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Balaji Motion Pictures and White Feather Films' Shootout At Wadala is doing brisk business at the box office and is estimated to earn Rs 10 crore all-India on its opening day. The film is doing outstanding business in some territories like Mumbai, Bihar and UP. As for screens, well, whereas actions flicks usually perform better at single-screens, this one is totting up great numbers at both single-screens as well as multiplexes. And with footfalls increasing with every successive show, tradewallah's expect the film to do outstanding business over the weekend as well.
On the other hand, Viacom 18 Motion Pictures and Flying Unicorn's film Bombay Talkies has put in an average performance, at best, and is expected to wrap its first day at Rs 2 crore.
In Mumbai, Rajesh Thandani of Multimedia Combines says, "Shootout At Wadala's business has increased with every show and, since evening, almost every show has been practically house full. In Mumbai, the film will earn Rs 2.5-3 crore and all-India, it is expected to earn Rs 10 crore. Bombay Talkies is not aimed at the mass audience and will garner a maximum Rs 2 crore, all-India, and Rs 75 lakh in Mumbai."
In Delhi-UP, Sanjay Ghai of Mukta Arts adds, "Shootout At Wadala is doing really well in UP vis--vis Delhi. It should earn Rs 1.15 crore in Delhi-UP and Rs 10 crore across India. Bombay Talkies is has done average business."
In East Punjab, Jaspal Dhingra of Nanaskar Enterprise tells the same story. "Shootout At Wadala, which picked up as the day wore on, will reel in around Rs 55 lakh in East Punjab. But Bombay Talkies is nothing to shout about. It's for the critics, not the masses."
In West Bengal, Debashish Dey of Aum Moviez adds that the reports of Shootout At Wadala are average and the film is expected to earn Rs 35 lakh in the circuit. "Bombay Talkies is for a niche audience."
In Rajasthan, Gaurav Gaur of O'Real Imagination adds, "In Rajasthan, Shootout At Wadala is doing average business since action films don't do very well in our territory. Here, it's Aashiqui 2 that is still running to packed houses. Shootout At Wadala will earn Rs 45 lakh here but I doubt Bombay Talkies will fetch even Rs 10 lakh."
In Mysore, B H Basha of Bahar Enterprises concludes, "Shootout At Wadala is doing very well here and its collections are increasing with every show. The movie should do business of Rs 35 lakh in Mysore as the reports of the film are good. Bombay Talkies, on the other hand, may earn Rs 10 lakh."
Cast: John Abraham, Anil Kapoor, Manoj Bajpayee
Director: Sanjay Gupta
Rating: Three stars
Aha there goes the camera, ogling at the ample assets of Ms Sunny Leone. Then there's Priyanka Chopra, all blingy with micro-light-bulbs a la Amitabh Bachchan in 'Yaarana'. And the third item gal, Sophie Choudhary, breaks into a boogie, which is about as exciting as a punctured tyre.
But then what would entertainment be without dollops of vulgarity? And of course do be prepared for unchecked violence since the Sanjay Gupta-helmed 'Shootout at Wadala' is a gangsta flick, no bullet showers and brain-poundings barred.
That's the predictable news about this return to Mumbai's meanest streets, circa the late 1970s and '80s, when underworld warfare had assumed Leviathan proportions. And the startling news is director Gupta's retro-gangs-of-Wadalapur is pretty strong stuff, extremely involving in parts and belted out with an astonishing amount of technical flourish.
Indeed, the first-half holds you in a vice-like grip literally. The attention paid to the details of another era is impressive, be it in the recreation of the tense atmophere of in the mohallas, a stately police force chamber ridden with hidden agendas, the authentic costumes and the set dcor. The behind-the-scenes production design team deserves an unconditional applause. Ditto Anil Mohile's background music score, which modernises the clatter and trumpet blasts of the Amitabh Bachchan vendetta slugouts of yore.
