“Jai Gangaajal” is another one of those countless police dramas Bollywood churned out in the 80s, with a gender role reversal that is cosmetic at best.

Jha, who has written the film, ends up giving the better role to himself and surprisingly carries it off too. His metamorphosis is somewhat abrupt But he makes you feel you’re watching an actual middle-aged cop struggling with a troubled conscience and desperately trying to set things right. Thankfully, Jha doesn’t go over the top, keeping it controlled.

…shoddily made movie, which is already overly loud, clunky, and at 158 minutes, overlong. Jha’s Kashyap-esque use of upbeat music during moments of action or violence fails miserably, as neither the visuals nor the music are appealing enough.

Jha, who had first made a hard-hitting action drama ‘Gangaajal’ in 2003, fails to inject any real meaning into his second part.

Another classic example of when a sequel fails to match up to its original.

Even Priyanka Chopra can’t save this film that reeks of token feminism…

Jai Gangaajal is a dull and unexciting film with an oft-repeated subject and one which gives the audience the feeling of having been cheated because it revolves around Prakash Jha instead of Priyanka Chopra. It will face rejection from the public and will, therefore, entail heavy losses to the investors.

This is a film that’s nominally against mob justice, but nevertheless includes a scene in which a small child is allowed to commit a dragged-out murder while a crowd of people cheer him on. Jha’s cinema has always been about broad strokes for simple folk, and Jai Gangaajal is no exception.

Exactly how I left the cinema hall. EXASPERATED!

BN Singh’s solutions are ultimately no different – and certainly less watchable – than the average vigilante flick. Singh ultimately emerges as a more serious and sorrowful Chulbul Pandey, and all Jai Gangaajal needed was a shirt-baring moment to complete the fantasy of justice delivered off the books and in slow motion.