Rating: 1/5
Director Milap Milan Zaveri gives you 3 John Abrahams in a film that wasn’t needed at all

There is a thing with cinematic patriotism. It evokes feelings only when it is presented sensibly in optimum measure. Clearly not like Satyamev Jayate 2, wherein you have forced in-your-face patriotism turned into jingoism in almost every scene, laced with high end ultra over the top dialogues with flowing cheese all over.

Watch the trailer here:


Satya Aazad (John Abraham) is a righteous state Home Minister. His twin brother Jay Aazad (John Abraham) is an eccentric policeman. To curb corruption, enters a vigilante killer settling accounts with all those gone astray. It is Jay’s duty to nab him, and the goverment has to support.


It is written by Zaveri himself. The problem is not quite with the story (although the story also isn’t a winner) but with utterly poor and nonsensical direction. This is not his debut film as a director and he’s clearly not an amateur. Why and how couldn’t he see such inherent faults with his direction? Leave him. Why couldn’t the producers, which involve biggies like Bhushan Kumar and Nikkhil Advani come to terms with the fact that they are indulging in something so childish, fake, and baseless? Leave everything aside. John Abraham, who’s been part of some really good projects in the past, consented to this one? Just because this was a franchise?

The film is an over exaggerated and pompous display that seems nowhere close to making sense. Display of extravagant power, a union of religions, good vs bad, extremely unreal action sequences, the tale of a messiah, a backstabber, the notion of Maayi Ke Lal-Dharti Maa-Kisaan aur uski aawaz-deshbhakti, the notion of politics and police working together (makers have attempted to make it a subplot, but doesn’t work at all)- form the meat of the film, that is by its very nature simply tasteless. It is actually laughable that at one point when the film makes both the lead actors a politician and a policeman, by which they want to say that young should bring about a change in the country by way of politics or police service, they actually make their characters break law and resort to unacceptable ways of punishment, which in their eyes is justified. Heights of irony.

satyamev jayate 2, hindi, film, review, 2021
Scenes from the film (image source: youtube.com)

The makers have not left any chance to make you cringe with the magnified portrayal of religions- Hinduism, Islam and Sikhism. With the loud background music playing in the backdrop significant to one particular religion to how the entire society reacts in one way, it is all very excruciating. If this was not all, the plot has one predictability factor that you know right from the first scene and the makers thought it would come as a twist. Infact, had the makers kept that angle simple and straight, it would have been a refreshing twist.

The second half lags and stretches so much that just 5mins into it, you wait for the film to end because you exactly know the climax and the eventual end. The scenes and situations created to describe what is wrong with the society and country are also age old and nothing new has been thought about that. While the film begins with the talk of corruption, it also reaches to a point where women safety is talked about. Good point- that it is shown to be related. The dialogues of the film are also one reason that you despise the film. Most of the times, they have been made to sound poetic keeping rhythm and rhyme in place. Far from reality, the film isn’t even the one fitting in the masala entertainer territory.


John Abraham, in all three avatars does almost a similar act. There is some attempt from his side to infuse humour in the younger brother’s role. However that is not something to notice in particular. This is a film that takes Abraham back few ventures. He had risen after Parmaanu or Batla House, but he will now have to choose films more wisely.

Divya Khosla Kumar looks pretty and that’s the only thing that comes naturally to her. For acting, she should enroll herself in some theatre workshops. She overacts in most portions, which by the way are very less in the film.

satyamev jayate 2, film, hindi, review, 2021
Director Milap Zaveri, John Abraham, Divya Khosla Kumar, and producer Nikkhil Advani on sets (image source: indiatoday.in)

Harsh Chhaya is just okay, also because he is capable of much more as an actor. Rajendra Gupta appears in a blink-and-you-miss role and so he is okay. Anup Soni also has a very small role without any graph. He is also okay. Gautami Kapoor has been purposely given a role that reminds you of cheesy Nirupa Roy of Amar Akbar Anthony, with a similar scene of blood donation. Yes, that’s how crazy the direction in 2021 is.


The songs are fine, majorly seeming to have inserted to elongate the runtime. The Jan Gan Mann song by B Praak is a soulful composition and you like the song in the film. Not its picturisation though. The score by Sanjoy Chowdhury is high on adrenaline, a good point for the action sequences.

Cinematography by Dudley is average, and nothing to shout about. Similar conventional tropes have been used of slow motions, low angles, and swift pans. When the content is low on energy, the camera can’t really lift it up. Priya Suhass as production designer has done a decent job, although the sets look artificial to a great extent. The colours used are nice giving visual richness, hence you are able to view the film as something commercially rooted.

Editing by Maahir Zaveri is reasonable, could be better in second half. Blames again go to poor writing and direction and the editor has tried to atleast achieve comprehension.

The film is let down completely by weak direction. There is hardly anything in the film that you would enjoy, except the end credits ofcourse.

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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