DRONA is a big film in all respects -- big stars, big canvas, big expenditure on SFX, big ad spend, big expectations. Sadly, it's a big, big, big letdown as well.
Fantasy films are a rarity in Bollywood. The screenplay is a complete mess. What saddens your heart is the fact that the producers of DRONA, have spared no efforts in giving DRONA a spectacular look. The vision is perfect, but how about narrating an absorbing and attention-grabbing story? One would remember DRONA for its striking visuals, not storyline.
Although the makers have been maintaining all along that it's not about a superhero, the fact is, it is. In DRONA, the protagonist does everything that a superhero does. However, the lead character would only look more powerful if the anti-hero is equally authoritative. Surprisingly, the negative force here is more of a buffoon than a villain.
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In a nutshell, DRONA disappoints.
DRONA rests on a thin plot, there's not much that director Goldie Behl can do to salvage the show. Yet, Goldie has executed two sequences with style. In fact, these two sequences stand out like an oasis in a desert. The first, when Kay Kay turns Jaya Bachchan into a statue. The second, the train sequence. Awe-inspiring sequences!
Sameer Arya's cinematography is, quite surprisingly, inconsistent this time. The lighting is too dark at places. The production design is innovative.
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On the whole, DRONA lacks soul. At the box-office, the publicity blitzkrieg might ensure good returns in its opening 4-day weekend, but the cracks should start appearing sooner than expected, since the film fails to keep you hooked.
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