Maatr Movie Review: Same growling Tandon in a new template | PINKVILLA



Here is a detailed movie review of Raveena Tandon starrer Maatr.



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Where have we seen Raveena Tandon as the feisty, fiery, boisterous growling tigress? Did you think of Daman? I thought of Satta. Maybe the templates change but here’s Raveena Tandon slipping back once again in the mould, as effortlessly as you may remember her from any of her memorable performances. But then again, none of us remember watching Tandon doing anything different in recent times. It’s a good thing that she is a smasher in every sense of the term. Her brooding personality and empty eyes linger even after you’ve exited the theatres and found comfort in some cold coffee. Maybe it’s the sinister, uncomfortable theme of the film or perhaps it’s her performance alone, but that’s what works for Maatr, even when a screechy screenplay and a half-baked plot stares at your face. 

At a night function in her young girl’s school, Vidya Chauhan played by Raveena and her daughter Tia (Alisha Khan), the mother-daughter duo looks so commonplace. Like regular people. Only for a few hours to pass by. The duo finds themselves abducted, sprawled in a forlorn farmhouse. Their fault? They were trying to ditch traffic and thus, giving license to hooligans to defile them. Tia succumbs to it but the ferocious mother knows how to avenge her daughter’s loss even if it means taking on political bigwigs. 

After Pink last year, the subject and its relevance in the mainstream has only increased manifolds. But the problem here is that despite all the trappings of a genuine heart-tugging tale, it’s designed as a thriller. And honestly, there is no Zero Dark Thirty theatrics happening here. It’s a plain Bollywood fare that has everything wrong with it there can possibly be – a wobbly climax, OTT dialogues et al. Frankly, there is every reason to have a polarized opinion on the film’s writing. It’s laudable that rape is not used to a titillating effect in this film, keeping the haunting quality in mind and the sensitivity in its depiction. But at no point do we learn about the psyche of the perpetrators. Are they plain chauvinistic, brutal or simply disgusting? They remain caricatures till the last frame. 

So in the end, it is Raveena’s hands to play the hero card and reveal at that. If we hadn’t seen her do this act so many times before, it would make sense. But then here, Tandon walked out of any of her past films and additionally learnt how to kick butt. Genuinely, the same actor with a better director could’ve made a masterpiece with the same subject and a significantly refined storyline. But here, there is a clear lack of ambition. When you set out to make something mediocre, there’s little chance you’ll look at the brilliance in its potential and strive towards it. 

We rate the film a 50% on the Pinkvilla movie meter.

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