If Shah Rukh Khan can, so can Salman Khan. With what looks like a borrowed mask from Hrithik Roshan’s ‘Krrish’, Salman appears to take on SRK’s superhero ‘Ra.One’ act with Sajid Nadiawala’s directorial debut ‘Kick’. It might be rather late in the day, but it’s still a fight Salman is willing to take.
And, much like his Bollywood “rival”, his attempt also derides logic or reason, and relies entirely on his unabashed swagger and nothing else.
‘Kick’ is a vintage Salman-Khan movie, one that unapologetically glorifies his every move, muscle and mannerism. Whether it’s being masked and taking on the “devil”, or being smitten by an absolutely gorgeous Jacqueline Fernandez, he’s just “being Salman”.
He’s a man who will live in your heart, but one who can’t be comprehended, we are told, an essence that’s lost in translation but one that cleverly sums up the incoherent mess of a movie ‘Kick’ turns into.
‘Kick’ trails the life of a robust man, who is in search of a kick that will uplift his life. He’s a genius but one who can’t stick to a job because it doesn’t give him a… kick! And, when he’s not busy chasing a kick, he’s riding an unusual bike, helping friends elope, punishing the evil and the silent, or romancing his ladylove. It’s the sort of film where the title is repeated a million times over by multiple characters during the 150-minute-long-screen-time that it will eventually leave you with an undesirable kick!
This one’s reserved exclusively for Salman loyalists, who can whistle and applaud their hero’s antics but leaves nothing much for his non-fans. It’s unlike his amazingly clever ‘Dabangg’ that had surprisingly won over both sides.
Here, the spotlight rests entirely on the hunky star’s unabashed swagger, his chiseled body, his fun dance moves, his designer jackets and boots, his killer looks and his mushiness.
From numerous references to his aviator-shaded cop act in ‘Dabangg’ to his ‘Being Human’ charity initiative, to a glimpse of his ‘Maine Pyar Kiya’ days, there’s more about Salman than there’s to Devi Lal Singh/Devil. What’s missing, however, is his lucky Turquiose bracelet, which makes way for a silver accessory that’s got secular connotations on it.
At one point he’s a Johnny Bravo-styled cartoon, and his exceptional superpowers glorified but left unexplained, while at another he’s left playing Robinhood to a bunch of homeless kids.
Writers Sajid, Rajat Aroraa and Chetan Bhagat might’ve intended to write thrilling moments and push their beloved Khan into risky situations, but their efforts appear stretched and unimaginative. Ayananka Bose’s cinematography captures Delhi and Warsaw in magnificent frames and Anal Arasu’s actions are top-notch but, the writers are unable to spin it all together.
They randomly shove in multiple emotions and medical issues like cancer, compulsive disorders and amnesia without much thought. It does evoke laughs, although unintentionally.
Jacqueline, who makes her first appearance as a lead actress, is incredibly dazzling, and moves like a magic. Her raunchy moves interestingly bears an uncanny resemblance to Katrina’s ‘Dhoom3’ dance, but that’s just a happy coincidence we are sure.
Randeep Hooda and Nawazuddin Siddiqui are sincere in their efforts, but are unable to salvage their defectively written characters. One’s styled like Salman’s aviator-clad cop, who invests much of his time indulging in a war of words with his rival, while the other is left to squeak and shrill without much sense.
Among the supporting cast, it’s Sanjay Mishra who walks away with the biggest applause and most laughs, as the bewildered cop who is taunted by Devi’s inane tricks. There’s also Nawazuddin, who springs a surprise, with a killer joke during the final moments.
As the curtains roll down, we can’t help but notice how it requires a skillset of a different kind to watch Salman’s movies. If you don’t have it in you, please don’t venture out!