Last Friday in February 2026 opened with O’ Romeo hitting screens, Vishal Bhardwaj’s bold take on love tangled in crime. Shahid Kapoor led the cast alongside Triptii Dimri, their chemistry sharp under Nana Patekar’s looming intensity. Instead of sticking close to fact, the film danced around truth, borrowing only loosely from Hussain Zaidi’s Mafia Queens of Mumbai, a story already familiar through Gangubai Kathiawadi.
Blood runs deep here, yet style cuts sharper than realism. Released just before Valentine’s Day, it stirred jibber-jabber fast, not for answers but questions left hanging. While rooted in Mumbai’s dark tales of power, the telling feels more like a fever dream than a documentary.
Sapna Didi Through Ustara Eyes
A fiery story fuels the movie, focusing on Sapna Didi; she was once helpless, and is now hardened by loss. Out of grief rises a snarky fury, shaping her path forward. Not just any target claims her focus; it’s Dawood Ibrahim who is a feared and powerful don.
Climbing into these steps is Hussain Ustara, once part of Dawood’s world, behind the wheel and armed with aim. From driver to ally, he becomes key, so while one seeks justice cloaked as retribution, the other brings skills forged in shadows.
A twist unfolds early as O’ Romeo leans hard into its name, turning what might have been Sapna’s tale into a different kind of game, the so-called Ustara method. At its heart sits a man shaped by casual cruelty, his charm sharp and unfeeling until affection catches him off guard. What once felt like instinct, the fights, the threats, start to weigh on him, slipping out of habit. Meanwhile, Afsha’s fury doesn’t fade; it thickens, gaining layers beyond payback this time. Instead of tracking a climb through shadows, the plot traces how desire can soften an edge too long.
Shahid, Triptii & Nana Shine Together
Out of stillness comes Shahid Kapoor’s take on Hussain Ustadam; it is charged beyond recognition. The way he moves from cold distance into raw confrontation shapes what the movie stands on. Not halfway through does Triptii Dimri step in as Afsha, pulling focus with sheer grace and determination.
Her fights hit hard because they grow out of need, making her presence matter beyond revenge tropes.
Even with little time on screen, Nana Patekar grabs attention through deadpan jokes and perfect pauses that feel super alive. “This world runs on mind, not guns,” was as sassy as it can get. Avinash Tiwary brings stillness to the scenes, while Tamannaah offers warmth, the charm department is handled by Disha, while Farida Jalal takes care of the wisdom.
Strong Box Office on Valentine’s Weekend
Out of nowhere, O’ Romeo pulled in about ₹8.5 crore on its first day across India. Then came a surge, as Day 2 saw collections hit near ₹12.25 crore. Together, that puts the two-day tally past ₹20 crore net. Not bad at all, especially since love-themed releases crowded the Valentine frame. Experts say it ranks among Shahid Kapoor’s stronger launches lately and numbers like these don’t lie when the calendar is packed.
That Friday brought more than just O’ Romeo to cinemas. Films like Tu Yaa Main found their footing too, though less firmly. A quiet strength lifted O’ Romeo above the rest at the start. Pre-sold seats helped, and so did the name behind it, Vishal Bhardwaj. People trust that sound, and the cinemas are announcing it.
What We LOVED!
Tarantino-esque Cinematic Flair
What stands out most about the film is how entertaining it feels, matched with a nasty visual flair. With its shot composition, bursts of brutality, and pacing, O’ Romeo pulses like something Tarantino might craft. Especially in the opening stretch, everything clicks with the sharp direction it pulls you in and holds tight. Even when story beats echo what we’ve seen before, the drive behind each scene makes staying engaged effortless.
Steady Character Growth Without Sudden Plot Shifts
What holds instant attention is how the story builds its lead without sudden turns. Starting rigid, Shahid’s Ustara moves step by step toward something softer; and we are legit on the edge of our seats as we want him to reach the “I can fix him” era. So does he? Watch the film to find out.
Triptii Dimri Anchors Emotion and Story
Out of nowhere, Triptii Dimri steps into the role like she was born for it. Though grief drags the opening scenes down, Afsha refuses to stay broken, instead, she burns hot, raw and real. And that was exactly the tanha-tanha universe we were missing seeing her in. Strength isn’t something she finds later; it pulses through every choice from the start. Impulse drives her, yes, but never at the cost of believability. Some now whisper her name where Tabu once stood in Bhardwaj’s world, and honestly? She fits this position kinda perfectly.
Nana Patekar’s Sharp Lines and Perfect Pauses
Out of nowhere, Nana Patekar steals scenes despite barely being on screen. Because his timing hits hard, every line cuts through like a blade. Yet the dark jokes never feel out of place. Since people still repeat his words today, it’s clear they stuck. So for pure “meri ek taang nakli hai, ek din uday bhai ko meri kisi baat par gussa aa gaya…” feels inside the crime lodged universe, watch out for Nana.
Things That Were A Bit Bleh
Oddly enough, O’ Romeo doesn’t quite land in the world Vishal Bhardwaj usually creates. Known for raw twists and stories within stories, his touch seems oddly flat this time around. Though the opening reels pull you in with quiet promise, what follows slips into familiar paths; toooooo familiar at times. It was like a Vishal Bhardwaj film without the Vishal Bhardwaj vibe, and frankly, what good is that?
By midway, you can guess the plot almost toooo neatly, dulling any surprise. Instead of tension, there’s just a slow march toward what everyone sees coming. Right away, some moments seem to drift from the rest of the film, especially the opening 30 mins, they were kind of detached from the rest of the film. And frankly, that’s one kind of detachment practice the world is not a fan of.
It kept slowing things down like a stalled engine. Also, the characters stick too close to their script, playing out roles without surprise. A shift might have helped, yet none come and their actions stay predictable, no matter how desperately you want them to pull a surprise move.
People chatting online keep mentioning how the movie drags on stuffing in curses like it needs them to survive, yet some watchers think cutting back on all those rough words might actually cut 45 minutes from the film.
Entertaining Yet Unconventional Style From Bhardwaj
A film like O’ Romeo moves with swagger, held together by sharp acting and fast visuals, while tracing an arc that feels emotionally true. Triptii Dimri steps into the spotlight here, delivering something raw and real, just as Shahid Kapoor slips back into brooding roles like a well-worn coat. Still, familiar turns and uneven rhythm hold it short of the depth hinted at early on. What could have unfolded in richer shades ends up walking a more ordinary path.
Watch it for the acting, especially when Nana Patekar takes over the screen, along with how it looks shot by shot, though afterward you’re left wondering if the movie changed how you see Hindi films. (Spoiler: it doesn’t)