth. Apart from a few scenes which are far and in between, the film struggles to hold your attention. Naseeruddin Shah’s confession to his comatose wife about him straying at one instance made no sense or Kalki’s outburst when she feels, for her friend she isn’t the topmost priority. The friend is married with a kid, what did you expect? What to do? Waiting deserves to be seen only for the stellar performances by Shah and Kalki. Rest is forgettable Review by Shubhra Gupta on Indian Express Rating: A couple of the supporting acts are solid. As the good friend who arrives to hold Kalki’s anguished hand, Ratnabali Bhattacharjee stands out, as does Rajiv Rajendranath as the sincere, helpful colleague of the injured husband. Kalki is a persuasive performer, making us watch, even if she comes off abrupt and forced in bits but that’s more to do with the way the part has been written. That’s something we can say for the plotting overall, which feels simultaneously underdeveloped and overwritten. Naseer comes off best, and that figures because he has the most life experience. He brings a quiet dignity and heart-breaking resilience to a man who has walked alongside his companion – theirs has been a marriage of companionship and abiding affection– for a long time, and who doesn’t want to let her go. Review by Manisha Lakhe on Nowrunning Rating: The two characters are so different to each other, their interaction teaches us so much about ourselves. The supporting cast – the irritatingly ‘stay positive’ girlfriend, the concerned office colleague who cares but is socially awkward, the doctor who seems very detached from his patients, the neighbor who sends food, family members who don’t understand – are all so wonderful you nod your head in the darkness of the theater when you watch them on screen. You know people who are exactly that. You understand the frustration of the lead character Kalki who says, ‘I have thousands of followers on Twitter and hundreds of friends on Facebook, but I am here alone.’ This may not earn hundreds of crores on the box office. But it charms you with its quiet elegance. Waiting Review by Indiaglitz Rating: These scenes are highlight of the first half which is engaging as well as entertaining. Sadly, in comparison to the first half, the second half drags with unwanted and repetitive scenes. The story narration slows down and has very less to offer. The open ending climax leaves you with bad taste in mouth. The usage of foul language fails to gel with the film. The bonding between Naseeruddin and Kalki loses its charm in the finale portions of the film. ‘Waiting’ is lengthy due to its slow narration, but at the same time is quite refreshing in terms of performances and the theme of the film. The movie had all the possibilities to end up as one fine cinema, but settles down to being a fair attempt. Review by Shubha Shetty Saha on Mid-Day India Rating: what doesn’t work for the film is that the story keeps itself restricted to the two lead characters and their issues. As most of us, who have been there and done that, are aware, a waiting room is where million traumatic tales and stories of hope unfold. Those stories in the periphery would have given a lot of depth to the central story. Unfortunately, Menon, the writer-director and other writers makes it too sanitised and elitist, thus depriving it of the depth that it could have achieved. Review by Jaidev Hemmady on Movietalkies Rating: Director Anu Menon has done a great job of keeping the film away from the trappings of commercialism and has focused on making a genuine and warm story, which touches your heart. The film has no item songs, no action scenes and no larger-than-life dialogues and yet it has the potential to keep you glued to your seat without provoking a glance at your wrist-watch. Though the film might bring to mind Lost In Translation, Waiting is in a league of its own for sure. Review by Martin D’Souza on Glamsham Rating: The dialogues that stitch the film together are the soul of the film apart from the very realistic portrayal of their respective characters played by Shah and Koelchin. Both are terrific, nay, they gob-smack you with their handling of emotions which oscillates from the sane to insane! Their losing sanity for a brief moment, then getting clinical, to wondering where life has got them to and their dealing with the situation leaves you wide-eyed with amazement in the manner with which they sync to the plot. Review by Kunal Guha on Mumbai Mirror Rating: Director Anu Menon has the tenacity of a Sofia Coppola to produce frames where not much happens but one is unable to look away. You’re even drawn to the micro gestures: a flicker of an eyelid as a tear drop leaves a trail down the face or even a hand sliding over another. Naseeruddin Shah, who has admitted on occasion, that if he has done films like Tridev or more recently, a Welcome Back or Teraa Surroor, the motivation comes in the form of a cheque. But here, a lot more drives his character. Naseer’s Shiv is relentless, resolute and refreshingly irreverent. But this film belongs to Kalki, who impresses by managing to wordlessly convey her character’s state