Advertent references to Bachchan's odes to violence are employed by the director to point out that the antsy young man phenomenon, indeed, led to impressionable minds being heavily influenced by the characters he portrayed in 'Zanjeer', 'Muqaddar ka Sikandar', 'Deewar' – in which grabbing the law in one's hands appeared to be the only means to gain justice.
A bold point is made on the impact of such an ideology, but it's left dangling in the air. It's touched upon, never explicated. But naturally, the overriding concentration is on zeroing in on stranger-than-fiction elements from journalist Hussain Zaidi's book 'From Dongri to Dubai'. The adaptation, at moments, has an almost reportorial quality about it, reassembled in a coherent, credible structure. For once, Sanjay Gupta doesn't go crazy with jump-cuts and flashmatazz. Instead he narrates a story with a terrific opening, a sagging middle (alas) and redeemingly, an end which for once doesn't cackle that crime doesn't pay. It does.
Besides a jaguar pace, the enterprise banks considerably on its central character, Manya Surve (John Abraham), an innocent soul driven by circumstances to crime of the most despicable kind. After a jail-break, bank robberies and more, he sets up a gang of deadly derelicts (Tusshar Kapoor and assorted scruffies) to oppose the ruling mafia – names altered, but not without hints that the reference is to the D-company.
Surve's ascent to ill-fame is rapid but unstrategised, leading to bloodbaths in venues ranging from butcher shops (ouch) and seedy hotels to hair-cutting salons and petrol pumps. Meanwhile Surve toughens to the extent of avoiding his mother completely, and roughing up his relationship with the love of his life (Kangana Ranaut, the ever-ready kissing machine). Not much of a plot here. Instead, the accent is on the cat-'n'-mouse game waged by Surve's gang with the rival dons as well as the police force, spearheaded by a cop (Anil Kapoor) – an idealist plays by the book at a point when unlawful encounters had become as common as viral fever.
The screenplay's mid-section is the snafu, really. The business about the cop and Surve ping-ponging between flashbacks, in a police van, merely adds to the excessive footage of two-and-a-half hours. Also going by the commercial matrix, there are too many songs, one coming back-to-back after the gang has been warbling at the top of their lungs on the streets. Plausibility is taxed, too, with such flaws as Surve not even knowing that he has passed his graduation exams till he is informed weeks and months later. Plus the cop sprints to rescue his son from a bomb although an instant phone call to the school authorities would have been saner. Presumably that's dramatic licence for whipping up some faux thrills and spills.
Moreoever, a rape sequence is needlessy graphic. And the dialogue is bombastically rhetorical throughout.
Despite such off-putting factor galore, 'Shootout at Wadala' is still sufficiently grippring and endowed with visceral energy. The cinematagraphy, enhanced by digital colouring, achieves an extraordinary retro-ambience.
Of the cast, Manoj Bajpai handicapped by an underdeveloped role, still manages to vault over the script. As a brash, cocksure gangster, he's first-rate. Anil Kapoor is reliably top class, adding intensity and a crazed fervour to the characterisation of a cop forced to bend the rules by his superiors.
Quite naturally, with what is called an author-backed role, John Abraham dominates the show, both with his melting-eye language and Sylvester Stallone physique. Manya Surve is said to have been a small-built man, but then movie heroes can't be shorn of the glamour quotient, can they? This is not to take away from Abraham's tour de force performance though. He's a revelation, and has reached the next level as an actor.
Gratifyingly, Sanjay Gupta doesn't glorify Manya Surve. He is presented as someone whose life spiralled out of control, more of a doomed figure than a wonder hero. And that's what makes 'Shootout at Wadala', quite a few cuts above the commonplace. It's worth an encounter for sure.
Originally posted by: DB_reloaded
10cr 1st day its a gr8 achievement👏👏
Cast: John Abraham, Kangana Ranaut, Anil Kapoor, Tushaar Kapoor
Director: Sanjay Gupta
A gangster runs into a police station, both his arms lopped off by a rival wielding a butcher's knife. Another goon is held down as his skull is pushed through an ice-crusher. A third, tied to a chair, is run over by a speeding car in reverse. The brutality is relentless in Sanjay Gupta's 'Shootout at Wadala', a saga about the rise and fall of dreaded Mumbai gangster Manya Surve (John Abraham) in the 1970s, and his subsequent death in 1982 in what was reportedly the first police encounter.
