Vikram Vedha Movie Review: Hrithik Roshan and Saif Ali Khan’s film is a WINNER for big-screen entertainment.
Title: Vikram Vedha
Director: Pushkar and Gayathri
Cast: Hrithik Roshan, Saif Ali Khan, Radhika Apte, Rohit Saraf, Sharib Hashmi
Review of Vikram Vedha
Remakes are hard because sometimes the creators nail it, and other times the movie comes up short. This week’s release, Vikram Vedha, fits into the first group because Pushkar and Gayatri, the film’s directors, perfectly translate their Tamil original for the Hindi-speaking audience and increase the impact by making the most of Saif Ali Khan and Hrithik Roshan’s on-screen chemistry.
First things first: Vikram Vedha has one of the most complicated screenplays of our time. However, it has been simplified for the camera in order to appeal to a larger audience. The storyline of this action thriller is a powerful testament to Pushkar & Gayatri’s mastery of their trade. The movie is supported by clever writing that is full of unexpected turns that keep you on the edge of your seat and enough action sequences that are infused at the proper times to provide high points at regular intervals.
The best parts of Vikram Vedha include the intermission block, the plot twist at the end of the first story, and Saif Ali Khan’s introduction, which peaks with Vedha (Hrithik Roshanappearance. )’s In the first half, Hrithik appears in an oddball action scene that works rather well. The second half maintains the momentum, especially the final 45 minutes, which increases the overall impact of the entire narrative. Of course, Vikram Vedha has its shortcomings. Saif Ali Khan and his wife Radhika Apte’s love story doesn’t work out as well as predicted and only lengthens the film’s running duration.
The second half’s sub-track with Rohit Saraf slows down the action a touch, and the episode’s editing should have been more precise. The soundtrack is subpar and should have had at least one chart-topper. Sam CS’s background music, though, plays the part of another hero in every scene. It’s intended to support Hrithik Roshan’s outsized persona, with grandeur in every beat created for Vedha. There will undoubtedly be cheers when Bande enters the game in the second half. Manoj Muntashir and B.A. Fida’s one-liners, which are abundant in a dialogue-heavy movie like Vikram Vedha, are likely to provide many clap-trap moments for the audience.
The sub-track starring Rohit Saraf in the second half slows down the action a touch, and the episode’s editing should have been more precise. The music is subpar and ought to have at least one chart-topper. But Sam CS’s music serves as a second hero in every scene as the background music. With grandeur in every rhythm created for Vedha, it aims to support Hrithik Roshan’s imposing aura. Whistles are certain to be heard when Bande enters the game in the second half. A dialogue-heavy movie like Vikram Vedha is full of one-liners by Manoj Muntashir and B.A. Fida, which is likely to give the audience numerous opportunities for clap-trap moments.
Hrithik Roshan is one of those actors who is best appreciated on the big screen. He assumes Vedha’s identity and adds a touch of crazy to it. We can see he can hit someone because of his conviction and physical appearance. He renders all of the action scenes convincing. HR is able to find a rare balance by keeping things quiet when it’s necessary and exploding like a bomb when the going gets tough. As Vikram, Saif Ali Khan turns in yet another dependable performance, becoming the ideal foil to Hrithik. He capitalizes on the perfect opportunities to show bravado throughout those walks.
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Be aware of how his character changes throughout the story and any subtle changes to his body language. While both Rohit Saraf as Krishna and Radhika Apte as Priya do well in their respective roles, Sharib Hashmi is the true Vikram Vedha surprise. He is outstanding as Babloo and commands respect from both Hrithik and Saif. The remaining actors are competent.
To honour the presence of Hrithik Roshan and Saif Ali Khan, Vikram Vedha is an action thriller that is best seen on a large screen. Although it has plenty of action, dialogue-baazi, and the perfect amount of massy aspects, the music should have been a little better. The reach is a little concentrated because neither of the two leads has a romantic subplot, as required by the script, but it still has enough to succeed as a package for big-screen enjoyment for the audience.