Sikandar (Salman Khan) Aka Sanjay Rajkot Aka Raja Sir The king of Rajkot, who is the last of his name, is a ‘king’, from both dynasty and due to worship, he meets the people of Rajkot. He is the best hero with a golden heart – he gives land to his ‘subjects’, builds schools and hospitals.
And since it is Salman Khan, he also kills every goon who comes on his way with a straight face and sometimes blazing eyes. The people of Rajkot are not only those who are able to cover their devotion KingHe also has a lot of wife Caisari Rajkot (Rashmika Mandanna).
Their wedding is an interesting parallel for the film – or the film hopes that it manages to pull. Sanjay is not a great husband – he often neglects his wife for his work; While the lowly malicious is not malicious, this is a marriage where it has been given. And yet, due to some attractive performances of affection-a drone show, a song-and-dance sequence-does not complain. Instead, she secretly protects her from the shadow (this last part, I believe, is one of the most interesting aspects of her character). These over-the-top gestures are to hide flaws in the wedding and glamor wedding.
With the film, the intentions of the producers look the same-if they can patch enough cracks with a well-kept Salman action sequence, the audience will probably remember Blunders. For a while, it works, barely. You are able to put your eyes on the spectacle of all this-a Salman Khan, an attempt for the Messiah of the people, and the tested appeal is the action flick that does not expect anything from the audience.
Sometimes it is nice to sit in a theater, close your brain and simply enjoy the pixel, but this film is not just enough for him, attractive displays are just not distracting enough. Even both Khan and Mandanna do not manage to rebuild their previous appeal in themselves.
The makers are very much relying on the work of ‘Salman Charm’ and all are common elements-the slow-mo shots of their punches, the iconic bracelet dropped his wrist, the camera’s shera reverence for the actor focusing on it. But it just does not work.
A star is not made alone by charisma and screen appearance, script, film, sound has to do some work. In Sikander, They feel that they have taken a backseat, their feet up, relax, waiting for the actor’s star power so that they can do their work. In the absence of a strong script, there is no real character, no real arc.
When Sanjay is working with a tragedy, his grief decreases in some tear-shhed and a drink. He promises to change into a man, but neither is he written before him nor either sufficiently written for the desired effect.
and yet, all of this The worst problem of the film is not – you are probably, if you are a deadhard fan, still shake yourself and try to enjoy it. The worst thing about the film is that when it is convenient, it forgets her own arcs – like playing two parallel films instead of two parallel films.
The film opens with a sequence that introduces the opponent – the son of a politician descends into Sanjay’s crosshare. His father (one at least Satiraj) goes out to take revenge and brings a corrupt policeman (teenager) to do his dirty work. And if there is no threat to his life, the story establishes many people around him, which can cause damage, making him even more ‘weak’.
Three limbs enter transplant patients – Sanjay should protect him at all costs as he is protecting some parts of his late wife. The opponents come and go from the conspiracy – not enough to believe the audience, even for a second, that they can actually cause any loss.
Not a single help can, but surprise Who His wife played a role in his protection and if that role was left vacant, why should he not work hard to stay safe?
Even when they manage Sanjay as a terrorist, there is no real feeling of danger. This is Sanjay aka Alexander, he is going to recover perfectly. If you are counting, he was earlier facing an angry politician and his police sage.
He then becomes a savior in three lives-a young Qamruddin, whose slum is being unknowingly presented due to the greed of a real estate middleman and disregard for the lives of residents, there is Vaidi (Kajal Aggarwal), who can marry a person who can not work for him. The bent lover who cannot see the red flag waving in front of his eyes.
At this point, we feel why the film is waiting for bad people, so Khan can get through other scenes – authors can simply find no other logical way to tie all these threads together. All the above actors, and Sharman Joshi (who plays Sanjay’s side -to -side), do not actually perform any of his skills. And dialogues do not give them any favor-while some-liners work, others become flat.
There are times when some pieces of sets work – some initial action sequences seem more creative than those who follow. At one point, Khan seems to open the door of ‘hell’ – it is the kind of mindless fun you wanted to be more in the film. Some action sequences are well supported by the background score of Santosh Narayanan, but even loses their merit after a while.
There are some signs of pulp extra and mass appeal that you expect from this type of film but undo Alexander It is that despite some glow of simplicity, it does not really hold anything for a long time for an effect.
