Padmaavat Reviews by Critics: Ranveer Singh, Shahid Kapoor and Deepika Padukone starrer has received positive reviews from critics. The average rating is 3.0 which is slightly low for an epic film.
- Postive: 8
- Neutral: 4
- Negative: 2
- Avg Rating: 3.0/5
On the whole, PADMAAVAT is a remarkable motion picture experience that’s backed by proficient direction, spellbinding screenwriting and superlative acting. For Sanjay Leela Bhansali, it’s the best title on an impressive filmography. A sure-shot winner at the box-office!
See, if it’s safe to watch in a theater near you. If it is, do that before it isn’t. Watch Padmaavat for its grandiose, beauty and Ranveer Singh! This is once in a lifetime kind of film which shouldn’t be missed in theaters. A personal note for Ranveer fans, you’re in for the best treat of your life.
If there’s one thing that keeps us from brooding too much through the film, it is Ranveer Singh. Not once does he try to make us like him, and that makes us like him even more. As a performer, he has always been unpredictable, in a good way. As Bhansali’s Khilji, he is electric. And try as anyone might, so is the attraction between the outsider and the queen: it is their doomed love story, whose embers rain on the screen, that we take away with us.
Take that, senas.
Times of India
Padmaavat’ is an entertaining, large canvas experience, brought to life with Sanjay Leela Bhansali’s stroke of visual brilliance. Ranveer as Alauddin Khilji is seen as an unhinged, barbaric Sultan, who is consumed with a ravenous libido for power and flesh. He unleashes an animal magnetism on screen with a scarred face, kohl-lined eyes and a greased torso.
Padmaavat’s disturbing ideology — misogynistic, communal and homophobic — is bad enough. The final nail in the coffin is the lack of chemistry between Deepika Padukone and Shahid Kapoor, which made me long for the Aishwarya Rai-Hrithik Roshan pairing in the equally lavishly produced, vastly superior Jodhaa Akbar (2008). Remember Queen Jodhaa peeping out from behind curtains at the topless emperor? It was a scene crackling with electricity and longing. Watching Padmaavat’s lead couple together though, I could not for the life of me understand why Padmavati gave a fig — or her life — for H.R.H. Ratan.
Directed magnificently by Bhansali, the film’s best moments are between the principal characters. The story has too many loose ends. But its biggest shortcoming probably lies in the fact that the film fails to connect on an emotional level. The final scene where Padukone explains why she commits Jauhar might not connect with the audience of today.
Padmaavat is sparkling, extravagant, dazzling, magnificent and wonderful. It’s a feast for the eyes. It leaves you craving for something more meaningful than a mere re-telling of Jayasi’s poem. But it has enough to bedazzle you, so go for the sheen and Ranveer Singh’s lunacy. After all, Padmaavat has passed so many hurdles to reach you.
If you are a fan of the Bahubali format of story-telling Padmaavat will blow your mind. Everything here speaks of grandeur and greatness. Ranveer, from whose point of view, the story unfolds compels you to stay invested in him throughout. You are meant to hate him, but you are found guilty because you come out loving him
With so much right in the film, it raises serious questions on the relevance of a movie like this. The last act involving Jauhar, and the speech by Rani Padmini which preludes makes you wonder whether we should be propagating these archaic ideas. But why not watch the movie still! After all, the blood, sweat and pain of too many people have gone in to ensure the film sees the face of day. And that’s worth more than all the cumulative flaws.
The makers should know that quality trumps quality when it comes to special effects. The clunky CGI in the film is pretty awful and distracting. The inconsequential 3D and an overly glossy crowd-wowing star spectacle make ‘Padmaavat’ look like pure product which manipulates the audience to love it. But the fact is, it lacks the real depth and hence the high of watching a good piece of cinema.
The problem lies not in Padmaavat being a costume drama, but in the fact that there is too much costume, too little drama. In the film’s opening scene, we see a king chewing roughly on a piece of poultry. This is a surprisingly small, tandoori-sized handful of bird, nothing compared to the way we have, in international film and television, watched vikings gnaw at giant animal legs the size of motorcycles. Therein lies the problem. There’s not nearly enough meat.
Sanjay Leela Bhansali’s film is a visual delight and thoroughly entertaining fare, courtesy the epic performance by Ranveer Singh. It talks about Rajput pride and there is nothing that will offend anyone. At least, I couldn’t find anything that can be termed offensive in anyway. And there is no dream sequence between Khilji and Padmavati.