Here’s what the critics are saying about Dhadak, starring Jahnvhi Kapoor, Ishaan Khattar, Ashutosh Rana, Aditya Kumar and Kharaj Mukherjee.
Rating: 2 Stars (out of 5)
Janhvi Kapoor And Ishaan Khatter Can’t Enliven Comatose Film
In the original film, an air of dread and despair hangs over the young couple as they try to come to terms with their new life in Hyderabad. Dhadak’s many ill-advised detours – narrative, ideational and locational – take the focus away from the plight of the lovers who are never out of harm’s way even when they find what appears to be a safe haven a thousand miles away from home.
The Indian Express
Rating: 1.5 Stars (out of 5)
The Janhvi Kapoor starrer has neither requisite drama nor authenticity
Barring a few patches, Dhadak has neither requisite drama nor authenticity. It underlines all its scenes with blaring background music, to tell us how to feel. It doesn’t work, not as an official copy of Sairat, nor as a standalone Bollywood romance. There is, I’m afraid, no ‘dhak dhak’ in this Dhadak.
Janhvi Kapoor, Ishaan Khatter film is refreshing but weak
Shashank Khaitan’s film has gloss and brightness. Vishnu Rao’s postcard images in Dhadak are soothing, charming and in sync with Dharma Productions’ popular perception. Janhvi’s accent aside, she has been beautifully presented. It seems like a very urban view at times, but then Janhvi and Ishaan were probably misfits for a rural setting.
A not so conventional love story that sends chills in the END
In a bid to be different from the original, this sugary confection which turns morbid only towards the end is very carefully carved, so much so that it turns quite bland (well, just at times). The pan-India audiences have been kept in mind, because a story of this sort hasn’t really seen the light of day for eons now especially in the mainstream Bollywood repertoire.
Heart of the original lost in the remake
In their ups and downs, Kapoor and Khatter are visibly comfortable with each other but as individual actors, they dodder. Even though they embody ordinary characters and are fresh faces, one can’t help but look at them as celebrities rather than actors — already. As for the aesthetics — which appears to be a priority — the film does have cinematic flair, but with a passionless and exotic gaze. The music finds its origins in Sairat, barring Dhadak’s title track, which manages to stand out, both in impact and picturisation. Despite a heavy focus on the visuals, there’s frequent brand placement, which you would least expect from a Dharma production, with a lavish budget at disposal. But the brands floating on the screen are a good reminder of how a studio takes a piece of art and turns it into business.