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Akira Movie Review: Sona-Anurag are a knockout in this whistle-worthy flick
When in an interview, Sonakshi Sinha had proclaimed that she would choose a potboiler over a beautiful movie like Lootera, she was at the receiving end of the ire of the intelligentsia. Critics judged her and crowds trolled her. But she returns after nearly two years since the outdated and dusty Tevar, in which she starred opposite ex-beau Arjun Kapoor. And well, the one message that is hard to miss, is that she refuses to be a damsel in distress ever again. In Akira, she is fiery, feisty, breaking bones, breaking spirits with a candor unforgettable and canter, so confident that you want to applaud. It is a typical Murugadoss fare; he is the master of making deliciously manipulative films.
Remember Ghajini, when all the gore couldn't hold us back from empathizing with his seething lead man, who has lost his all in life. In Akira, he is kinder. His girl comes from a dysfunctional family which is her backstory as to why she won't tolerate any violence against women. Her blows can pile up men and when she is cornered at her college, she isn't the one to take it lying low.
The star of the show is Sonakshi Sinha. We are pleased to tell you that she is the sincerest she has ever been. It shocks us why would filmmakers take five years to use her right. The lady kicks some solid butt as she takes on a bunch of immoral cops. Anurag Kashyap is perfectly cast as her slimy, shrewd and callous nemesis. He is sheer evil and does a marvellous job at making you cringe. The coke snorting Satan adds depth to this thriller, going after Akira with an unfathomable vengeance.
Konkana Sensharma as the much pregnant cop is worth hooting for. She never hits a false note and effortlessly adds depth to the scheme of things.
But like every Murugadoss film, this too has its fair share of writing frailties. The first half is nail biting brilliant. When we left to grab our interval coffees, we knew the doom of the second hour will strike soon. Go back with moderate expectations as the story unspools with judicious share of silly offerings. Sonakshi's character is overwritten. Every breath she takes, every move she makes, has a backstory that deserves to be told. No wonder the film treads at an exhausting two hour plus run time. Even as he establishes her mean streak, he doesn't fail to reiterate that she is humane (probably feminine enough). She is caring and warm and kind and all of that, so what she punches and pummels.
The second half goes flaccid. Though the action is shot with flair, this could make you reminiscent of a typical 80s formulaic film. Sona's Khoon Bhari Maang avatar, the grim face, flaring nostrils could all indicate that way. But the film has its moments. A lot of them come from Kashyap, especially the terrific one that involves him and his girlfriend. He convinces you that he is heartless and oh well, the sinister look he wears couldn't have been more authentic. Since it is a thriller, there is little we are allowed to divulge. But the twists and turns are conveniently done, making you want to guffaw. As refreshing as it is to see a woman take charge and do what has been chalked out and reserved for wrinkled fifty year old heroes, you can't deny the jingoism is on the face.
It is clichéd, never quite as unpredictable as you would expect it to be, but Akira does a darn good job of holding your attention. By giving Bollywood a lady who can pack a punch and can knock out in a blow, the director salvages the situation. Sona and Kashyap keep you glued till the end. If you are looking for some familiar entertainment, it is here but the tables have turned, thankfully. Meet the hero - Sonakshi, you are kickass girl.
We rate the film a 60% on the Pinkvilla Movie Meter.
