'Kesari Veer' Review: A war epic that ends in a loud, overstretched whimper

Kesari Veer (In Theatres)

Rating: 1.5/5 stars

Cast: Suniel Shetty, Vivek Oberoi, Sooraj Pancholi

Produced By: Rajen Chauhan, Heena Chauhan, Suhraj Chauhan and Ohm Chauhan

Directed By: Prince Dhiman

In the ever-expanding universe of historical dramas, Kesari Veer arrives with a thunderous war cry but quickly fizzles into a disjointed, headache-inducing mess. Directed by Prince Dhiman and co-directed by Kanubhai Chauhan, this 2-hour 41-minute saga aims to honour the valour of Veer Hamirji Gohil, a real-life Rajput warrior who defended the sacred Somnath Temple against the Tughlaq Empire. But what should have been a stirring tribute turns into a chaotic collision of bad writing, over-the-top acting, and laughable VFX.

The story, on paper, has all the ingredients of a powerful epic. A noble hero, Hamirji (played by Sooraj Pancholi), rises from a small kingdom to take on the might of a brutal empire. Alongside him stands Vegdaji (Suniel Shetty), the fierce Bhil leader, and the two unite their forces to stop the evil Zafar Khan (Vivek Oberoi) from desecrating their temple and land. Add to this a few emotional threads, a community's faith, and the fight for dharma, and the premise seems solid. But somewhere between the writing room and the editing table, Kesari Veer loses all sense of purpose and direction.

From the very first scene, things feel off. The film kicks off with a painfully stereotypical saviour moment – helpless women in chains, villainous men cackling with lust, and a slow-motion hero entry scene that screams style but has zero substance. It sets the tone for what's to come: a film that's more concerned with visual grandeur than storytelling.

VFX just did not VFXed

The execution is where the real cracks show. Dhiman's direction tries hard to imitate the grandiosity of Bhansali and the emotion of Kesari or Padmaavat, but ends up resembling an over-budget TV soap. The visuals – instead of evoking awe – come off cartoonish, thanks to laughable VFX that would look out of place even in a low-budget fantasy series. A waterfall here, a golden temple there, and a tiger an intern must have created are all drenched in CGI that fail to blend with reality.

Wait! Was it supposed to be a musical?

The writing, too, is staggeringly weak. The dialogues lack depth, the scenes stretch beyond patience, and the characters speak in slogans rather than emotions. The film tries to tap into nationalistic fervour, but its delivery is so loud, so one-dimensional, it borders on parody. There's no nuance, no inner conflict, no emotional hook – just an endless parade of chest-thumping monologues, dramatic screams, and slo-mo fight sequences that test your endurance more than they entertain.

And then come the songs – oh, the songs. Dropped in with no warning, no logic, and absolutely no emotional relevance, they hit you like ads interrupting your favourite show. Whether it's a romantic interlude in the middle of a battlefield or a dance number that seems to be preparing for Navratri, the music is overdone and out of place.

The Performances

Now let's talk performances. Sooraj Pancholi makes his return to the screen with a role that was clearly designed to project him as a heroic force. Unfortunately, he delivers with the charm and conviction of a wooden plank. His expressions rarely change, his body language is stiff, and his dialogue delivery lacks both energy and emotion. You can see him trying, but the results just don't land. Akanksha Sharma, in her debut role as Rajal, is no better. While she has a striking presence, the problem lies in how her character is styled and written. Sporting designer lehengas and blow-dried hair in the 14th century, she looks more like a fashion influencer than a warrior. Her chemistry with Sooraj is non-existent – it's like watching two cardboard cutouts go through the motions.

Vivek Oberoi, as Zafar Khan, brings some menace but unfortunately falls into the trap of mimicking past villains, especially Alauddin Khilji from Padmaavat, but without any of the depth. He ends up strutting around, screaming and sneering with cartoonish evil. Suniel Shetty, as Vegdaji, brings a bit of weight to the screen and tries to anchor the film in some kind of reality, but the material doesn't support him.

The emotional beats don't land. The action lacks stakes. The pacing drags on mercilessly. The final battle, meant to be the grand payoff, feels repetitive and uninspired as if cobbled together from better films.

The Verdict

Kesari Veer could have been an important film – a rare spotlight on a largely forgotten warrior. But instead, it becomes an exhausting attempt to ride the wave of nationalistic historical cinema without understanding what makes those films work. By the end, you're not left with inspiration or awe, just a dull ache from all the shouting and forced grandeur.