\'Shootout at Wadala\' is a potpourri of stomach-churning slashing and shooting, writhing item girls, and lewd dialogue.
Based on a chapter in S Hussain Zaidi's book 'From Dongri To Dubai', the film nevertheless conveniently insists that it be viewed "as a hybrid between fact and fiction". This means that while the story is rooted in Manya Surve's journey from an innocent, bright college student to one of the city's most powerful mafia dons, 'Shootout at Wadala' is a potpourri of stomach-churning slashing and shooting, writhing item girls, and lewd dialogue. In fact, Gupta infuses so much violence and sex into this tale that it hits the G-Spot - and by this, I mean, gratuitous. The director has no qualms pandering to the lowest common denominator; inserting item songs at will, peppering his actors' lines with cusswords, filming bump-and-grind lovemaking sequences, and even throwing in a titillatingly-shot rape scene.
The film ostensibly follows Manya in a story as old as time itself - a boy is framed by the cops, he befriends a thug (Tusshar Kapoor) in prison, and escapes a hardened criminal. Manya decides to stand up to the Haksar dons, brothers Zubair (Manoj Bajpai) and Dilawar (Sonu Sood), and form his own gang. Meanwhile, the cops, led by the dedicated Aafaque Bagraan (Anil Kapoor) and his team (Ronit Roy and Mahesh Manjrekar), try to contain the gang wars by pitting one against the other. Manya's biggest weakness is predictably his girl, college sweetheart Vidya (Kangna Ranaut), who is repelled by his line of work but can't give him up for good.
While the songs are nothing to write home about, 'Shootout at Wadala' has some trademark Gupta flourishes in the sepia-soaked camerawork, slow-mo action sequences and slick editing. The problem, unfortunately, is that there is barely any semblance of storytelling here. Scenes of visceral violence between the gangs are strung together, interrupted only by Milap Zaveri's clap-trap lines. It all feels empty beyond a point because none of the characters are developed enough for you to care about them.
John Abraham pours everything he's got into the author-backed role, using his eyes and his voice as much as his vein-popping physicality, in his effort to humanise Manya. Kangna, sobbing and nagging most of the time, reduces her character to a mawkish caricature. Anil Kapoor plays it straight as the cop on a mission, while Manoj Bajpayee and Sonu Sood get a few moments to make an impression.
'Shootout at Wadala' revels in its violence, yet sadly all the bloodshed leaves you unaffected and cold. I'm going with two out of five.
Rating: 2/5
Film: Shootout At Wadala; Starring: Anil Kapoor, John Abraham, Tusshar Kapoor, Kangna Ranaut, Sonu Sood, Manoj Bajpai, Ronit Roy; Directed by Sanjay Gupta; Rating: ***
"Babli badmash hai", sings Priyanka Chopra in one of the 3 utterly wasted item numbers in this film about blazing guns, flaring nostrils, sanguinary revenge and bleak atonement.
Babli is not the only one who's a badmaash here. The characters are all hardened players of the underworld from the 1970s. They all mean business in the business of being mean.
They sport the right clothes dialogues and attitude.
Yes, the detailing is deft.
Wordsmith Milap Zaveri, who is the real hero hero of this film about fascist solutions to the conundrum of urban chaos, pulls out all stops to spread out an orgy of rhetorics and rhetorics all across the narrative.
Everyone speaks as if they are reading out a copywriter's wisdom from billboards and hoardings. Everyone is a smart ass in this film.
Take a character with an unmentionable name, played with energetic fervour by debutant Siddhant Kapoor. At some point in the trigger-happy proceedings he explains why if he was Shah Jahan he would have built the Qutub Minar instead of the Taj Mahal.
