Veere Di Wedding Movie Review

Veere Di Wedding (A) is the story of four bold and modern girls who are very close to one another.
The four – Kalindi (Kareena Kapoor Khan), Avni (Soham K. Ahuja), Sakshi (Swara Bhaskar) and
Meera (Shikha Talsania) – have been childhood friends are now leading their own lives.

Kalindi has been in a steady relationship since some years with Rishabh (Sumeet Vyas). She has had
a traumatic childhood because of her parents’ (Kavita Ghai and Anjum Rajab Ali) constant fights. Her
dad, Kishan, had remarried after her mother’s demise and although Kalindi can’t stand her stepmother,
Paromita (Ekavali Khanna), she has feelings for her father, something which her paternal uncle,
Cookie Chacha (Vivek Mushran), doesn’t approve of because the two brothers are sworn enemies.

Avni is a family court lawyer whose single mother (Neena Gupta) is constantly trying to convince her
to get married to a suitable boy and settle down in life but Avni hasn’t found that perfect boy. Sakshi
is married to Vineet (Suraj Singh) whom she now hates with a vengeance. She has returned to India
after walking out on him and is currently staying with her parents (Babla Kochar and Bubbles
Sabharwal). She smokes like a chimney, drinks alcohol like a fish drinks water, and uses swear words
at the drop of a hat. She wants to divorce Vineet.

Meera is married to John (Edward Sonnenblick) who is a foreigner trying to learn Hindi. They have a
two-year-old baby boy. Meera is not on talking terms with her guardian, her paternal uncle (Jitpreet
Gill), because he has not accepted John as part of the family.

The four childhood friends meet once again for Kalindi’s marriage with Rishabh. But the marriage itself
is called off by the overly sensitive Kalindi when she can’t handle the crazy wedding celebrations,
planned by Rishabh’s extra-loud family. Kalindi had all along wanted a simple wedding.

After the break-up between Kalindi and Rishabh, the former is unable to erase him out of her memory.
As for Rishabh, he has to deal with the break-up as also with the imprisonment of his father (Manoj
Pahwa) in cheque-bouncing cases. During the wedding celebrations of Kalindi and Rishabh, Avni
meets Bhandari (Vishwas Kinni), an eligible bachelor, who does all under his command to woo her. In
her drunken stupor, Avni even spends a night in bed with Bhandari.

Veere Di Wedding, starring Kareena Kapoor, Sonam Kapoor, Swara

Bhaskar, and Shikha Talsania as a quartet of sassy best friends just
doing their thang, is clearly intended to plug that hole…but boy does it
miss the mark!
When Kalindi (Kareena Kapoor) accepts her boyfriend’s proposal
despite her misgivings about marriage, her BFFs show up to support
her, and to escape their own lives for a bit. Meera (Shikha Talsania) is
coming to terms with how a baby changes everything – from one’s
body to one’s sex life. Sakshi (Swara Bhaskar) has just broken up with
her husband, and is discovering what gossips Delhi aunties can be.
Divorce lawyer Avni (Sonam Kapoor), incidentally the only one out of
the four with anything resembling a career, is dealing with an
overbearing mother who won’t stop pestering her about getting
married. In the days leading up to Kalindi’s marriage, the foursome
bond, bicker, identify what’s holding them back, and ultimately heal,
while completely exhausting you in the process.
In the hands of director Shashanka Ghosh, Veere Di
Wedding channels everything from Bridesmaids to Sex and the City,
but the script (by Mehul Suri and Nidhi Mehra) never lifts off the
ground. And it’s not hard to see why. The film’s notions of feminism
feel misguided. Its idea of women cutting loose is basically women
acting like badly behaved men. So the ladies here swear like sailors,
drop f-bombs and coarse Hindi gaalis. They talk freely about sex and
orgasms, and drink till they pass out and wake up in strangers’ beds.
None of it would’ve been a problem if it didn’t feel so labored. Or
frankly if the film delivered even a smidgeon of fun. But Veere Di
Wedding isn’t fun. Actually it’s the opposite of fun – it’s a slog.
You could – and in all fairness you should – put it down to the lazy,
uninspired writing. The plot is wafer-thin, the conflicts are predictable,
the meditations on life never profound, and nothing is ever really at
stake. You know that unresolved issues with estranged family
members will be settled, but you’ll wish they didn’t go about it in such
a perfunctory manner.
Every supporting character is reduced to a stereotype and mined for
easy laughs: the loud Punjabi father who disregards his son’s request
for a small, private wedding because “itni sharabein jo pi hai”; the
clingy mother-in-law-to-be, the immaculately turned out gay uncles,
the player cousin always ready with a line, the eligible bachelor who’s
a mamma’s boy, and more in that vein.
On the upside, some of the dialogue is genuinely funny, and the film’s
most inspired moments are the bits in which the four protagonists are
just hanging out together, shooting the breeze. To that end, a getaway
to Phuket is shrewdly written into the plot, and we’re rewarded with
more than one montage of the girls frolicking about in their swimsuits.
Shikha Talsania and especially Swara Bhaskar nail the outrageous
lines without a hint of inhibition, and Kareena Kapoor brings some
feeling into even the most schmaltzy, manipulative scenes.
But these are small pleasures in a two-hour film that frequently feels
like a fashion spread sprung to life. I had faint memories of Veere Di
Wedding just hours after watching the film because it’s largely
contrived and forgettable. I’m going with a generous two out of five.
It’s an opportunity missed
Luka Chuppi movie review

