Avaliações de usuários

RISK Excellence of Indian cinema, only one song in the movie....

This is movie about underworld of India, the most powerful force behind most of the crime in India...

I will not give any spoilers in the review...but try justifying this underdog, when all the "nach gaana" movies are making money for no reason; this one is for serious cinema goers....

On the foot print of "Satya" "Sarkar" and many, many other brilliant movie (mostly few have been made that good), this one is a sure "must-see".

Vinod Khanna, made an excellent come back as an underworld Don "Khalid" lives in Thailand, Controlling Mumbai city for his criminal activity....

Randeep Hooda an honest "Smart" and emotional had tag-of-war with Khalid......

A very non-Indian ending will keep u guessing and couple of good twist that make movie worth watch.....

Directed by Vishram Sawant.....amazing cast mostly veteran's actors who really justify their characters from beginning to end.

I will give 8 out of 10.......enjoy....

If your a Vinod Khanaa fan than you must see it he is brilliant as he always been.

Vinod Khanna's comeback after long time. He surely is a intelligent actor and he does his best.

Each moment Vinod comes on screen he rules. The film isn't great but fine work of action and creepy type story.

What Ramu's camp tries each time works for only few times not every time.

Ramu's camp should make films that are not only underworld type. He has been taking a habit on making stupid movies.

Watch only if you like Randeep Hoda. Vinod Khanna is amazing thats what to watch nothing else.

Many tend to see that this is just another "run-of-the-mill" Hindi crime-drama/gangster, but I feel it ranks quite well, even high, within the pantheon: "Parinda" (1989) for example is considered "realist", but "Risk" is less melodramatic, including in the characterization, as Vinod Khanna as Khalid Bin Jamal offers a more understated performance than Nana Patekar as Anna, who could come across as loud. Vinod Khanna didn't need to be menacing to be a menace.

As for "Satya" (1999) I found that Ram Gopal Varma tended to over-stylize, emphasizing a bit too much on camera angles as well the background score that could take away attention from the frames.

I know the director has been a student of RGV and that his previous movie "D" (2005) concluded RGV's "gangster trilogy", but here Vishram Sawant exorcised all the RGVian influences in a way, at least the overbearing influences.

Among the other good points: a tight screenplay (no unnecessary character developments or subplots); the action is smooth; a good supporting cast, especially Yashpal Sharma as the "mad brother," who brings in all the gritty and even garish elements to the maximum, even to the hyperbole; and a lack of female characters, which ironically is a positive in this particular case.

The background music is a good companion, and the cinematography also enhances the movie's aesthetics. Towards the second end, there are some plans of Mumbai at night that are unparalleled.

Then the dialogues, hard-hitting but not overdone like we see in later movies such as "Once Upon a Time in Mumbaai" (2010) and "Shootout at Wadala" (2013), where they become a vanity enabler for the lead actor, who then pronounces "one-liners" with some hard-hitting BGM to appear "swag." Here, too, it's not melodramatic yet memorable (for example, Khalid Bin Jamal about "time and game").

The movie's greatest plus is probably Vinod Khanna's performance as the antagonist, it was his acting return after some 5 years I believe, and he played a Dawood Ibrahim-based Khalid Bin Jamal with perfection, not too understated (Ajay Devgan in "Company", 2002) nor too cliché (Rishi Kapoor in "D-Day", 2013), but nuanced and weighted, unparallel screen presence despite not much shouting and glaring.

Overall, a more than decent product that somehow goes under the radar.

It may seem long, over long, and it actually is, especially the dancing and musical sequences, but that's the way it is. I was reluctant, back in 2016, when I discovered the Indian crime flicks. This kind of cinema has its trademark, as the polizzotescos from Italy had theirs in the seventies. The Indian film industry, which I don't know at all, except those crime action movies, seem very overwhelming in terms of visual and emotional matters. It has violence, romance, tragedy and comedy. Here, there is the portrait of an underworld kingpin, as in any American, British or Italian film, but from the Indian angle, point of view. Despite the length, it's still good, but you have to be prepared to it.