"Because it's so old and yet it stands so erect!"
Ahem. Here's to the celebration of phallic freedom. The men in Sanjay Gupta's film are actually boys who never grew up. They fight, scream, throw tantrums and draw blood when all fails. These are attention-seekers whose moms should have delivered solid spankings during their childhood.
This is director Sanjay Gupta's return to direction after a longish hiatus. He is in a tearing hurry to sweep us into the vortex of his violent kingdom.
Mumbai as seen through Gupta's expertly sketched images, is a kingdom of the damned. Men pull put guns and knives as the background music (by Amar Mohile) settles scores. Tempers run high. The body-count matches the exacerbated emotions.
To his credit, Gupta knows this world of internecine wars as minutely as Coppola knew his Sicily. The mood in the cat-and-mouse game is forever defiant and belligerent.
There's no room for dull moments in Gupta's storytelling. The cat and-mouse game tends to get breathless but never wheezy even when characters such as the one played by Manoj Bajpai splutter to a gruesome end.
Gupta keeps a firm grip on the proceedings on his out-of-control characters, all played by actors who understand the close link between oppression and violence.
"Shootout At Wadala" reminded me of two recent films – Karan Malhotra's "Agneepath" and Anurag Kashyap's "Gangs Of Wasseypur" where the law of the lawless prevails.
Sameer Arya's camera and specially Sabu Cyril's art work (which blends bloody reds with nostalgic sepias) recreate an era of fathomless violence.
A great deal of thought has gone into creating a mood of anarchy. Every frame is saturated with colours and atmospherics. Almost every frame and dialogue is darkly underlined and emphatically italicized. There is no room for thought, let alone silence, in the narration. And why should there be, when the characters pull out their guns faster than John Wayne and Clint Eastwood did in the Wild West?
The performances reflect the absence of a moral equilibrium in the lives of the characters. While Anil Kapoor makes his 'encounter cop' a combination of the quirky and the kinetic, John Abraham in the author-backed central role tries very hard to remain in character. Going shirtless on a BEST bus in the bustle of Mumbai in the early 1970s is perhaps his idea of being in character. Wonder what the real Manya Surve would think of being in a body that unmistakably belongs to another millennium!
While Anil Kapoor and John Abraham in the central parts succeed in building an atmosphere of clenched crisis that threatens to blow apart their lives any minute, Sonu Sood, Manoj Bajpai and Ronit Roy shine in briefer roles.
As usual Gupta invests a lot of time and attention to the images of violence. Shootouts and flare-ups in various public spots of Mumbai are shot with the arresting impunity of a storyteller who is profoundly fascinated by the violence that underscores suburban life.
Except for Manya Surve's anxious and physical love interest (played by Kangna who looks annoyed throughout as though she wasn't happy being in her character's space), we hardly ever see the characters in their domestic space.
Do these killers and cops ever sleep? "Shootout At Wadala" is a bludgeoning saga of bloodshed, vendetta and ricocheting nemesis peppered with picturesque dialogues and episodes of frenetic aggression.
This is Gupta's big-ticket comeback. The sound and fury certainly signify something significant in the history of gangsterism in our cinema.
Originally posted by: VictorLordJr
Has John Abraham arrived after 10 years finally 😉 😉
This will shocking first 100 crore film with no khan/Kapoor/roshan/Kumar/devgan/Bachchan
https://www.indiaforums.com/article/kapil-sharma-receives-warning-from-lawrence-bishnoi-gang-after-second-shooting-incident-at-his-cafe_225803
https://x.com/UmairSandu/status/1962932305451716881
https://www.indiaforums.com/article/inspector-zende-review-a-retro-chase-filled-with-comedy-chaos-and-manoj-bajpayees-quirks_226785
https://x.com/vivekagnihotri/status/1946940660067803443...
Has any one seen this movie...
Kyunki Saas Bhi Kabhi Bahu Thi 2
Mannat Har Khushi Paane Ki
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