Kesari Veer Review
Bollywood loves a good dose of patriotism with swords, soil, and saffron — and Kesari Veer walks right into that zone with a loud battle cry. But instead of delivering a roaring cinematic experience, the film feels more like a stretched-out TV serial that forgot it is supposed to be a movie.
Directed by Prince Dhiman, the film claims to tell the story of Hamirji Gohil, a Rajput warrior who fought against the army of Allauddin Khilji to defend the Somnath temple. But what could have been a gripping historical drama turns into a VFX-blunder, emotion-light slog.
Sooraj Pancholi Enters… in Slo-Mo Overdrive
The film opens with Sooraj Pancholi, but it almost feels like he is launching all over again. The slo-mo is so overused in his entry sequence, you would think time itself got tired and sat down. It is meant to make him look heroic, but ends up making the audience stare at him… for far too looong. The camera loves him, sure — but a little too much.
And while Sooraj tries hard, his performance does not quite cut through. There is no grit, no emotional punch — just a lot of screen time and wind-blown hair.
Akanksha Sharma Deserved Better (and Quieter) Scenes
Surprise of the film? Akanksha Sharma. She looks great, acts decently, and actually holds your attention when she is on screen. But the makers thought every time she appears, they should drown her scenes in music. It is like her character is not allowed to breathe without background vocals screaming how you should feel.
She is one of the few good parts of the film — but, weighed down by loud and constant musical cues that kill any subtlety.
Bhagwa vs Green: A Colour-Coded Message That’s Too On-the-Nose
Early in the film, you will notice how clearly the saffron and green themes are set up — not just in costume, but even in lighting and set design. It is a not-so-subtle attempt to represent Hindu vs Muslim ideologies. While symbolic storytelling can be powerful, Kesari Veer does not trust the audience to get the message without spelling it out. Again. And again.
The word “Bhagwa” is dropped so often it almost becomes a character of its own — except it is not written with any depth. It feels more like a keyword thrown in to stir up a connection rather than a narrative purpose.
Vivek Oberoi to the Rescue (Kind Of)
Enter Vivek Oberoi as the villain — and finally, you sit up. His entry scene has swag, and every time he shows up, the movie lifts. He knows what he is doing, and brings just the right amount of madness and menace to the role. He is the only one who seems to be having fun while also staying in character.
Frankly, if the film was told from his perspective, it might have been more interesting.
The First Half Feels Like Homework
Let us talk pacing — or the lack of it. The first half drags like a Monday morning. Scenes feel stitched together, not built. Characters talk a lot, but say little. And if you are expecting some solid buildup before the big battles — sorry, you will mostly find filler and overacting. You could step out, grab popcorn, maybe call a friend, and come back without missing much.
The Video Game Effect (Literally)
When the fight sequences do arrive, they do not wow — they wobble. The VFX is painfully artificial, with fight scenes that look more PS2 than pan-India. Blades flying, slow-mo dust, and weird CGI lion — it is hard to take any of it seriously. Instead of feeling epic, you feel like you are watching a mythological show with a higher budget… but only slightly.
Final Verdict: Watch It Only If You Really, Really Have Nothing Else To Do
Kesari Veer tries to wear many hats — patriotic drama, mytho-historical epic, star comeback, but drops them all. With better editing, smarter writing, and less forced symbolism, this could have been a tighter film. But in its current form, it is just too much show and too little soul. Skip it in theatres — wait for it to land on TV, where it might feel more at home.
Rating: 1½ out of 5
