Salman Khan-starrer Tubelight hit the theatres up and down the country on Friday. The Bajrangi Bhaijaan star’s this year’s Eid release is expected to be another money-spinner at the box office.
However, the reviews by film critics have left the opinions divided. Plenty of Bollywood fans, who watched the first day first show too appeared unsatisfied with others saying that they expected some masala elements of Bajrangi Bhaijaan in Tubelight.
Tubelight has has Indo-China war of 1962 as the backdrop. The movie also marks the third collaboration between Salman and Kabir Khan, who have previously worked together in Ek Tha Tiger and Bajrangi Bhaijaan.
Tubelight also stars Chinese actress Zhu Zhu.
Here is how Tubelight was reviewed by various media platforms.
The only scenes that work visually, to a mild extent, are the ones that capture the majesty of Ladakh mountains in war time. Coming from the Kumaon hills myself, I might end up doubly harsh in my assessment but the set of the fictional Jagatpur village — with the ranges spread in the front — feels utterly synthetic as do the people populating it. Just the surnames — Bisht, Tiwari — can’t make for a Kumaoni setting. But one would have bought into the mock up with willing suspension of disbelief —“yakeen ki taaqat”, as the film puts it —had it been moving enough. Unfortunately piety and righteousness are written way too large on Tubelight. We need some inventiveness and chutzpah even when we take the bull by its horns. Afterall, what’s cinematic subversion without any sparkle?
To read the full article click here
Alongside the Khan brothers who look to have been inflated with tyre-pumps, there is a strong cast, the norm at a time Indian casting directors have come good. We have the infallible Brijendra Kala smiling, possibly at the thought of his cheque, while Yashpal Sharma hams uncharacteristically hard, chewing on and repeating each line a couple of times as if to make it more palatable. Meanwhile, supporters of arthouse cinema may find it therapeutic to watch a strong thespian like Mohammad Zeeshan Ayyub wallop the megastar a few times.
To read the full article click here
The Indian Express
Of course, the duo is Indian. Done better, the two Khans (three actually, because Sohail has a significant share of the screen as well as a production credit) could have said something very important about racism and widespread discrimination against north-easterners, called ‘chinkies’, and other humiliating names. Yes, they are as Indian as anyone else. But Tubelight squanders that opportunity.
To read the whole article click here
Times of India
The film that propagates the values of family, faith and patriotism doesn’t manage to take a complete leap of faith because somewhere someone couldn’t pull this one off convincingly. In fact, everything is so cloyingly sweet that you start feeling you’ve strolled into a sermon rather than a Salman movie. Pritam’s Naach Meri Jaan and Sajan Radio are magical, as is Shah Rukh Khan’s cameo as magician, Go-Go Pasha. Aseem Mishra’s camera work is largely-breathtaking.
When it comes to performances–Salman laughs and cries unselfconsciously, unraveling the lesser-seen side of his macho image. He cannot move mountains with his performance but he manages to keep the faith alive. Sohail is sincere. Zhu Zhu shows spunk and young Matin entertains. And, Om Puri reminds you of the mettle unsung heroes are made of.
Read full article here.
On the whole, TUBELIGHT come across as a colossal disappointment as it fails to engross the audiences due to its wafer thin plot. At the Box-Office, the movie will take a jumpstart due to Salman Khan’s star power and accelerate over the weekend and the extended weekend [due to the Eid festivities], post which, the business will see a sizeable drop.
You can read the full article here.