In Mathura, the guardians of morality are members of local political party Sanskriti Raksha Manch. The
public enemy number one in the region is movie star Nazeem Khan (Abhinav Shukla) whose pro live-in
stance is common knowledge. Posters of his blacked out face line the narrow streets.

In this environment, where young couples are being harassed, local television reporter Guddu Shukla
(Kartik Aaryan) meets intern Rashmi (Kriti Sanon), who has recently returned completed a media course
in Delhi.

Guddu, the youngest of three sons, is at loggerheads with his two older brothers and Babulal (Pankaj
Tripathi), a lecherous member of the extended family.

Rashmi’s father, Trivedi (Vinay Pathak), has political ambitions as the leader of the Sanskriti Raksha
Manch. But despite her father’s hardline, Rashmi tells Guddu that she would like to get to know him
better by entering into a live-in arrangement before they decide to marry. Lucky for them, Guddu’s
buddy and cameraman Abbas (Aparshakti Khurana) is an ideas-a-minute kind of guy. He manipulates a
work assignment in a way that Guddu and Rashmi can now masquerade as a married couple and rent an
apartment in Gwalior.

This results in some comical situations with nosy, judgmental neighbours, loved-up scenes of playing
house-house and finally, drama. An already shaky script completely unravels after the couple’s ruse is
revealed. When their pretense convinces the families and gets a stamp of approval, Guddu and Rashmi
suddenly go from being defiant and deliriously happy to guilt-ridden and glum.

Now, with Abbas’s help, but with much interference from Babulal and quite a bit of idiocy of their own,
Guddu and Rashmi try to actually get married on the sly.

Rohan Shankar’s script abounds with characters doing dumb things. Had there been a few more layers
to the story and character development, one might even have rooted for Guddu and Rashmi. But the
only interesting things about them are Aaryan’s hairstyles and pout, and Sanon’s lovely outfits. As
actors, they dive into shallow waters, paddling furiously within the whirlpool of a feeble story. The nicest
scenes are between the three friends, with Khurana handling the complexities of Abbas’s character with
gentleness. It is a contrast to Tripathi who scampers around in colourful costumes like a court jester.

Utekar directs what can best be defined as an overwritten dummies guide to live-in relationships. There
is so much drag in this 126-minute film that even the occasional build-up of momentum is punctured by
the next chapter of humourless nonsense, such as a bizarre dream sequence with a child getting married
and a scene at a temple.

The last word is reserved for Guddu and Rashmi, who unwrap Trivedi’s political opportunism and
declare that the youth of India is a vote bank not to be gagged by an outdated moral code. Now if only
they had taken this stand 60 minutes sooner.