movie review of o’romeo

**Title: *O’Romeo* Movie Review: Vishal Bhardwaj’s Blood-Soaked Gangster Romance is a Beautiful, Flawed Epic** Released on Valentine’s Day weekend (February 13, 2026), Vishal Bhardwaj’s highly anticipated *O’Romeo* promised to bring back the gritty, poetic noir that the acclaimed director is celebrated for [1.4, 1.6]. Reuniting with his *Haider* and *Kaminey* star Shahid Kapoor, and bringing recent sensation Triptii Dimri into his dark cinematic universe, the film had all the makings of a modern masterpiece [1.1, 1.4]. However, a week into its theatrical run, *O’Romeo* has proven to be a highly polarizing experience [1.1, 1.3]. It is a visually magnificent yet narratively stretched saga that has sparked both deep admiration and unique industry controversies [1.1, 1.8]. Here is a detailed review and breakdown of the film, including the latest box office updates and audience reactions as of February 21, 2026. ### **The Premise: Love and Blood in 1990s Mumbai** Adapted from a chapter of S. Hussain Zaidi’s acclaimed true-crime book *Mafia Queens of Mumbai*, *O’Romeo* is loosely based on the true story of Sapna Didi (Ashraf) and the underworld hitman Hussain Ustara [1.2, 1.4]. Bhardwaj, along with co-writer Rohan Narula, reframes the historical narrative as an operatic romantic action thriller [1.2, 1.4]. Set in 1995-1996, the story follows Ustara (Shahid Kapoor), a feared anti-hero known for wielding a barber's razor with deadly precision [1.2, 1.4]. Hiding out on a boat with his quirky gang and his profanity-loving grandmother (Farida Jalal), Ustara works as a covert hitman for Intelligence Bureau officer Ismail Khan (Nana Patekar) [1.2, 1.4]. His life of detached violence is upended when he meets Afsha (Triptii Dimri), a grieving widow seeking a *Kill Bill*-style revenge against the dreaded underworld don Jalal (Avinash Tiwary) for the murder of her husband, Mehboob (Vikrant Massey) [1.2, 1.6]. Ustara is instantly captivated, diving headfirst into a suicidal mission to help her, setting off a gang war that shakes Mumbai to its core [1.6, 1.7]. ### **Direction and Screenplay: A Visual Treat with Pacing Woes** Vishal Bhardwaj is a master of blending grim realities with tragic romance, and *O’Romeo* is dripping with his signature "Indianized noir" aesthetic [1.5, 1.6]. Ben Bernhard’s cinematography is arresting, capturing the grime, blood, and melancholy of the Mumbai underworld with textured, evocative frames [1.1, 1.4]. The soundtrack, composed by Bhardwaj with lyrics by Gulzar, perfectly complements the moody atmosphere [1.5]. However, where the film severely falters is its screenplay [1.1]. Clocking in at a mammoth 178 minutes (nearly three hours), the narrative feels self-indulgent and stretched [1.1, 1.2]. Critics have pointed out that while the first half sets up an intriguing world with nihilistic humor and compelling character-building, the second half loses its footing [1.1, 1.2]. The transition of Ustara from a cold-blooded, detached womanizer to a man suddenly consumed by a life-altering, sacrificial love for Afsha feels abrupt [1.1]. The script lacks the foundational emotional depth required to make the audience truly invest in their doomed romance [1.1]. ### **Performances: Shahid’s Restraint and Triptii’s Fire** Despite the screenplay's flaws, the performances manage to anchor the film [1.1, 1.6]: * **Shahid Kapoor (Ustara):** Kapoor delivers a remarkably controlled and internalized performance [1.9]. Unlike the explosive, loud volatility of his previous "A-rated" roles like *Kabir Singh*, his intensity here is simmering and calculated [1.9]. He perfectly embodies the weary, guitar-strumming urban cowboy who finds sudden purpose in a woman's vengeance [1.2, 1.9]. * **Triptii Dimri (Afsha):** Dimri continues to prove her mettle, delivering a fiery and competent performance as a woman torn between grief, vengeance, and a forbidden love [1.6]. * **The Supporting Cast:** Nana Patekar is brilliant in his understated role as the IB officer, while Avinash Tiwary brings a chilling menace to Jalal [1.5, 1.6]. Farida Jalal is a delightful surprise as the unconventional Dadi [1.5]. Unfortunately, a roster of highly capable actors including Vikrant Massey, Disha Patani, Tamannaah Bhatia, and Aruna Irani are severely underutilized in glorified cameos, leaving audiences wanting more [1.1, 1.5]. ### **Box Office Performance (Latest Updates)** Made on a massive budget estimated between ₹125–150 crore, *O’Romeo* is currently struggling to find its financial footing [1.4]. As of February 21, 2026 (Day 8 of its release), the film has amassed roughly ₹44–55 crore net at the domestic Indian box office, with its worldwide gross hovering around the ₹70–72 crore mark [1.1, 1.5, 1.6]. Despite a partial boost from a weekday Buy-One-Get-One (BOGO) offer and a slight upward trend on its second Friday, the film is largely being classified by trade analysts as a commercial underperformer [1.1, 1.5]. The niche, slow-burn nature of the film, combined with its "A" certificate for gruesome violence, has heavily restricted its mass appeal [1.4, 1.5]. ### **Audience Reactions and the BookMyShow Controversy** Audience reactions on social media have been sharply divided [1.3]. While loyal fans of Bhardwaj’s atmospheric cinema are calling it a "masterpiece" and praising its stylish action and dark humor, others have criticized it as a "boring, drawn-out letdown" [1.3]. Interestingly, *O’Romeo* recently made headlines for an unprecedented industry move. Mid-way through its release week, **it became the first Bollywood film to legally have its audience reviews and ratings disabled on the major ticketing platform BookMyShow** [1.8, 1.10]. Following a court directive sought by the film's makers, the platform removed the review section to combat alleged "review bombing"—a targeted campaign by bots and PR machinery to artificially lower the film's rating [1.8, 1.10]. While some supported the move to prevent unfair sabotage, others criticized it as an extreme restriction on genuine audience feedback [1.8]. ### **Final Verdict** *O’Romeo* is a proper curate’s egg—excellent in parts, but flawed as a whole [1.5]. It is not the fast-paced, commercial mass-entertainer that its marketing might have suggested [1.9]. Instead, it is a moody, violent, and indulgent slow-burn that demands immense patience [1.2, 1.9]. If you are a fan of Vishal Bhardwaj’s poetic cinema, Shahid Kapoor’s brooding intensity, and gorgeous cinematography, *O’Romeo* is undoubtedly worth a watch [1.6, 1.9]. But for those seeking a tight, fast-paced thriller, this three-hour saga might feel like a beautifully shot test of endurance [1.1, 1.2]. **Rating:** 3/5 Stars