Just about everything about Tevar is outdated and above everything else, it is the story. A good guy saving the heroine who is on the run from goons is so passé making you wonder why on earth this film was made in the first place. It is a big budget production and considerable money has been blown on lavish décor. In fact the electricity used to light up the sets itself could easily finance a couple of Indie films.

Take 100 grams of Arnold Schwarzenegger and mix it with 75 grams of Sylvester Stallone. Sprinkle Salman Khan as per your taste and you’ll find yourself staring at Ghanshyam aka Pintu (Arjun Kapoor). This is what the protagonist of Tevar thinks of himself.

It can be considered as a positive – that a film is very aware that it is not trying very hard to tell a story as much as it wants to show some action and that is pretty much its purpose. It doesn’t quite work for me though. Tevar is one of those. Those who want to like it, will enjoy it come what may. Others can fret and fume all they like.

Of course there are loopholes and creative licence is exploited but it is good fun on the run till it enters its final lap. After experimenting with the template, Amit suddenly runs out of ideas and decides to sum it up in conventional fashion.

It’ll be interesting to see whether the audiences lap up this exotic piece of rubbish that Sharma has dished up to them, packaged as it is in big-budget fanciness. If they do, then clearly the pundits who go on and on about a new era have it all wrong. You can take India out of the ’80s, but you can’t take the ’80s out of India.

Even under the garb of ‘commercial masala’, the fight scenes are dull, the stunts look clumsy and the comedy is so awful that it makes you want to suddenly get off your seat, run towards the cinema screen and smash your face against it.

Tevar has less-than-ordinary merits and will, therefore, not do anything substantial at the box-office. Its lovely music and abundant action are its plus points whereas a dated subject and painfully slow pace are its minus points. Business in multiplexes will be shockingly poor. Losing.

Tevar has too little attitude and lesser in the name of entertainment.

The film becomes a watch because of it’s power packed dialogues written by Shantanu Shrivastava. If given a choice between friends and family, we suggest you go with your friends to watch this flick. Tevar is a one time watch.

Tevar is all about the onscreen attitude of its leading man. Arjun’s done a decent job, but sadly the director chose the most worn out story in cinema. If it’s old and common it can’t be too exciting.

Unless watching Raj Babbar’s most restrained performance since forever is enough to dole out the price of admission, I’d recommend you grab a copy of Okkadu. Even without subtitles you’ll find it way more engaging.

Bring on the yawns! It does seem that South Indian cinema has moved on and is exploring some wildly interesting stories, while Bollywood is perplexingly keen on retracting steps. This has to stop. Let’s hope this is not a sign of things to come in 2015.

The predictability of narrative extends to the action sequences as well. By the end of the film, one can literally predict the next punch or kick in the highly stylized action sequences. Pintoo’s motivations to save Radhika are never established in the two hours forty minutes and what we are left with is a highly generic Johnny Bravo type hero and a villain who vows not to put his pants on till he finds the girl. Ofcourse ‘Tevar’ has every ingredient a Bollywood masala film requires but it is heavily marred by its predictability.

The only thing worse than the fact that Tevar is so long is that you’ve seen all of this many times before. I came away with a throbbing headache.

TEVAR is your average Bollywood masala movie which lacks imagination. The film runs on a thin plot on an accidental rivalry between Mathura ka goonda and Agra ka launda.

Packed with loads of action sequences, the film is a delight not just for action freaks but for Arjun’s fans too. The actor, who looks quite confident and mature when it comes to acting, also displays a starry aura, in the film.

This one is a one-time watch. For all those who love Bollywood and its over the top romantic-action drama films, Tevar is exactly that. After the long gap of PK, this film will be a fresh, no-brainer that will be good as a weekend watch for all cine-goers. Although for all those who have seen the south version Okkadu starring Mahesh Babu, well this may not exactly go beyond that.

If you’re an Arjun Kapoor fan and want to see him in Salman’s shoes, Tevar is for you!

