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Batla House
Critic reviews and ratings
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The relevant plot, watertight screenplay, clapworthy moments and terrific performance by John Abraham makes Batla House one of the finest films of the year.
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...is a massy/crowd pleasing distillation of Operation Batla House that manages to share some facts on heroisms, valour, faith, religion and the politics behind.
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...makes for a gripping, intense watch.
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Here's what the film compels you to do though. Read up more and more about the case. This is already saying a lot. Last time that happened? Maybe Anurag Kashyap's Black Friday? Woah, now that's a seriously tall compliment.
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It does suffer from sloppy writing in places but that doesn't mar its overall impact.
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Filmmaker Nikhil Advani and writer Ritesh Shah manage to assemble this story with multiple flourishes that often break the monotony of storytelling.
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...boasts of a taut first half and a confident turn by John Abraham in the lead, only to be undone by uneven writing and a wasted climax.
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...stray flashes apart, the dramatised true story drifts too far from the heart of the matter without delivering the expected drama.
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Watch it for the depiction of real-life incidents and the obvious cinematic liberties. It’s not really the Independence Day treat but makes for a good one-time watch.
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All Nikkhil had to do was slow-bleed the suspense, and extend the moral tossup. But Batla House is not that kind of film.
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...claims to explore the role played by doubt in a police investigation, but it is loaded with biases.
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...make no mistake, Batla House isn’t a Rashomon-like investigation of many truths. The film is firmly on the side of the beleaguered cops and it makes its point with the subtlety of a sledgehammer. Which is why Batla House will satisfy John Abraham fans. Those biceps were not made for nuances. Viewers looking for a more layered exploration of izzat, farz, desh should probably go elsewhere.
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...shows neither conviction nor courage in dealing with a sensitive subject...
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The Rashomon Effect, contradictory interpretations of a single event, is only introduced towards the end. By then, the film's conclusion is like most other police encounters. Fairly predictable.
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There’s promise here in a film about a specific police encounter being scrutinised with extreme cynicism by the rest of the nation, and it builds towards an engaging finale, but Advani takes too long to get there, meandering through wooden actors and limber item-dancers in subplots that really aren’t the point of the story.
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A needlessly convoluted and garbled interpretation of the Batla House encounter case which sides with the cops.
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Accomplished police officers have to defend themselves against allegations of fake encounters–the topic as a central theme for a film is relatively fresh. However, the story doesn’t budge ahead until the last 20 minutes and thus is sadly a tiring bore.
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...the trouble with Batla House is that the whole film acts like a disclaimer...
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