of mind in every scene. Review by IANS on Zeenews Rating: Though outwardly the grim tale is swathed in somberness, miraculously Ms. Menon bathes the two main characters’ irredeemably depressing predicament in a dip of sunshine. A lot of the positivity that the film exudes has to do with the two principal performances. Kalki, with her rebellious mood swings and defiant attitude to destiny, makes the traumatized young wife’s role so vivid and vibrant, you just want to hug her and calm her down. Provided she doesn’t sock you in the crotch for stepping the line. And what better antidote to hysteria than Naseeruddin Shah? Sagacious and so gracious in his suffering he brings to his role of the bereaved husband the kind of intrinsic tranquility that only the wisest possess. There are also some very interesting peripheral characters and performances. Ratnabali Bhattacharjee as Kalki’s best friend who is caring and concerned but has her own life to live. Rajat Kapoor as a pragmatic, sometimes-ruthless doctor is excellent, though you do wonder if there are more doctors in the vast hospital. Review by Sukanya Verma on Rediff Rating: Director Anu Menon’s Waiting, a tender tale of love and letting go, recognizes this largely neglected sentiment and builds its premise around two strangers bonded by despair. Review by Harshada Rege on DNA India Rating: The second half of the movie is rather long with the narrative becoming slightly stagnant. The writing wears thin in parts here. The movie does require you to be patient, but it’s a rewarding experience. Watch this sensitive tale for Naseer and Kalki’s brilliant performances. Review by Rajeev Masand on News18 Rating: Yet Waiting feels longer than its roughly 90 minutes running time. Good thing we’re in the hands of such exceptional actors, you’re willing to stay with them even when the script stops being interesting. Naseer brings a whole lifetime of experience to his performance. He’s real, and in-the-moment, and doesn’t miss a beat. Your heart goes out to this man who’s unable to pull the plug on the companion he’s spent the best years of his life with. Kalki, meanwhile, succeeds in endearing you to Tara despite her brash nature. Aside from a few clunky bits – which has more to do with the uneven shifting between English and Hindi – she gets the part just right, and makes the character’s journey in the film entirely credible. Review by meeta on Wogma Rating: Both lead actors are wonderful though, their chemistry feels very real. They are one of the main reasons, the film took me out of ‘review’ mode and made me forget I was watching a film. That and the soft tone, the smooth texture of the film. Unfortunately, some of the other elements reminded me back into the film world. like Tara’s husband’s colleague, Girish seemed like a caricature or Tara and Shiv’s decisions didn’t seem to flow with the pace of the film. These are little things that take away from Waiting. They make a film that I loved watching while I was watching it not keeping with me for too long after. Best Rated Films in 2016 Neerja – 4 stars The Jungle Book – 3.8 stars Airlift – 3.7 stars Kapoor & Sons – 3.7 stars Nil Battey Sannata – 3.7 stars Fan – 3.5 stars Sarbjit – 3 stars Dear Dad – 2.7 stars Azhar – 2.6 stars Traffic – 2.6 stars Laal Rang – 2.5 stars Ki & Ka – 2.5 stars Jai Gangaajal – 2.3 stars Fitoor – 2.3 stars Baaghi – 2.2 stars Rocky Handsome – 2.1 stars Buddha In A Traffic Jam – 1.9 stars One Night Stand – 1.9 stars Love Games – 1.7 stars 1920 London – 1.3 stars Santa Banta Pvt. Ltd – 1.1 stars

[mks_button size=”medium” title=”Average Rating of All ‘Veerappan’ Review – 2.1 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Veerappan Review by Bollywood Hungama Rating: Ram Gopal Varma, whose last Hindi/ Bollywood film at the box-office was the forgettable SATYA 2, makes a grand comeback with VEERAPPAN. One has to give it to him for having the confidence and the conviction in an off-beat subject like the life story of Veerappan. Unlike his earlier films, Ram Gopal Varma has adopted a rather guerrilla method in the narration of VEERAPPAN. Ram Gopal Varma should also be applauded for convincingly extracting human emotions from his characters, without going over the top. The film script (R.D. Tailang), is convincing and believable. Both, the script and Ram Gopal Varma’s direction complement each other. While the first half of the film builds up the story and the pace, the film’s second half dips slightly. Even though the film cannot be termed as a ‘visual masterpiece’, still, one does get to witness a handful of scenes that have been shot superlatively. The film has the most fitting climax, by all means. Full brownie points to Ram Gopal Varma for having flawlessly shot the scenes like Veerappan’s hideouts and the scenes towards the interval point. The climax of the film is as much fantastic and enjoyable, as much as the ultimate elimination scene of Veerappan. Veerappan Review by Meena Iyer on The Times Of India Rating: Since everything about Veerappan made headlines in his lifetime, the story has no surprises. Also the docu-feature style narrative doesn’t have too many edge-of-the seat