Shaitaan Ajay Devgn movie review 2024 : Embark on an exhilarating rollercoaster of emotions with “Shaitaan”! Brace yourself for a captivating hostage drama that will leave you on the edge of your seat. With the incomparable R Madhavan leading the way, get ready for a journey that is both thrilling and slightly unnerving. Don’t miss out on the chance to experience the adrenaline rush – dive into the world of “Shaitaan” today!
Shaitaan movie review: I’m constantly awestruck by Ajay Devgn’s insatiable hunger for narratives that paint him as the ultimate savior. He embodies a particular brand of hyper-masculine, unwavering heroism — a character consumed by lofty ideals and a charming innocence that’s meant to be balanced out by sheer strength, polished suaveness, and a fierce temper. His roles in films like Gangaajal (2003), the Singham series, and Raid (2018) stand as perfect examples of this archetype.
I find myself deeply captivated by the other side of his recent cinematic journey. It’s where he embodies the role of the endearing yet rugged father figure, whose entire universe revolves around his cherished family. This portrayal shines brightly in films like the Drishyam series and Shivaay (2016). In Vikas Bahl’s Shaitaan, we witness the amalgamation of Ajay Devgn’s savior persona with his paternal instincts.
I am compelled to delve into his filmography because it’s in these roles that Ajay Devgn character, Kabir Rishi, becomes the cornerstone of the narrative. In this emotional rollercoaster, aptly described as a ‘torture porno,’ Ajay’s portrayal resonates deeply as a compromised father, fiercely battling for his daughter’s life and dignity.
Hostage drama tropes galore
The shivers and involuntary reactions induced by Shaitaan aren’t because the movie and its storyline are inherently terrifying. No, they stem from the predictable patterns of twisted psychological thrillers and hostage dramas. Vikas’ film melds these sub-genres with a heavy-handed dose of the supernatural, leaving us with a final product that feels utterly hollow.
Picture this: A tranquil family retreat amidst the serene hills, shattered by the arrival of an unexpected visitor. But the disturbance doesn’t end there. No, it spirals into the realm of the sinister when this uninvited guest, portrayed by the talented R Madhavan, reveals himself to be more than just a mere intruder.
Imagine the horror when you realize that this stranger is not only unwelcome but also a master of dark arts, a “vashikaran” specialist whose powers defy the laws of science itself. The very thought sends shivers down the spine, doesn’t it? And his intentions are nothing short of diabolical.
He preys upon innocence, using the age-old tactic of offering sweets to ensnare young minds like that of Janhvi, portrayed by Janki Bodiwala, daughter of Ajay. It’s a chilling reminder of the warnings we’ve all heard as children, to never accept gifts from strangers. Yet, this malevolent force manages to infiltrate their lives, manipulating them like puppets on strings.
Madhavan’s portrayal of this unhinged interloper is nothing short of haunting. With a knack for playing characters that teeter on the edge of madness, he delves deep into the psyche of his role, leaving us on edge with every sinister smirk and calculated move.
As he weaves his web of deception, insinuating himself into the very fabric of the family’s existence, one can’t help but feel a sense of dread creeping in. It’s a tale as old as time, yet rendered with such eerie intensity that it leaves an indelible mark on the psyche.
Yes, the premise may seem familiar, reminiscent of countless tales of psychological terror that have graced the silver screen before. But in the hands of Madhavan and the skilled storytellers behind this narrative, it takes on a life of its own, ensnaring us in its dark embrace and refusing to let go.
It’s just so disheartening and frankly disgusting to see the same tired tropes recycled in so many of Ajay Devgn’s movies. The reliance on brutality, torture, and the exploitation of vulnerable young women has become nauseatingly routine. It’s like every character, even the most deranged ones, are just vessels for violence, and if you dare to look away, the film assaults your senses with its deafening volume.
And don’t even get me started on the treatment of women in these films. The way they’re subjected to horrifying acts, like being commanded to harm their own family members or endure violence for the sake of shock value, it’s sickening. And to top it off, the outdated attitudes towards women and transgender individuals just add insult to injury.
I’m tired of watching movies that rely on shock tactics and exploitation rather than genuine storytelling. It’s time for a change, for filmmakers to move beyond these tired clichés and start creating content that respects its audience and its characters. Enough is enough.
You know, delving into this film is like stepping into a whirlwind of emotions. Honestly, I went in hoping to be moved, even if it meant sacrificing some coherence in the storytelling. The jump scares, like the one where Kabir and Jyoti stumble upon Janhvi frozen in fear while Vanraj looms ominously with a bag of valuables set ablaze, are chilling to the bone.
But what truly gets under your skin is when Vanraj speaks – his words cutting through the air like a knife. You can’t help but shiver as writer Aamil Keeyan Khan’s dialogue falls short, leaving us with nothing but, “Did you think you could buy me with money?” And then, the horrifying truth unfolds as Vanraj reveals his twisted plan to sacrifice their daughter – it’s like a nightmare straight out of old Bollywood, leaving you reeling with fear and disbelief.
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The climax is painfully predictable, and even if you try to overlook its weaknesses, the drawn-out sacrifice scene and Madhavan’s over-the-top tantrik makeup keep dragging you back to reality. The final sequence, with its pretentious self-awareness linking back to the opening shot of a decaying rat in the woods, only serves to unravel the tension that should linger in your gut after a movie like this.
And can I just say, it’s frustrating to see disclaimers like “this film does not promote black magic” forced upon makers when the entire narrative hinges on beliefs rooted in superstition and backward thinking? It’s like they’re trying to have their cake and eat it too, but instead, they’re just leaving a bad taste in our mouths.
The performances
Jyotika, who graced us with her presence in the critically acclaimed “Kaathal – The Core” last year, delivers a restrained and convincing performance as Janhvi’s mother. Devgn, as expected, effortlessly slips into the role of the protective father, ready to defend his family at any cost – a character reminiscent of Vijay Salgaonkar from “Drishyam,” albeit with a more urban flavor. But it’s R. Madhavan who truly shines, sinking his teeth into the juiciest part and delivering it with finesse. Despite some occasional hammy moments, he manages to inject humor and a chilling aura into a relentlessly dark plot. You can’t help but be drawn into his portrayal, even if you have to overlook a few theatrical flourishes along the way.
In these uncertain times for the big screen, “Shaitan” seems to be banking on shock value to make its mark. If you’re up for a wild ride with a dash of discomfort and the magnetic presence of R. Madhavan, then this hostage drama might just be your cup of tea. So, if you’re in the mood for something raucous and more than a little unsettling, why not give it a go? Who knows, it might just leave you on the edge of your seat craving for more.
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