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Angrezi Medium
Critic reviews and ratings
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...does lose its grip on several occasions, what it does not lose is its hold on the emotion that it is trying to bring out, and the message it leaves you with.
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...is watchable thanks to the charming magic of Irrfan Khan throughout, the sweet father daughter bond and the banter with Deepak Dobriyal.
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For the emotion it stirs and the laughs that it offers (not so much for the story though)...
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Irrfan Khan makes a beautiful comeback.
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...works only because of Irrfan Khan and Deepak Dobriyal's chemistry and also due to some touching moments.
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If only director Homi Adajania would have trusted his material and not underlined and spelt out everything, this could’ve been a sharper and perhaps, more introspective watch.
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Irrfan Khan, as we know, was undergoing treatment for a near-fatal disease and was in much pain throughout the shooting of the film. So kudos to him for overcoming the odds and giving us another masterful performance. We only wish the script should have matched his heroic effort...
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...pulls itself (and the audience) into so many different (and opposite) directions, all at the same time, that after a blunt point, you begin to lose interest altogether.
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...even when the writing gets sloppy and tedious, the emotions feel authentic because the actors in the frame are so damn good.
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...is one part clunky, and one part enjoyable. It’s not a perfect film – far from it – but I will admit I came out with a smile.
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...is debatable but interesting.
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...a potentially good film, falls prey to poor execution and a weak screenplay.
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In its attempt to strike a balance between making us laugh and cry, broad comedy and wring-your-heart emotion, the film keeps swaying one way and another, resulting in sudden tonal shifts.
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Despite a superb set of actors at its disposal, Angrezi Medium squanders away their charisma to play undistinguished, unremarkable characters.
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The jalebi-shaped screenplay is attributed to four writers. The direction, by Homi Adajania, struggles to contain a narrative that is figuratively and literally all over the place.
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The plot is scattered but rarely out of breath.
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...the screenplay, credited to four writers (too many cooks...?), muddles things up, which is more frequently than is good for the film, it definitely isn't good news, no matter what medium one chooses to deliver it in.
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Guilt-tripping masked under the garb of a parent-daughter relationship. If the masking is intentional, it’s a shame. If it isn’t, then the writing is all over the place.
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It has a few short and funny scenes, interrupted by long and meandering conversations that do not appear to lead anywhere. This lack of overall balance in the narrative, affects your viewing concentration, and you cannot put your finger on the genre on display.
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A film about a free and loving father-daughter relationship becomes a closed circuit. It’s that old cliché about setting someone free if you love them and seeing if they come back.
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...is so wretchedly written, tonally so all over the place that it set my teeth on edge – especially the relentless cutesiness.
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