Aug 14, 2026 3:27pm IST
‘Awarapan 2’ Review: Emraan Hashmi Strikes The Right Chord, The Film Misses The Mark
Nostalgia is a powerful deceiver. While audiences look back at the original “Awarapan” with fond memories, the harsh reality is that it was never a great film. It initially succeeded purely on the back of a chart-busting soundtrack and Emraan Hashmi’s undeniable screen presence. Today, that same distorted, rose-tinted memory is driving the massive box-office opening for ”Awarapan 2,”
the sequel to the 2007 film “Awarapan,” produced by Vishesh Bhatt under the banner of Vishesh Films.
While this commercial success is a welcome boost for the film industry, the sequel fails to offer anything substantial, apart from recreating the world and bringing back Shivam Pandit. Beyond Hashmi’s trademark charisma, on-screen angst covered in a cloud of smoke and catchy tracks, the sequel has little to offer. But who’s to say that’s not enough to send the cash registers ringing? Let’s not underestimate the pull of sentimental love for a movie.
“Awarapan 2” is bogged down by a story that is outdated for 2026, lackluster direction, and unimpressive action. It needed a better supporting cast and better-written roles for them. Ten minutes into the film, Shivam Pandit (played by Emraan Hashmi) turns up at an orphanage in the middle of the night and is greeted with dialogue like, “Arre tum? Iss waqt?” You lose hope for any gems from the dialogue department after that.
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The costume team has a field day. Disha Patani (as Zara) dresses more like Julia Roberts in “Pretty Woman” before the makeover. Shabana Azmi’s (Nafisa) ensemble is borrowed from “Traitors” host Karan Johar’s closet. The baddie Zorawar (Puran Gabbi) dresses in formals, but the character acts rather casually whether he is bumping lines or bumping off his father.
The locations are great, but they were for cinematic moments rather than for authenticity. Case in point, the Interpol chap stopping a train, as calmly as hailing a cab to talk to Hashmi. And the funeral scene, with men in black walking in sync. The action scene that follows generates neither adrenaline nor interest. The torture scene in the cop station shows all kinds of atrocities, but no bruise or cut shows up on the lead actor.
A threadbare plot exists. A bad man who traffics children and drugs has three children and runs his empire from Thailand. Emraan lands up there in search of a little girl (Aaliya). The father is dead and the insane son inherits the kingdom. There are betrayals galore (“Traitors” flashback, again). One of the biggest drawbacks of the film is that there is a distinct mismatch in gravitas between the hero and his foe. villain. He is neither a Gabbar nor a Mogambo. Not even a Crime Master Go-Go. He just comes across as a mean boy who wants attention and enjoys gun-assembling contests.
The writing is heavily derivative and the referencing obvious. Be it closing the gate in the fight scene from “Coolie No 1,” or an altered Amitabh Bachchan dialogue from “Maut Bewafa Hai” (“Mukaddar Ka Sikander”). The buried Emraan emerging from under the salt grave like Sunny Deol in “Tridev.” Katrina Kaif’s cello from “Yuvvraaj” becomes a prop for Disha. The name Aaliyah is uttered so many times in the film, you want to compare it to Alia Bhatt’s repetitions of ‘Shiva’ in “Brahamastra.”
Director Nitin Kakkar possibly intended a high-octane thriller packed with major musical numbers and slick action, however, the film ultimately devolves into narrative inertia.
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