While the original got registers jingling down South, the Hindi version too isn’t bad at all. It’s a typical Bollywood masala film which has all the ingredients to entertain you – naach-gaana, romance, action and comedy! So if you’re planning to watch Tevar this weekend, it wouldn’t be a bad idea. And if you are a Arjun Kapoor fan then I think you shouldn’t miss this one at least for him!

We have seen a lot of northern India and heard the dialect which strikes a hit note with the audiences, recently. Still, when you open your eyes to the world of Arjun Kapoor aka Pintoo in ‘Tevar’, there is something you feel for Agra and Mathura.

This is a love story where most of the playing-time is devoted to the protagonists locked in a scuffle of the most physical and violent kind. And yet, there is a core of tenderness in the film manifested in Sonakshi Sinha’s melting pleading eyes as she makes a run away from the city’s arch-goon Gajender Singh (Manoj Bajpai, bang-on ) who has taken a shine to her.

Tevar emerges an overdone, underwhelming film with zero charm…Stay away.

It is Manoj Bajpayee who brings ‘asli dum’ to this utterly predictable, loud, done-to-death ‘Violent Love Story’. He’s done all of this before—the leering, the jeering, the dialogue delivery– but he does it with full zest. I wouldn’t like to meet his character coming down a dark street.

Tevar is somewhat tolerable only as long as Bajpayee is on the screen, or when Raj Babbar, as the hero’s police officer-father, and Subrat Dutta, as the villain’s principal henchman, are allowed to do their bit.

That apart, the only meaningful attitude (tevar ) that is visible in Tevar is inevitably exuded by the Taj Mahal framed impressively by cinematographer Laxman Utekar.

Amit Sharma’s remake of the Telugu hit Okkadu (2003) comes too late to Bollywood. Times have changed and so have Bollywood movies. The era of small town politicians and goon films is almost over.
Sadly the year starts with a disappointing film. The good thing however is that the quality of films can only go up from here.

‘Tevar’ starts with a handicap. This remake of a 2003 Telugu film, ‘Okkudu’, has a jaded, well-worn story that’s been repeated several times over.
Watch it if you miss those old ’80s masala no-brainers, or if you are an Arjun Kapoor fan.

Apart from its one-line plot, Tevar doesn’t offer much in terms of story. Sharma’s treatment of a much-flogged genre and subject are no different than many others before him. Instead of choosing to be economical about his narrative, Sharma adds too many distractions, and thus dilutes the limited effectiveness of this genre. If only he had managed to tell his story quickly and effectively, Tevar wouldn’t have been as excruciating and tiresome.

TEVAR is a stylised masala entertainer that’ll give you enough reasons to have a good time in the cinema hall. Yes, the story doesn’t have anything new to offer, but the wonderful performances, energetic music score, stupendous action and the fact that it’s a clean entertainer makes it a fun watch. TEVAR is worth your time. Go for it.

Had director Sharma tweeked the storyline and injected charm and passion into it, it might’ve turned things around. It’s unfortunate, he didn’t.

Although, the movie is a remake and is seen by many in both Telugu and Tamil, Tevar is just Tevariffic and you will ENJOY it!!

All in all Tevar is a well executed masala flick minus any Bollwood’s cliché elements. This over 140-minutes drama won’t disappoint you.

Tevar, ironically, lacks attitude and spunk. Watch it only for Manoj Bajpayee.

Actress Sinha does her familiar routine of looking feisty, forlorn and furious. This song-dance-action formula that dominates Tevar has been regurgitated at least a few dozen times in Bollywood films, and therefore it’s difficult to savour here. Enter at your own risk.

Amit Sharma’s Tevar, a remake of the Telugu hit Okkadu (2003), is over-a-decade-old wine served on a larger canvas.
Amit makes a smooth progression from 30-second commercials to a 159-minute-long film. His penchant for colours, the right use of the Taj Mahal (as a monument of love), his finesse in presenting the real locations indicate his adroitness in filmmaking.