- Cast: Shahid Kapoor, Triptii Dimri, Nana Patekar, Avinash Tiwary, Tamannaah Bhatia, Disha Patani, Farida Jalal and Vikrant Massey
- Directed by: Vishal Bhardwaj
- Produced by: Sajid Nadiadwala under Nadiadwala Grandson Entertainment
- Rating: 3.5/5
In an era where Bollywood often oscillates between safe romantic dramas and loud action spectacles, O’ Romeo attempts to merge poetry with brutality. The result is a film that is visually intoxicating, emotionally volatile, and occasionally frustrating — but never dull.
Plot:
Set in the grit of 1995 Mumbai, O’ Romeo is a high-octane noir that transforms the classic trope of a “lover on a killing spree” into a sophisticated game of survival. The film centers on Ustara (Shahid Kapoor), a volatile hitman living a double life: protected by the Intelligence Bureau’s Ismail Khan (Nana Patekar) while cleaning up the city’s underworld. The narrative shifts gears when the mysterious Afshan (Triptii Dimri) enters his hideout with a lethal bucket list, demanding the heads of a lawyer, a corrupt cop, and the formidable Spanish-based gangster Jalal (Avinash Tiwary). What happens next forms the rest of the film.
Performance:
The ensemble cast of O’ Romeo is its greatest strength, anchored by a career-defining performance from Shahid Kapoor. As Ustara, Shahid doesn’t just act; he inhabits the character, seamlessly transitioning between brooding intensity, high-stakes action, and vulnerable romance. His dance sequences remain a highlight, reaffirming his status as one of Bollywood’s most elite and fluid performers. Opposite him, Triptii Dimri delivers a first-rate portrayal of Afshan, bringing both grace and grit to a complex role that demands significant emotional depth.
Nana Patekar is electric and uninhibited as the shrewd IB officer Ismail Khan, while Avinash Tiwary makes a menacing mark as the physically imposing Jalal. Rahul Deshpande is terrific as Inspector Pathare—his classical singing track adding a unique layer to the character—and Hussain Dalal is extraordinary, providing the film’s emotional anchor as Ustara’s loyal friend, Chhotu. Farida Jalal brings warmth as the matriarch, while high-impact special appearances by Vikrant Massey (as Mehboob), Tamannaah (as Rabia), and a high-glamour dance number by Disha Patani elevate the film’s scale.
The supporting cast adds texture, though a few characters feel underwritten.
Direction & Visual Style:
Visually, O’ Romeo is stunning. Bhardwaj crafts frames drenched in deep reds, shadowy blues, and neon reflections — turning violence into visual poetry. The cinematography amplifies the mood of inevitable tragedy, and several action sequences are choreographed with operatic flair rather than chaotic noise.
The music and background score complement the film’s brooding tone, blending romance with menace.
What Works
- Powerful central performance
- Atmospheric world-building
- Stylish action sequences
- A bold tonal commitment
What Doesn’t Fully Land
The screenplay struggles in the second half. While the emotional premise is strong, the narrative begins to feel stretched. Certain plot turns lack the emotional payoff they aim for, and the pacing dips noticeably before the climax.
The film wants to be both massy and poetic — and occasionally gets caught between the two identities.
Final Verdict
O’ Romeo is a flawed but compelling cinematic experience. It thrives on performance and mood rather than airtight storytelling. If you appreciate intense character-driven dramas with stylized action and tragic undertones, this one deserves a watch.