thrills. But if you are keen and curious, to see the life and times of one of the most dreaded criminals, who twirled his moustache and brandished his gun with equal finesse, Varma provides you that vicarious pleasure. Veerappan Review by Rohit Vats on Hindustan Times Rating: The disappointment grows when the script fails to produce any grip over the characters. Nobody other than Bhardwaj looks serious about the film. Thanks to his make-up artist, he reminds the viewer of the dreaded man from the beginning, but he has a gang that looks absolutely out of sync. Veerappan Review by Asira Tarannum on Deccan Chronicle Rating: RGV has told it taut, specially in the second half that is all about Operation Killing Veerappan. Sandeep’s tranformation as Veerappan is commendable — from his looks to his dialect. Here’s an actor waiting to be explored. Usha too plays it easy. Sachiin was a delight and perhaps this is his best performance so far. Veerappan Review by Jaidev Hemmady on Movietalkies Rating: As for the direction, Varma shows that he still knows a thing or two about camera angles and eerie background music to highlight his scenes. But unfortunately, the director fails to come up with a gripping thriller, which we all were expecting. The amateurish acting and the weak dialogues, not to mention the loose screenplay, ensures a boring cinematic experience. Review by Saibal Chatterjee on NDTVMovies Rating: The film is somewhat tolerable only as long as Sandeep Bharadwaj is on the screen in the guise of Veerappan. He inhabits the larger-than-life character with impressive flair. In comparison to his animated presence, Sachiin Joshi resembles an automaton gurgling out his lines like a lifeless machine running on empty. Lisa Ray, playing a policeman’s widow who willingly becomes a part of the operation against Veerappan, sticks out like a sore thumb in more ways than one. The dialogue delivery – her voice is clearly dubbed – is abysmal. In contrast, Usha Jadhav lends dignity to the character of Muthulakshmi, the woman caught in the crossfire between the police force and her husband. She brings out the tussle in her mind between doubt and trust in all its complexity. But somehow the nuances that she informs her character with are lost in a film that does not go beyond the visceral. Review by Shubhra Gupta on Indian Express Rating: ‘Veerappan’ , based on his own Kannada ‘Killing Veerappan’, never becomes that film. Bhardwaj is to be seen wreathed in a perpetual snarl, hacking away at human limbs and shooting luckless elephants. The other three who split the rest of the screen time are Joshi, playing the mastermind behind Veerappan’s capture , a slain-by-Veerappan officer’s widow ( Ray, unintentionally hilarious) and the outlaw’s wife ( Jadhav, far too sympathetic), and they are made to scurry around to little impact. The dizzying camera angles which have marred so many of RGV’s recent outings may have mercifully gone missing but the ear-shattering background music is right there. It is enough to make you want to flee into the forests, even at the risk of running into Veerappan. Review by Sreeju Sudhakaran on Bollywood Life Rating: Veerappan may be a let down if everyone expected this to be on lines with Band Queen or Pan Singh Tomar. However, there is a still a reason to smile here as we get to see the signs of RGV’s lost brilliance. If it was not for the lifeless performances from most of the cast and the silly BG score, this would have been a better film. Review by Ananya Bhattacharya on India Today Rating: Veerappan feels like a 2-hour-30-minute long, badly-rehearsed children’s play. Sachiin Joshi sings a lullaby even while outlining an operation; his way of talking can put even the most active of people to sleep. Lisa Ray lip-stracts you badly. Her acting seems strangely forced. Her camaraderie with Usha Jadhav’s Muthulakshmi sticks out like a sore finger. Ram Gopal Varma feels the need to hold the viewer by the neck and make him/her realise that Priya and Muthulakshmi’s friendship is all pretence. Review by Shubha Shetty-Saha on Mid-Day India Rating: Varma attempts to narrate an engaging story, but the narration gets drowned by relentless ear splitting background music. Lisa Ray plays a spy who befriends Veerappan’s wife Mutthulakshmi (Usha Jadhav) and passes on some vital information to the cops. Lisa Ray, who’s obviously limited by her acting talent, looks more like she belongs to one of Ramu’s horror movies than this one. Sachiin Joshi makes an attempt to look and act the role he plays, but then the attempt shows more than the talent. Sandeep Bharadwaj as Veerappan and Jadhav as Mutthulakshmi are perfectly cast and they both do a convincing job of it. Even then this could have been an engaging watch, if not spoiled by that constant assault on one’s eardrums. Review by Martin D’Souza on Glamsham Rating: What really gets to you is the background score that goes boom, boom, boom, every time there is an action scene in the jungle, some jungle scenes, or scenes where not much is happening. RGV tries to hit out at you, any which way. Veerappan Review by Indiaglitz Rating: ‘Veerappan’ is mildly menacing