Rating: 3.5/5
Director Ahmed Khan seems to be creating a universe for Tiger Shroff with what he is known for

Trailers gave you a direction. The film is exactly how you would have thought it to be. Nothing less, nothing more. While it works for the leading man, you will now start to question if he should do something else. Isn’t he getting too repetitive? Yes, he is. But as long as fans are hooting for him, it works. Baaghi 3 is an extension to Tiger’s alpha male persona already created in earlier outings. He is some sort of a demi-god where no bullet can ever hit him. That’s your quintessential hero.

baaghi3, hindi, film, review, 2020
Tiger Shroff, Producer Sajid Nadiadwala, Director Ahmed Khan on sets (image source: koimoi.com)

It’s a story of two brothers. Vikram (Riteish Deshmukh) and his younger one Ronnie (Tiger Shroff). Right since childhood, Vikram is a little frightened in nature. Physically and mentally weak. He needs Ronnie to take care of him, which Ronnie does with grace. The moment Vikram is in slightest of the trouble, Ronnie loses it all. As chance would have it, Vikram joins police. But even here, it’s Ronnie who fights the goons bringing accolades to Vikram. Things take a vicious turn when a kidnapping racket unfolds in Syria.


Sajid Nadiadwala has penned the story and the screenplay is written by Farhad Samji. First and foremost, it’s not a great story. Similar to the earlier ones. But then, for a film of such genre, you don’t care for one in the first place. The film scores on what it should- masala, over the top high octane action, and overflowing heroism. The film also pays a tribute to Tiger’s earlier films through some specific dialogues of Baaghi and even Heropanti.

If entertainment is considered, the film here wins at all levels. Right from the time when the characters are established to how the premise progresses, there isn’t a dull point. The pace is consistent with standard narrative making you connect to the drama. Although it takes too long to reach to the main focus of the story, writers incorporate masala elements to cheer you up. By their very nature, the things are dramatic, superfluous, and over the top. But that’s the very design of the film.

baaghi3, review, film, hindi, 2020
On sets of the film (image source: filmibeat.com)

While the first half is no less in establishing Tiger as some invulnerable hunk, the second half paints his image of a super hero when he actually starts fighting against one whole nation. The climax is too fake. Miles away from being logical. That’s how it is. But then there is a small twist in this exaggerated heroism.

Why Syria is opted as the setting is not only questionable but also ridiculous to say. Your hero should have blasted a developed strong nation if the film is projected at such scale. Syria already is troubled and cutting it off from the world map (as the hero says it) doesn’t make much sense. Also, taking it to this level for one’s brother is also too much to ask for. The cause could be bigger.


Tiger Shroff is good, just as he always is. Nothing more than that. You’ve seen him like this. So it’s not even new. He pulls off the action man avatar as well as the innocent boy image with equal conviction and sincerity.

Shraddha Kapoor is also okay, just like all her previous outings. She doesn’t come across as someone you would root for. She looks beautiful and does fine though. Her character is loud and she does have her moments.

Riteish Deshmukh has performed ably. He has shades in his role. And he packs strength well. Infact, a lot of excitement in the first half comes from him. Clearly he reminds you of Suniel Shetty in Gopi Kishan when he was idiotic. Deshmukh keeps the entertainment value high, because he is so stupid in his mannerisms.

Ankita Lokhande has a brief role but she exudes charm and warmth in the limited time she’s been allotted.

baaghi3, film, hindi, review, 2020
On sets of the film (image source: timesofindia.com)

Jaydeep Ahlawat acts well. But definitely underutilized. He is capable of so much more. Vijar Varma only appears in the second half, leaving a mark. But even he hasn’t been given a role he can be proud of.

Virendra Saxena and Shifuji have done reasonably fine. Nothing great. Jackie Shroff has a very small guest appearance, and he is just okay.

Jameel Khoury as the chief villain is scary and dreadful. Good act.


Songs are just okay, acting as unnecessary breathers. The score by Julius Packiam is loud and thumping, mostly overloaded with heroism, working well for the definitions of the film. A lot of the entertainment layers comes from good background score.

Cinematography by S Krishnan Ravichandran is correctly suited to the feel of the film. The colours given especially to the parts shot in Syria are beautiful. Production design here by Manini Mishra is also commendable for making such elaborate sets. They are dramatic and bright, suiting the position of the film.

Editing by Rameshwar Bhagat is reasonably good. Sharp, as much as it could get. The film doesn’t have a dull moment and that’s the best part. You are constantly entertained throughout.

If at all you are going to the theatres that you just have to speak against the film citing the absence of a plausible plot, do yourself a favour- do not go for this one. Barring the viability of the premise, what is offered is visually enticing, gripping, and exciting. The film gives Tiger’s fans enough chances to clap and whistle. Even if you aren’t a fan, you’ll enjoy what’s on offer. And that’s a win for the film, isn’t it?

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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