Story: There’s one in every adoration story, says the slogan of Ek Villain, and the film strains each ligament to support it. The three primary characters — Guru the cold vagrant developed into a weapon toting goon, Aisha the pretty young lady occupied with ticking off things from a schedule, and Rakesh the hurting under-every day mortifications regular worker — ricochet off one another, bringing about a film soaked in schmaltzy sentiment and dreadful roughness.
Mohit Suri has a blessing for vivid characterisation, regardless of the fact that a few things are underlined a tad excessively. He additionally benefits a vocation with weaving high-octane minutes around his characters. So you don’t generally twig on to the plot’s hokeyness in any case, as Guru (Malhotra) experiences the jolly chatterbox Aisha (Kapoor), and the bleakness breaks up into delicate quality, and as Rakesh (Deshmukh) gets to be progressively mindful of his oppressed state starting with one day then onto the next. At that point start a spate of killings, and a race to the wicked completion.
Anyway soon you begin perceiving the wooliness of the story, which has more than a passing likeness to a Korean religion slasher film, as it weaves confusedly here and there and then here again in time, from the singing beaus to the shocking homicides. The tone gets conflicting. Ek Villain’s swinging in the middle of dramatization and drama is its shortcoming: the shares I became tied up with kept me fascinated, and after that I was back in those in which I couldn’t suspend incredulity. A cop says: “Usne usi jagaah panaah li hai jahaan usne gunaah kiya”: at a mushaira, even a policeman can turn beautiful, yet using similar sounding words, without giving it much thought, panaah and gunaah?
This was fine for the ’80s Bollywood, when dialog scholars lavished couplets upon cops and criminals and significant others, when legends backed off their punches for miscreants to recount their quip laden lines for our happiness. Anyway now the gadget resembles guile. Furthermore it detracts from the exhibitions in this film: separated from the leads, there is a libertine (KRK) shooting tips on the best way to “keep wives in control”. He is compelling enough for you to need to keep him far from all ladies.
Shraddha Kapoor is showing signs of improvement gradually, and has a few high focuses when the gathering of people giggles with her. Sidharth Malhotra is watchable regardless of the possibility that he has some major snags doing danger — he simply appears to be so decent and wholesome constantly, actually when he is crunching bones. It is Riteish Deshmukh who clears the stakes, his eyes dead and talking in the meantime. It is Riteish Deshmukh who sweeps the stakes, his eyes dead and speaking at the same time. Deshmukh has played second and third wheel in fourth rate comedies, and always managed.