instead of an out and out menacing film. The movie had all the potential to become a hard-hitting cult drama if only the screenplay would have been a bit tight and had some better actors to perform. Review by IANS on Zeenews Rating: Sandeep Bharadwaj essays Veerappan’s character with sluggish ease. It is amusing to watch him with his handle-bar moustache literally dress up and emulate Veerappan. But unfortunately, not much emphasise is given to him, as an actor. With unflinching gaze, Sachiin Joshi plays the tough police officer from whose point of view the story is narrated. Except for flexing his muscles, he has nothing much to emote. Usha Jadhav as Veerappan’s wife Muthulaxmi is convincing. You empathise with her when she tells her landlady, Shreeya, “woh waisa aadmi nahin hai jaise police and press kehte hain.” Of the rest of the cast, Lisa Ray as Shreeya is a misfit, Nassir as the Police Commissioner is perfunctory. He just seems to be an extension of the character he plays on Television. Review by Raja Sen on Rediff Rating: This, then, is not a film worth recommending. And yet there are some images that stay with me — like the aforementioned one of the dacoit as a cop, and one featuring, alongside the men, female cops in red and yellow sarees, gamely wading through water and firing at the outlaws — which convince me that Varma isn’t sleepwalking through the project. Also, as Hindi films go, it’s surprisingly no-nonsense for the most part, save for Joshii. It knows what it wants to do and while it can’t quite pull it off, it certainly kidnaps our attention for a while. It may well be a misfire, but Veerappan shows that at least RGV has his eyes open while squeezing the trigger. The dacoit is still at large. Review by Bryan Durham on DNA India Rating: The return of RGV to Bollywood’s consciousness. He’s not completely in his usual element here, but there are flashes of his brilliance here, and these, sadly, are few and far between. As Veerappan, Bhardwaj inhabits the character, truly bringing him to life, with more menace than one could’ve imagined. And while you might argue the point of leading with Voltaire’s ‘Society gets the criminal it deserves’, you have to agree that the spot-on casting of Bhardwaj as Veerappan truly deserved a better film. And a much, much better background score. And far better supporting actors (the lesser said about them, the better). And a story told about the criminal in the title. Sadly, that isn’t to be found here, with the nameless cop (played by Joshi) getting more screen time than Veerappan. Review by Rajeev Masand on News18 Rating: The body count piles up during the film’s two hours running time, but the brutal killings are not for the fainthearted. There are some skillfully executed shootout scenes like one in which the authorities close in on Veerappan’s gang while they’re making their way through a waterfall. But these are small pleasures in a largely disappointing film that never goes beyond the obvious. Varma takes frequent liberties with the truth in this remake of his own Kannada film Killing Veerappan, but what you leave the cinema with at the end are shattered eardrums from the incessant background music. Review by Kunal Guha on Mumbai Mirror Rating: Sandeep Bharadwaj in the eponymous role evokes very little terror, but seems convincing in his dialogue delivery and getup. Sachiin Joshi has worked on his performance and has come a long way, if you’ve followed his filmography. The film has an eclectic mix of character actors, each with a peculiar choice of accessory or handicap. It’s upsetting that Ram Gopal Varma fans have to put up with this. Even the very few and far between visual flourishes are merely reminders of an auteur that was. Review by Sonia Chopra on Sify Rating: The ending could have been far better. It’s a bit comical to see some of our central characters sitting out and having a nice tea picnic while something so significant is happening. Still, the film is mostly gripping, sensational and involving. Veerappan’s story with his spectacular rise and fall was a big one. The film does it justice. Review by Manisha Lakhe on Nowrunning Rating: The man who plays Veerappan, though, looks like he was born to the part. Creepy and cruel, he manages to make you cringe initially with his violence. But the story is so tedious, you really don’t care if the cops win or the dacoits. A shining beacon of relief is Usha Jadhav who plays Muthulaxmi, Veerappan’s wife. But she cannot carry the flag alone, can she? A couple of aerial shots in the ravines and by the waterfalls make you wonder if there was something there. But the movie is mostly stupid overacting by supposedly evil characters like Arun who make you wish he actually snaps his neck while giving in to his kink. Review by meeta on Wogma Rating: For one, whenever you could be a part of the plot, you are distanced. Discussions between characters are muted under loud music. You are left looking at characters animatedly moving their lips at each other with over-enthusiastic expressions. This doesn’t happen just once or twice, but is a regular feature. 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