Yodha Movie Honest Review: Is Bollywood's Patriotism Losing Its Edge?

Written by  Prerit Chauhan   |  March 15th 2024 12:11 PM  |  Updated: March 15th 2024 12:11 PM

Yodha Movie Honest Review: Is Bollywood's Patriotism Losing Its Edge?

In the realm of cinema, there exists a widely held belief that attempting to harm the departed serves no purpose a sentiment starkly reflected in the current predicament of Pakistan. Amidst this backdrop, a new film emerges, showcasing a protagonist hailed as Pakistan's savior. This individual not only rescues the Pakistani Prime Minister but also extends his heroics to the Indian Premier. Foiling a hijacking and securing the safety of 170 passengers, the spectacle of "Yoddha" is undeniable two Prime Ministers, one hijacking, and 170 lives spared. However, amidst the grandeur, the enjoyment appears to remain elusive.

Yodha Movie Plot:

Enter the narrative of "Yoddha," a tale woven around a task force bearing the same name. This cinematic force is depicted as capable of anything—be it flying planes or, perhaps, vending tea on the moon given the opportunity. Sidharth Malhotra steps into the shoes of his martyred father, who led this force. Despite their best efforts, repeated failures plague the task force, leading to an order for its disbandment. Yet, with a title as formidable as "Yoddha" and a hero akin to a warrior, the notion of the force vanishing is inconceivable. Another hijacking ensues, this time with repercussions extending into Pakistan. Patriotism, a recurring theme in Bollywood, takes center stage once more. The unfolding of events, if one dares to delve into the full review, promises an experience worth witnessing firsthand on screen.

Yodha Movie Review:

The film's commencement with a familiar trope seen in numerous Bollywood narratives protagonists rescuing individuals quickly loses its allure. Despite attempts to inject intrigue, the narrative regrettably succumbs to monotony. As the hero ventures into Pakistan and emerges as the epitome of heroism by rescuing both nations' Prime Ministers, the narrative echoes a palpable desire to emulate Salman Khan's persona. Scenes featuring airplane stunts and moments where the hero intimidates flight attendants teeter on the edge of absurdity, rendering them comical but failing to evoke genuine emotion. It appears that the film's narrative is confined solely to the act of defeating Pakistan, leaving scant room for substantive storytelling beyond this narrow focus.


Sidharth Malhotra's portrayal is commendable, seamlessly fitting into his role, yet hindered by the narrative's lack of depth. Rashi Khanna's presence adds a layer of substance to her character, albeit constrained by the film's weak screenplay. Disha Patani's potential remains untapped, preventing a comprehensive assessment of her acting prowess. Notably, Sunny Hinduja's portrayal as a terrorist is compelling, while Sandeep Bhaiya's ability to instill fear through subtlety emerges as an unexpected highlight.


Penned by Sagar Ambre and helmed by him alongside Pushkar Ojha who also serve as the film's antagonists the narrative prompts questions about the overarching theme of patriotism. Does our collective imagination extend solely to Pakistan as the target for patriotic expression? The film's narrative traverses incredulous terrain, sacrificing logic for spectacle. While cinematic liberty is permissible, it must be exercised within reasonable bounds.


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