It’s a premise that is tailor-made for a massy entertainer with scope for heavy action. But this one’s got more dialogubaazi than dhishoom-dhishoom and that often hampers the speed of the story. Thankfully, there is a major plot twist in the first half itself that helps build and sustain the momentum for an all-important face-off in the second half. Set pre-dominantly in a Marathi domain, Manjrekar deftly captures the flavour of the rural and urban Maharashtra with Karan Rawat’s compelling cinematography, marked by sweeping wide-angle shots showing the city’s unabated growth. This is further solidified by casting many Marathi actors in important character roles. All the same, the film suffers from too many characters and repeated conflicts that stretch the runtime. Add to that, there are about four songs that feel absolutely force-fitted and lack any semblance of melody.
Salman Khan is back in his cop avatar and this time as a fearless Sardar. Portraying a policeman comes easy to Salman, as he plays to the gallery, ripping his shirt off and beating up the bad guys to pulp. Aayush Sharma gets the right look with his sculpted body and makes an honest attempt to match up to Bhai’s mojo. The actor has surely come a long way from his first film, trying hard to live Rahul’s pain and glory with conviction. He succeeds to an extent, but the film’s overall writing could have been tighter, less melodramatic and preachy. His chemistry with debutante Mahima Makwana, who plays his love interest Manda is fairly insipid, and is often a dampener for the film’s pace.
With intense action and drama (a tad too much), ‘Antim: The Final Truth’ checks some of the boxes for mass entertainment. It also highlights the issue of land grabbing by mafia dons, who successfully manage to bend the law, as they’re are often hand-in-glove with the politicians. So, if you fancy over-the-top old-school Bollywood films that have an excess of just about everything then ‘Antim: The Final Truth’ may just be your kinda film.