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Hamari Adhuri Kahani
Critic reviews and ratings
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It is an old school romance with all the garnishing of poetic dialogues and moral moorings and the good thing is the pain seeps through the surface of this modern-day fable.
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...may not appeal to a certain section of the audience. However, it is just what the doctor ordered for those who believe in tragic love stories.
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With a protagonist so out of sync with the time and age she lives in, dialogues (Shagufta Rafiq), which seemed to belong to some other bygone era and somehow strayed into 2015, forced intensity and a story defying logic, this film is a disappointment.
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...is an anachronistic, tragic romance that touches an emotional chord, yet, makes you dismiss it as a regressive piece of art. The direction appears confused, with a present-day setting, while the treatment of the plot and characters belong to a bygone era.
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While middle-class values are to be lauded; the writing of HAK comes unstuck.
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It’s one of those films which reveals its latent potential and then fails to capitalise on it.
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...is definitely very 'adhuri' on entertainment value and can be skipped.
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Suri’s ability to pass off superficial observations on life and its attendant miseries has paid off in the past in Aashiqui 2 and Ek Villain, but the emotional landscape of Hamari Adhuri Kahani’ completely defeats him.
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The mediocre storytelling does a huge disservice to the cast.
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If Balan and Hashmi weren't as committed to brave this adversity on paper (the script), this could've gone down much worse.
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The film boasts of fine actors, but cheesy dialogues and poorly sketched out characters and equations fail to create an impression, performance-wise.
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...is archaic, willfully regressive and just blatantly absurd.
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...tests the attention span of contemporary moviegoers.
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I don’t think I’ve laughed more at a movie that wanted me to be crying along with it.
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With a foreboding title like Hamari Adhuri Kahani, the real tragedy of this romance is that the tears never come. Instead audiences find themselves whinging at the events on screen.
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Mohit Suri suffers from a serious 80's hangover...
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...unforgivably atrocious...
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This is a journey of pain: the pain of watching the talented Balan struggling to justify a badly-written role; the pain of seeing the director of Arth stuck in a time warp and refusing to grow out of a poor-me syndrome; the pain of watching Bhatt kill the memorable Kahaani girl of Ooh La La land with the that mighty Indian weapon: the mangalsutra.
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As the writing chooses the in-your-face over the subtle, you are subjected to a cliche-ridden preach fest and for the lack of a better word, boring story...
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Mohit Suri is a fine director, but has often displayed a misogynistic core in some of his films. That continues here, as the story takes one shockingly regressive turn after the other. It's difficult to process that Mahesh Bhatt has penned this story.
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It takes the romance out of pain in love. Could there be a worse crime?
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Clearly, this is a bad choice of selection yet again by Vidya.
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...a half baked, empty film with gigantic proportions of cheesiness!
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Spectacularly sexist and spectacularly boring – that’s a lethal combination. It hurts to see Vidya in such a film.
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...filled with flat staging from start to finish.
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It purports to be an unusual triangle, and perhaps on paper, it may have come off as one. But this is a shockingly empty film, with the entire cast desperately ‘acting away’, and not one sentiment that feels real.
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