Aurangzeb Movie Reviews

Kingship knows no kinship. Based on this philosophy, debutant director Atul Sabharwal dishes out an exotic fare which leaves you wiping your mouth with the back of your hand. Brilliant. AURANGZEB is a must watch for any movie buff. It's slick and racy. What's more, you have sellout performances from every actor, including those playing bit roles. It would be unfair on the other actors if any one actor is singled out for his or her performance

The writers of Aurangzeb borrow plot-points and lines from Deewar, Trishul, Naam and you also see slight similarities to Hollywood cop capers like Pride & Glory and Departed.

Aurangzeb is primarily about inheritance of character from parent to child. And the opening underlines this theme with a quote from Roman poet Horace, ‘Deep in the cavern of the infant’s breast; the father’s nature lurks, and lives anew.’ What lends its sentimentality a crooked twist is how its premise is relentlessly influenced by the cutthroat philosophy of Mughal Emperor Aurangzeb. Director Atul Sabharwal tackles the conflicting interests

The ensemble cast will lift the credibility of the film even higher with its performance. ‘Aurangzeb’ is a film worth a watch for all its complexities!

The conviction to commit a crime makes a gangster menacing and important. Director Atul Sabharwal's 'Aurangzeb' is interesting in this aspect that none of his characters is innocent. It's full of treacheries and the audience rarely witness a change of heart which lasts for more than five scenes. The story is about twins Vishal and Ajay (Arjun Kapoor) who have different perspectives towards life. Yashwardhan Singh (Jackie Shroff) is a dreaded real estate developer

Aurangzeb is a tight political drama that uses the nexus between cops and real estate mafia to weave a tale of deceit, treachery, double crossing and revenge. Set in Gurgaon the story revolves around the cat and mouse game between Yashwardhan Singh (Jackie Shroff) and the police force lead by Rishi Kapoor and Prithviraj. Arjun Kapoor plays the double role of twin brothers Vishal and Ajay who lead different lives because of the

It is important to pay attention early on in Aurangzeb as it kicks off with Rishi Kapoor's voiceover. He introduces his "business" as a top cop and the roll of characters that are to play a part in this complex, intelligent plot that holds the promise of a taut thriller about power and money. At a thematic level, the writers have invested a lot in the screenplay. This is not merely a story of good vs evil for shades of grey overwhelm. There is a delicate web

Call it the classic second-half gaffe. You have a cracker of an idea, the build up is great too, and then gross lack of imagination turns everything into a mangled mess post interval. We've seen it happen too often in Bollywood. Add Aurangzeb to the list. Atul Sabharwal's debut directorial feature tries reorganising quite a few Bollywood cliches to suit new-age tastes, yet retaining familiar flavours. Cops and goons, long-lost twins, the angry young man

Boys love to play with guns. So much so, that to satisfy their gun-toting fantasies they can weave silly screenplays into movie projects. Debutant director Atul Sabharwal is guilty of such indulgence. Aurangzeb, with a mammoth dose of testosterone, is a half-baked gangster fantasy. Oh it doesn’t help when the poster of the film promotes Arjun Kapoor as the leading man. But the narrative makes Prithviraj, who plays a cop, the hero

A slice from the world of Gurgaon’s real estate politics, the gamers are cops and criminals, matching steps with each other. In order to destroy Yashwardhan Singh, a mafia lord of the real estate business, DCP Ravikanth tweaks out strings of his past. Replacing his heir Ajay, with his long lost son, Vishal, the game continues to see who wins the edge. I was excited to find such a good script after a long time. The writer sure to have lived

Overall, ‘Aurangzeb’ is a fun thriller with a racy first half and a dragged climax. It’s not devoid of any essential ingredient of a ‘masala’ film and you can watch it for depicting the dark underbelly of the illegal land deals.

The first half is strong, but the climax and focus on the family ties and relationship dilutes the hardcore gangster flick that it set out to be.

‘Aurangzeb’ is an engaging saga but it is very dialogue heavy where music or humour hasn’t been used effectively to provide some respite. Arjun Kapoor and Prithiviraj Sukumaran rise above the slightly flawed execution.

Dialogues are apt and well timed in the movie. Cinematography by Kartik Ganesh is quite laudable and makes the movie really interesting. The movie does live up to its name and fame until before the climax which is totally predictable.

Review: Double role of the hero, reference to Mughal history and officially a crime drama. Seems interesting! Yes, but fails to hold it effectively......

Back in the ’60s — when classics like Hum Dono (1961) and Ram Aur Shyam (1967) were made — it must have been a thrilling experience for moviegoers to see an actor face his other self on screen. But to make the double role the focal point of a film in an age of 3D, which is as familiar with it as it is with a tub of popcorn, requires either a reversal of clichés or a mind-blowing story. Unfortunately, Aurangzeb provides neither

Bollywood's fascination with dual roles dates back to its golden era, when Dilip Kumar, Dev Anand and Raj Kapoor reigned supreme. Recall HUM DONO [Dev Anand], RAM AUR SHYAM [Dilip Kumar], DO KALIYAN [Neetu Singh], ARADHANA [Rajesh Khanna], SEETA AUR GEETA [Hema Malini], MAUSAM [Sharmila Tagore], DON [Amitabh Bachchan], AAKHREE RAASTA [Amitabh Bachchan], CHAALBAAZ [Sridevi], KISHEN KANHAIYA [Anil Kapoor], JUDWAA [Salman Khan]

The movie starts promisingly as Aarya (Prithviraj Sukumaran) talks about the dirty “collection business” that he and his family members are indulging in. The business brings in loads of money, wads of notes being shuffled around, stocked in suitcases and generally tossed around. But surprisingly, the womenfolk of the house aren’t even aware of the moolah that is brought in and stacked regularly in the very house that they live in

Aurangzeb is a plot that resorts to the 70s formula - family drama, illegitimate son, twins separated at birth and similar domestic dilemma. Unfortunately, while the 70s storyline demanded melodrama, the treatment here is very contemporary and the drama is largely subtle and underplayed. And in this unusual and seemingly incompatible fusion, Aurangzeb loses its authority. More than Trishul (as is the popular perception), Aurangzeb derives from Don

Somewhere in the too-complicated strands of Aurangzeb is a film struggling to cohere. This is what we have : too many subplots with threads hanging, criss-crossing a main plot that is over baked and undercooked. A nephew (Prithivraj) brought up by his chacha (Rishi) as he has serious problems with his loser father (Kher). Identical twins separated as babies, now grown into very different individuals (Arjun). Long suffering mother (Azmi) buffeted

Aurangzeb had the potential to be a much better film. Alas it only comes across as a TV serial sans the melodrama!