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A truly honest police officer is transferred to a town controlled by a gangster he has humiliated. The gangster believes he can use good power to bring down this officer who made him look foolish and weak.
Dayanand Shetty's popular scene of breaking the door in his television series CID is also used in the film's climax where Ajay Devgan says Daya Darwaza Tod do. See more »
The chief minister of the state asks the police commissioner (wearing the insignia of an Additional Director General) of Mumbai to step down and is lured to be given a promotion to the rank of Inspector General, whereas a police I.G is junior to an Addl DG/DG. See more »
Gives a clear message that sequels should strictly be made only if you have got something novel to add.
The first thought I had after watching SINGHAM RETURNS was, that is this really a Rohit Shetty film? The hit-machine's latest project with no spirited highs, no great entertaining moments, no jaw dropping action and all repeated seen before stuff served uninterestingly? Or to put it in different words, a product unlike Shetty, which was supposed to be a power packed entertaining explosion but sadly keeps dropping constantly till the end with no exceptional climax which was actually the USP of its first part.
In short I found only three positive points in SINGHAM RETURNS. One the repetitive yet spirited performance of Ajay Devgun, second (thankfully) only two mediocre songs in the narrative and most importantly one particular sequence guiding the viewers about how a lady can only be arrested by the lady police officers alone as per the strict law.
But apart from that, frankly I found nothing to be discussed in details as there is no novelty in the story progression at all and other than Ajay Devgun (and to some extent Mahesh Manjrekar & Anupam Kher) not even a single actor comes up with a worth mentioning act to be straight. In fact the two villains Amol Gupte and Zakir Hussain never seem to be any kind of powerful opponents as compared to Prakash Raj witnessed in the earlier part and no-one else in the supporting cast gets the attention of its writers too. Kareena remains the usual glamour doll in all forced in sequences falling flat and their love doesn't even seem to be a part of the film throughout.
Hence this time Rohit is not well equipped with many enjoyable peaks in his script and the film keeps moving at the same level with no major twists & turns (with an excessive use of Marathi) shattering all reputation built by the director's earlier blockbusters. The action isn't any step ahead than his previous works and neither are the dialogues which formed the backbone of SINGHAM as everyone strongly remembers. Moreover both the cinematography and background score continuously give you an impression of 'Deja Vu' with nothing fresh or path breaking. So the part two is not able to surpass its prequel by any standards (including the scale) and putting it rightly this can easily be stated as a step backward, both in terms of execution as well as entertainment offered to its viewers.
However with SINGHAM RETURNS, Rohit strangely tries to walk on the path of Madhur Bhandarkar in a different way by mocking few known personalities like Smriti Irani, Barkha Dutt, Asaram Bapu, a major political party and its leaders. The basic plot line reminded me of Chiranjeevi's PRATIBANDH released in 1990 and the climax made me recall Rupa's undergarments advertisement hilariously. The famous Daya from the never ending serial CID continues breaking the doors in the film too and it sounded quite weird to hear a devotional kind of song calling for the Almighty's help (at the Dargah) made purely like a love ballad with all slow western beats instead of a traditional Indianised rhythm.
With a more than 140 minutes of duration, the film becomes all predictable and boring towards the end. Because of which as the Honey Singh song's started playing along with the credits, I was also whispering the same words in desperation saying Aata Majhi Satakli .in literal sense!
So ending with a request to the reputed film-makers, the trend of sequel is acceptable only if the Part Twos and Threes have something novel, better and substantial to give to the viewers expecting a lot. Therefore please make any sequel only when you have got some newness to add to the hit concept, otherwise let it be.
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