Madaari crumbles under its own lofty ideals and ambition. The slow pace makes the fall even more painful and enduring. And that it had two brilliant actors in Irrfan and Jimmy, who were grossly under-used, only adds to injury.

‘Madaari’ is certainly an eye-opener for those who want to be a part of social awakening in our society.

Madaari is not a film that will stay with you as you, in your day to day routine, succumb to the pressure and become part of the corruption that ails our system…

Madaari might be worth the price of a multiplex ticket solely for Irrfan’s flawless one-man show.

Kamat’s execution falters a bit though. He tries too hard to be ambiguous at times, when a simple storytelling could have been as effective. However, overall, his intent deserves an applause as Madaari shames the trend of rising apathy that is often misconstrued as resilience.

…as “Madaari” draws to its predictable conclusion, the only thing you are left wondering is how on earth did the nameless man get enough network coverage for him to watch videos unbuffered and upload them in the middle of nowhere? When that is the only thing bothering you in a film about social justice and the rotting political system, you know the message is lost.

For a film which makes a call for cleaning up the system, its last scene is rather off putting. Kamath’s second release of the year is better than his earlier effort, Rocky Handsome. Here the saving grace is Irrfan’s act. He truly is the Madaari here.

Madaari is a lost cause. The story in spite of having potential, fails at execution and thanks to its dramatic discourse, shifts away from its focus. I am going with a 2/5 for the film.

MADAARI comes across as a thriller which holds your attention only in parts. It lacks consistency and punch and will therefore appeal to a limited set of audience. At the box office, its business prospects will be limited.

There are certain moments in the first half of Madaari that are both powerful and subtle. Even though the second half barely manages to scrape through, this film on the broad and capable shoulders of Irrfan Khan manages to deliver the right punch. This Madaari will have your dormant nationalism and parental emotions dancing out with thundering effect. The message here is loud and clear.

Just like the wronged common man like Naseer in A WEDNESDAY, Nirmal (Irrfan Khan) in MADAARI could have being the man to please the intellectual plus attract the others with its emotional depth in what we say a film for the classes and masses but Nishikanth Kamat’s ‘system’ of delivering (read helming) made me ‘wrong’.

Irrfan Khan’s gentle presence elevates a middling film…

An eye for an eye to get the corrupt politicians to own up to their mistakes, is a great idea. And we don’t doubt that Irrfan Khan is able to carry the movie on his shoulders alone. But once you know the ‘eye for an eye’ motive, the thrill wears off and you labor through the how is he going to get caught by the police. It’s too long, too loud and too melodramatic. Watch only for Irrfan Khan.

‘Madaari’ is an absolute treat both for cine-goers and every citizen of India, who is concerned about his country.

Madaari was made with the noble intention of showcasing why the public needs to fight against the corrupt system. But somewhere, it gets lost in trying to be a suspense thriller. It’s not as good as Kamat’s Mumbai Meri Jaan or Drishyam, but is still the best Hindi film to watch this weekend.

Madaari may have its heart in the right place, but an average direction and flawed narrative let down the movie’s honest intentions.

The narrative is not entirely smooth, the direction is uneven, the screenplay flirts with unnecessary cleverness and a pre-interval ballad makes you groan. But Irrfan Khan’s soaring performance compensates for many of these niggles and leaves you thinking about the common man’s angst.

Madaari was engaging and touched upon some deep subjects such as corruption, the power of social media and public opinion, with alacrity.

It was quite apparent from the trailer that Madaari is quite predictable. But one does wait for an interesting twist to the tale. Mercifully, Kamat does try hard to tie the loose end. And he does manage to give a rather interesting climax but what has unfolded before he arrives to that conclusion is neither convincing nor engaging.

As vigilante solutions for a heavily mediatised environment go, Madaari is certainly a movie for our times. Shailja Kejriwal’s story and Ritesh Shah’s screenplay leave us in doubt about which side we are supposed to choose.

Irrfan Khan fans will go for Madaari regardless, but for the rest, it is a run-of-the-mill popcorn thriller, nothing more unfortunately.