Kesari Veer Film Review: Sooraj Pancholi, Suniel Shetty, and Vivek Oberoi struggle to lift this loud and lifeless historical drama

Kesari Veer is now in theatres

‘Kesari Veer’ is a visually extravagant but emotionally hollow historical drama that mistakes noise for narrative. Despite its grand ambitions, it stumbles over weak writing and borrowed moments.

An overwhelming spectacle without substance

‘Kesari Veer’ is a film that wears its lack of subtlety like a badge. Loud, uneven, and tonally jarring, it mangles a slice of history that could have made for a compelling cinematic narrative. Clocking in at nearly 2 hours and 40 minutes, it tests the audience’s patience with its high-pitched storytelling and lack of novelty. What could have been an immersive period drama ends up as a bloated spectacle obsessed with grandeur. The makers seem focused on scale, with lavish sets, elaborate costumes, and thunderous background scores, while ignoring the basics—writing, character arcs, and coherence. Instead of pulling us into the world of its characters, the film overwhelms us with volume and chaos. What results is a visual overload without emotional investment, and watching it becomes more of a chore than an experience. The film seems to believe that sheer size can substitute for soul, but unfortunately, it doesn’t work that way.

Also Read: Bhool Chuk Maaf Film Review: Rajkummar Rao stuck in a repetitive rut in this disappointing small-town comedy

A historical setup up brimming with potential

Set during the time when the Delhi Sultanate dynasty was slowly creeping into Indian territories, the story follows Jalaluddin Zafar Khan (Vivek Oberoi), a ruthless general who usurps power through deceit and declares himself Sultan. On the other side is Hamirji Gohil (Sooraj Pancholi), a young Rajput prince cherished deeply by his family after the death of his parents. His older brothers and their wives treat him with affection and pride, almost as if he were their own son. Then there’s Vegda Ji (Suniel Shetty), a fearless Bhil tribe warrior and a devout follower of Lord Shiva, who leads his tribe with a strong sense of purpose and protection. Trouble begins when Zafar Khan crosses paths with Hamirji and sets his sights on Saurashtra, with the Somnath temple becoming his primary target. This act of aggression incites Hamirji and Vegda Ji to join forces and defend their sacred land. Running parallel to this conflict is a love story between Hamirji and Rajal (Akanksha S), a spirited and brave woman from the Bhil tribe, adding a personal layer to the larger war narrative.

Bahubali hangover and narrative misfire

‘Kesari Veer’ seems thoroughly confused about what it wants to be. It borrows heavily from the cinematic world of ‘Baahubali,’ hoping to replicate its epic appeal, but what we get is a pale imitation that lacks emotional depth and narrative strength. Several moments in the film feel eerily familiar, almost as if they’ve been directly lifted or reimagined without subtlety. For instance, the sequence where Sunil Shetty’s character lifts and saves a shivling from desecration clearly tries to echo the iconic Prabhas scene in ‘Baahubali,’ but without the same visual impact or resonance. Similarly, when Rajal tries to scare a lion with her bow and arrows lest it be hunted, the scene aims for drama but lands with a thud. Just when the story starts to build momentum, it slams on the brakes for a drawn-out romantic track involving Hamirji and Rajal. There’s an extended farewell, an elaborate wedding, and a song—all stacked before Hamirji finally marches into battle. The pacing suffers badly from these detours, and the film never finds a consistent rhythm.

Sub-par performances

Performance-wise, the film falls short of expectations. Vivek Oberoi as Zafar Khan is the only actor who seems to find some footing. He manages to convey the menace and ambition of a ruthless general with conviction, though some of his scenes—especially his recurring interactions with a Qazi while nursing a glass—veer dangerously close to caricature. His dance sequence, presumably meant to add flair, ends up feeling unnecessary and out of place. Sooraj Pancholi as Hamirji looks confident in action sequences, but he struggles to bring depth or intensity to the character. His performance feels too surface-level to carry the emotional weight of a warrior prince. Sunil Shetty as Vegda Ji is watchable but doesn’t leave much of a mark. Despite being positioned as a wise leader, his presence fades quickly once the film ends.

Also Read: Exclusive - Sooraj Pancholi talks about the difficult phase of his life: 'I never bent to Bollywood, Salman Khan sir did a lot for me

All ambition and no insight

What ultimately sinks ‘Kesari Veer’ is its weak narrative spine. The film becomes a textbook example of how not to handle a historical subject. It relies too heavily on overused tropes and high-decibel chants of ‘Har Har Mahadev,’ which are more jarring than rousing after a point. The writing never attempts to rise above formula. This is a film that relies heavily on CGI, which ultimately comes across as jarring and distracting. Every opportunity to enrich the characters or deepen the central conflict is squandered in favour of spectacle. Even the historical liberties it takes become less of an issue compared to the overarching failure to craft a story that’s compelling or fresh. In the end, ‘Kesari Veer’ is all ambition and no insight—a grand production that forgets the simple power of good storytelling.

Cast: Sooraj Pancholi, Suniel Shetty, Vivek Oberoi, and Akanksha S

Director: Prince Dhiman

Rating: 1.5/5

(‘Kesari Veer’ is running in theatres)