Movie Review: Salman Khans’s KISI KA BHAI KISI KI JAAN
This Salman Khan starrer once again plays to the gallery for his die-hard fans. It is a larger-than-life actioner with brutal violence and tons of drama. The problem is that it entertains only briefly. Too many characters, an unimpressive soundtrack, and most of all a weak screenplay that doesn’t match up to Salman’s star power is what lets the film down. However, Bhai’s fans can look forward to watching him beat up the baddies all the way till the end. And yes, hold on, there is that jaw-dropping shirtless moment too!
KISI KA BHAI KISI KI JAAN starts on a rocking note. Bhaijaan’s entry is literally whistle-worthy and would be loved by the fans. Bhagyashree’s cameo is terrific. The entry scene of Bhagya and the subsequent scenes are not funny but will leave a smile on the viewers’ faces. The best is reserved for the intermission point. It is easily the most rocking part of the film and will lead to madness in the theatres. There’s an important twist at this point that further adds to the fun. In the second half, two scenes that stand out are Balakrishna agreeing to apologize to Nageshwar (Jagapathi Bapu) and Balakrishna and Bhaijaan’s conversation in the car. The finale has its share of massy moments.
t’s a wafer-thin plot that tries to achieve a lot but doesn’t really end up going places. Director and co-writer Farhad Samji’s story throws in a lot of bloody action with little semblance to logic and normalcy. The first half tests your patience with scenes that intend to be funny, but are not. The loud performances don’t help much. The story simply doesn’t kickstart until the interval. The romantic tracks between the three brothers Luv (Siddharth Nigam), Ishq (Raghav Juyal) and Moh (Jassie Gill) and their love interests Chahat (Vinali Bhatnagar), Sukoon (Shehnaaz Gill) and Muskaan (Palak Tiwari) respectively, are banal and clichéd. The chemistry between Bhagya and Bhaijaan faces a few hiccups initially, but warms up along the way. Samji keeps his screenplay busy with too many characters, and doesn’t care much about fleshing them out. They crowd the narrative without adding any value – in terms of entertainment or their performance. The less-than-average soundtrack adds to the runtime with one forgettable number after another. The saving grace is that they are picturised well and are visually rich. Among them, ‘Naiyyo Lagda’ (composed by Himesh Reshammiya) stands out. The background score (Ravi Basrur) could have been a little less jarring and the film could have done with a tighter edit.
The Music is of the chartbuster variety. Though there are 8 songs in the film, it doesn’t cause inconvenience and are well-tuned. ‘Naiyo Lagda’ is the best of the lot followed by ‘Yentamma’ and ‘Bathukamma’. ‘Jee Rahe The Hum’ is cute while ‘Tere Bina’ is touching. ‘O Balle Balle’ is okay while ‘Billi Billi’ is catchy. ‘Let’s Dance Chotu Motu’ is the only track that fails to entice. Ravi Basrur’s background score is terrific and massy.
V Manikandan’s cinematography is neat. Anal Arasu’s action is a bit disturbing but is also one of the film’s highpoints. Rajat Poddar’s production design is very rich. However, some of the sets look too similar to each other. Ashley Rebello, Alvira Khan Agnihotri, Sanam Ratansi, and Rochelle D’Sa’s costumes are glamorous and all the major actors look very presentable and appealing on screen. One Line VFX and Redefine’s VFX is satisfactory. Mayuresh Sawant’s editing is sharp.
