Sooryavanshi

Sooryavanshi Movie Review: Akshay Kumar Gobbles Up All the Screentime!

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The decision to postpone Rohit Shetty’s most ambitious project ‘Sooryavanshi’ until the corona pandemic had subsided was correct. In light of the film’s sound and fury, it’s fortunate that audiences weren’t forced to deal with two pandemics at once.

Despite the screenwriters’ best efforts to ‘balance’ the story, Akshay Kumar and the company’s film continues to sow seeds of distrust against a specific group.

Known for creating mindless entertainment and visceral action choreography, Rohit now attempts to deal with more serious subjects in his new film, Sooryavanshi. A famous Gandhi phrase, “An eye for an eye will leave the whole world blind,” begins his speech, but he soon abandons it in favor of mowing down his “opponent” to a pulp.

The movie Sooryavanshi is like a sector of politicians who use our courageous officers’ shields to scrape the wounds of the past and cover them with jingoistic tape. However, some adherents of the other faith are still caught in the past and using religion to retaliate against the community that has progressed.

It’s the film’s goal to make us believe that a significant number of people from the neighboring country are hiding out in our midst. They intend to carry out a series of Mumbai-style bombings similar to those that occurred in 1993 while they wait for orders from their captors. Rohit doesn’t reveal who is taking care of them, but it may be the topic of a future film. For the time being, all we need to know about Mukhtar Ansari, a senior member of the film’s sleeper cell, is his name.

Nuance is seen in the film’s treatment of the extended, short, and clean-shaven Muslim characters. However, those who go to Ajmer are not depicted praying, yet those who bomb cities are. It also serves as a moral compass for the film’s finale, when the song “Chhodo Kal Ki Batein” plays in the background. Really!

However, the background music serves as an unwelcome reminder of the cop’s surname. If Vijay Khanna (Zanjeer) and Anant Velankar (Ardha City) are in Rohit’s cop universe, one wonders what Ajay Rathore (Sarfarosh) would be thinking.

Riya’s constant reminders to her husband, the one-man army, Vir Sooryanshi (Akshay), that he needs to look at what’s going on in his own ‘home’ and he refuses to do so give the spectator the impression that the writers are trying to teach us that we all live in glass houses. Simba’s sermon about terrorism’s impact on tourism and entertainment in the neighboring country, as well as the threat it poses to our own, could have been tempered if Nala had been given more opportunity to speak up during the climactic moment.

On the surface, Rohit appears to be a robust and competent individual. All the gags are well-placed, and the pacy storyline never falters. In Tom Cruise mode, Akshay pulls off a sequence of whistle-inducing acrobatics while sporting grey sideburns and aviators. The age-related self-reference jokes were always on point.

Both Ajay Devgn and Ranveer Singh play significant roles in the film’s explosive climax, bolstered by a solid supporting cast. In the part of Usmani, Gulshan Grover impresses, while Kumud Mishra helps us understand Bilal Khan’s predicament. Neither Jackie Shroff nor Javed Jafferi nor Abhimanyu Singh is slouched. On the other hand, Katrina is a pleasant surprise in what at first glance appears to be a traditional role of two songs and three scenes. It will be remembered as one of her most impressive performances.

If you’re looking for something to light up the sky but also cover your soul with soot, this is it.