O Romeo Review: Shahid Kapoor-Vishal Bhardwaj's Tedious Film Will Bore You To Death

RATING - ⭐ ⭐ 2/5*

O Romeo Review MovieTalkies:

When Shahid Kapoor and Vishal Bhardwaj collaborate, expectations automatically shoot up. After delivering powerful films like Kaminey and Haider, the duo set a high benchmark for intense, layered storytelling. Even though Rangoon failed to fully impress, there was still hope that their fourth outing, O Romeo, would bring them back to form. Unfortunately, it does quite the opposite. If anything, it balances the scale in the wrong direction. Stretching a film to nearly three hours is not a crime. Many long films have justified their runtime with strong writing and gripping storytelling. But it becomes a serious problem when there simply isn’t enough material to sustain the narrative. O Romeo suffers exactly there. It is overlong, tedious, and painfully boring. By the time the interval arrives, you feel like you have already watched a full film. By the time it finally ends, it feels as though you’ve endured a second one. Logic repeatedly dies in Bhardwaj’s directorial venture. Characters who appear dead return with a dramatic expression labeled “Miracle!” A man survives a bullet shot right in the center of his neck. Really? Is this truly a Vishal Bhardwaj film, or has someone completely diluted his sensibilities? The screenplay leaves you questioning not just the characters but the filmmaker’s judgment.

O Romeo Story:

The story revolves around Ustara (Shahid Kapoor), a brutal contract killer who dominates his territory with ruthless efficiency. Inspector Khan, played by Nana Patekar, uses Ustara for undercover missions. However, their arrangement begins to crumble when Ustara falls in love with Afasan (Triptii Dimri), a widow seeking revenge against the men who murdered her husband. Jalal (Avinash Tiwary) is the crime lord and the primary target, while Ustara himself becomes a marked man. As Afasan demands vengeance and love complicates loyalties, Ustara finds himself caught between Khan and Afasan. The central question remains: will they manage to reach Jalal’s neck, or will emotions derail the mission?

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The core problem lies in the screenplay and pacing. Rangoon suffered from similar issues, but here the flaws are magnified because the film isn’t even rooted in historical events or realism. The romantic angle soon overshadows the gangster premise. What begins as a gritty crime drama gradually transforms into a melodramatic love story. The most brutal gangster in the area suddenly becomes emotionally fragile in the second half. A crybaby, actually! A character portrayed as characterless and a womanizer somehow becomes the object of unwavering love for a widow. The transformation feels forced and unearned.

As Farida Jalal’s character sharply remarks, “Ishq me tarr jaye to Romeo, marr jaye to chuttiya…” The line attempts to justify the protagonist’s emotional downfall, but it only highlights the confusion in character development. To compensate, the writers insert a typical happy ending that feels miles away from logic. The resolution is convenient, predictable, and ultimately hollow. The narrative’s senselessness reminds me of some previous films backed by Sajid Nadiadwala—grand setups with underwhelming substance.

O Romeo Cast:

Performance-wise, Shahid Kapoor once again delivers a committed act. He throws himself into the role, bringing intensity and vulnerability to Ustara. But it genuinely feels disappointing to see such a talented actor repeatedly choose weak scripts. He consistently performs well, yet the overall film collapses around him. With fierce competition in the industry and many younger actors moving ahead with smarter choices, it is high time Shahid rethinks his script selection. This should be a wake-up call. Tripti Dimri is serviceable, but her character arc is utterly confusing. She starts as a Muslim widow, transforms into a trained killer, shifts into a North Indian “Sharma-girl” avatar, becomes a Marathi wife, and then the story abruptly cuts to Spain. The transitions feel random and disconnected. Instead of emotional growth, we get cosmetic shifts. Her character deserved coherence, but what we get is chaos.

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Nana Patekar brings his trademark intensity, and there are moments where his presence elevates scenes. Yet even his character suffers due to illogical writing. The internal motivations are not convincingly established, making his actions feel inconsistent. Farida Jalal, on the other hand, reminds us why she is such a seasoned performer. Even in limited screen time, she commands attention with ease. Disha Patani is once again reduced to eye candy. Yes, she looks glamorous, but her character contributes little to the narrative. Tamannaah Bhatia barely registers before suddenly appearing with a twist that feels inserted purely for shock value. Avinash Tiwary is physically convincing as a ruthless antagonist, but his performance lacks depth beyond that surface brutality. The supporting cast, unfortunately, leaves little impact.

O Romeo Music

The music is another major letdown. The soundtrack feels outdated and misplaced. Violent action sequences are accompanied by qawwali-style background scores, which completely disrupt the mood. Songs like Paan Ki Dukan and Aashiqo Ki Colony appear unnecessary and forced into the narrative. The romantic tracks only add to the sluggish pace instead of enhancing emotional engagement. Rather than supporting the storytelling, the music becomes an obstacle. On a technical level, the cinematography has its moments. Certain frames and action sequences are visually appealing and hint at what the film could have been. However, the editing drags the experience down. Scenes stretch unnecessarily, emotional beats linger far too long, and the overall rhythm feels inconsistent. A tighter edit could have at least reduced the exhaustion.

O Romeo Movie Review:

Vishal Bhardwaj, once known for blending intensity with poetry, seems stuck in outdated storytelling patterns here. A gangster film cannot simply morph into a melodramatic romance without strong narrative justification. That mismatch becomes the film’s biggest flaw. The tonal inconsistency weakens both the crime and love aspects, leaving neither fully satisfying. Ultimately, O Romeo is a major disappointment. For a filmmaker of Bhardwaj’s caliber, this feels like a creative setback. Perhaps the box office response will serve as a lesson and push him toward reinvention. As a whole, O Romeo is a senseless saga that consumes nearly three hours of your life, offering very little in return—except regret for the time spent watching it.

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