A.R. Murugadoss’ Sikandar isn’t only a misfire—it’s an all-out assault on storytelling coherence, a movie so satisfied of its personal grandeur that it forgets to be entertaining.
Designed solely to amplify Salman Khan’s invincible “bhai” persona, the film struts round like an emperor with delusions of brilliance. But, beneath the swagger and spectacle, there’s nothing however hollowness. Its ambitions are colossal, however its execution is embarrassingly clumsy.
A Recycled Premise, However With out the Punch
Murugadoss appears to be retreading acquainted floor, borrowing components from his personal Ghajini (2008), which a minimum of had a gripping revenge narrative anchored by Aamir Khan’s intense efficiency. Sikandar, in distinction, begins with an identical set off—the dying of a girl—however as a substitute of a targeted vendetta, it spirals right into a tangled net of half-baked subplots. What may have been a pointy, emotionally charged drama devolves right into a chaotic mess, struggling to steadiness a love story, a political feud, and a hero’s quest for justice—none of which land with any actual influence.
Salman Khan: The Identical Outdated Swagger, Zero Substance
Salman performs Sanjay Rajkot, the “final Maharaja,” a title that implies the Aristocracy however delivers nothing past his typical display persona. He’s much less a king and extra a avenue brawler with a crown, meting out vigilante justice with the identical exaggerated bravado we’ve seen in numerous different movies. The character is painted as a benevolent ruler, however his actions are these of a one-man military, demolishing goons with cartoonish ease. There’s no depth, no evolution—simply Salman being Salman, full with slow-motion walks and punchlines that really feel extra drained than triumphant.
A Romance That Falls Flat
The movie’s weakest hyperlink is its pressured love story between Sanjay and Rashmika Mandanna’s Srisai, a pairing that lacks chemistry from the beginning. Rashmika, taking part in a a lot youthful queen, comes off as a giggly school scholar fairly than a regal presence, making their relationship painfully unconvincing. Their romance is minimize brief by tragedy, which must be the emotional core of the movie—however as a substitute, it looks like a rushed setup for Sanjay’s redemption arc.
Too Many Subplots, Too Little Coherence
What follows is a collection of disjointed missions the place Sanjay takes on the function of savior for 3 random strangers: a slum child, an aspiring businesswoman (Kajal Aggarwal), and a heartbroken younger girl (Anjini Dhawan). Every storyline looks like a half-hearted try at social messaging, however none are developed sufficient to resonate. The movie jumps between Rajkot and Mumbai, cramming in political intrigue, slum redevelopment, and girls’s empowerment—but none of those threads are woven along with any finesse.
Villainy With out Chew
Sathyaraj’s Minister Pradhan ought to have been a formidable foe, however he’s decreased to a generic corrupt politician, snarling clichés like “Yeh kalyug hai” with none actual menace. His battle with Sanjay lacks pressure as a result of the writing by no means bothers to make him a reputable risk. Even Prateik Babbar as his spoiled, villainous son is wasted in a task that quantities to little greater than cannon fodder for Salman’s motion scenes.
Motion That Excites, However Doesn’t Elevate
To its credit score, Sikandar delivers some well-shot motion sequences—bursts of vitality in an in any other case sluggish narrative. Salman Khan, regardless of his age, nonetheless instructions the display in struggle scenes, and Murugadoss phases a couple of visually hanging moments. However these set items can’t compensate for the movie’s lack of a compelling story. The ultimate showdown between Sanjay and Pradhan is supposed to be a conflict of ideologies—selfless hero vs. corrupt energy—but it surely’s so predictable that it feels extra like a contractual obligation than a climax.
A Movie That Loses Its Personal Plot
Sikandar desires to be many issues—a love story, a revenge saga, a social drama—however in attempting to be all the pieces, it finally ends up being nothing. The writing is scattered, the pacing uneven, and the emotional beats fall flat. Even Salman’s trademark charisma can’t salvage a script this messy.
By the point Sanjay declares, “Insaaf nahi, saaf karna hai,” the irony is palpable—as a result of Sikandar is something however clear. It’s a cluttered, self-indulgent spectacle that errors noise for narrative. If that is Murugadoss and Salman’s concept of epic storytelling, perhaps it’s time for a rethink. As a result of because it stands, Sikandar isn’t simply unhealthy—it’s forgettable. And for a movie about protecting recollections alive, that’s the most important failure of all.
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