Assuming you partake in the massy masala passage of the past time and will accept on threefold as quite a bit of John Abraham in one edge, you can go enjoy this one.


Movie: Satyameva Jayate 2
Satyameva Jayate 2 Cast: John Abraham, Divya Khosla Kumar, Harsh Chhaya, Anup Soni, Gautami Kapoor
Satyameva Jayate 2 Director: Milap Zaveri
Where to Watch: In Theatres


Satya Azad (John Abraham), an upstanding Home Minister needs to scrub the nation of debasement with his Anti-Corruption Bill. Be that as it may, it neglects to get enough ‘Ayes’, from his allies, yet additionally from his wife Vidya (Divya Khosla Kumar) an individual from the Opposition, who votes ‘Nay’ in the Vidhan Sabha. At the point when two or three horrifying killings happen in the city, ACP Jay Azad (John Abraham again) is acquired to seize the killer, quit worrying about his intention. Along these lines, if you thought this story spins around sibling against sibling, no, there is something else entirely to it.


The main way Satyameva Jayate 2 (SMJ2) takes ahead from its prequel Satyameva Jayate (SMJ) is by handling debasement and eagerness for power. In the beginning, writer-director Milap Zaveri and the film’s group have kept up with that it’s a massy charge, similar to the famous film of the 1980s. At the point when you see John Abraham transform into a vigilante to rebuff the people who caused the demise of blameless residents, you’re not however shocked as you may be the point at which you understand it’s Satya who’s giving out capital punishment, and Jay is being roped in to deal with the vigilante.
Milap is honoring the 80s movies, and his pride in that is bounteously apparent in the screenplay and exchanges — be it Satya considering the ACP to let him know that he will not quit rebuffing the liable, Jay’s starting arrangement, or even Dadasaheb Azad (John Abraham once more, as their rancher father) without any help furrowing a poor farmer’s field, or the siblings donning saffron and green, battling each other in the pre-climax. This and all the more just adds more masala to the meat of the story.

Other than the threat of debasement, Milap tends to a farmer’s suicides, savagery against ladies (Nirbhaya in Delhi, Veterinarian in Telangana), Lokpal Bill, the significance of shared congruity, and strict resilience in a great measure too. The author’s director likewise offers a telling remark on the present media and online media that centers more around catching news and sensationalizing on the cameras and cell phones, even as somebody is draining to death in the city with no attempt whatsoever at being subtle.
John Abraham looks agreeable in this old-fashioned, and excessively regularly attempted and tried business potboiler passage. Be it as the twin siblings or as the dad, he assumes his triple part without hardly lifting a finger. If he shows a little restriction as Satya, he doesn’t avoid putting on a big show as Jay or as Dadasaheb, a straightforward farmer driving the battle for the Lokpal Bill to the assembly.
Divya Khosla Kumar is wonderful and has a genuinely unmistakable part to play in this generally male-ruled film. As the honorable Vidya, she minces no words when she differs and emphatically goes against her significant other Satya and her Minister father (Harsh Chhaya) on various issues. lends due support as Dadasaheb’s wife and Satya’s and Jay’s mother. Unforgiving Chhaya, Anup Soni, Zakir Hussain, Dayashankar Pandey, and Saahil Vaid play out their parts well.


The soundtrack is kind to the ears, be it the wedding melody Tenu Lehanga or the Karwa-Chauth track Meri Zindagi Hai Tu, while Nora Fatehi sizzles in the Kusu number.
The raw hardcore action is the highlight of the film and John doesn’t disappoint — whether he has to lift a motorcycle with a rider and fling it, or rip out the engine of an SUV, or even rip a few meters of the earth by smashing his plough in a field. For action lovers, there are a few seeti-maar minutes to enjoy. While we comprehend the film is an homage of sorts to the preposterous film of the 1980s that we once savored, a few scenes like three John Abrahams preventing the helicopter from taking off with their uncovered hands could be a blow excessively hard in any event, for the OTT sensibilities.
If you enjoy the massy masala toll of the past time and are willing to take on thrice as much of John Abraham in one frame, you can go enjoy this one.