It’s an action-packed flick with Ajay Devgn and Emraan Hashmi in lead roles. Read what the critics are saying about the film.
Meena Iyer in The Times of India
For a heist-thriller to work, the moves of the rural bandits should have been more calculated and precise. Instead, here you have buffoonery. Everyone is mouthing signature lines trying to constantly reiterate how “bad-ass” they are. However, if you’re in the mood, indulge them– these are Bollywood’s paisa-pheko, dialogue-suno moments.
Udita Jhunjhunwala in firstpost.com
Devgn is consistently one-pitch: intense. But he’s supported solidly by the on-point Mishra and the likeable Hashmi, who does well with the Rajasthani accent. D’Cruz looks the part and brings in some effort to add shades to a character whose motivations remain unsubstantiated.
The screenplay of Baadshaho is unduly non-linear and includes indulgent scenes like one of police torture. Baadshaho‘s finale unfolds in a sandstorm and is the one scene that is visually arresting, though the story loses itself somewhere within the vortex.
Shubhra Gupta in The Indian Express
Because it’s the old masala entertainment genre, we sit back and enjoy a few familiar guilty pleasures — the item song (Sunny Leone shaking it), the ‘seeti-maar’ dialogues (the deep-seated misogyny in a few make you cringe, even as you hear, without a shred of surprise, bunches of young men guffawing), the cheerful absence of logic (what’s that), and coherent plot points.
Rohit Vats in The Hindustan Times
It’s an old-fashioned story set in an era when the royals were concerned about the fate of their private banks. There are mentions of Sholay and Thakur in case you still don’t get the era right.
Rajat Arora’s dialogues set the mood initially. Bhawani arrives announcing, “Zubaan aur jaan ek hi baar di jaa sake hai, aaj se dono thaare.” You’re slightly intrigued. Baadshaho could be another whistle-worthy ‘paisa vasool’ entertainer like Once Upon A Time In Mumbaai.