Critics questioned why the film was just not titled Pyaar Ka Punchnama 3. The micro instance that the film featured was blown out of proportion and projected as a sample of a macro thought process. However, from Bromance vs Romance, the narrative was hammered into chauvinism vs feminism. They argued that the narrative was inherently skewed in favour of Kartik Aaryan's character which was an unfair advantage to that of Nushrat Bharucha in the story touted as Bromance vs Romance. Several critics upheld Sonu Ke Titu Ki Sweety as a product of personal bias against women and as a female-bashing vehicle. He was even targeted for thwarting the efforts of parallel forces of Hollywood's Time's Up movement and diluting women empowerment in Bollywood. The past work of the filmmaker ceased to be a mere point of reference as fingers were pointed at the Pyaar Ka Punchnama franchise to suggest how Ranjan is injecting testosterone-charged toxicity in Hindi cinema.
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Ranjan's latest was trashed by multiple critics for its misogynist indulgence. Sunny Singh, Nushrat Bharucha and Kartik Aaryan in a still from Sonu Ke Titu Ki Sweety. For the audience, cinema remains an escape to a world where morality plays second fiddle to emotional engagement. Hence, 'morality', which was never considered the barometer of commercial cinema, has now assumed greater significance, though only in the critics' circles. The appeal of a hardcore commercial Salman Khan entertainer is being measured with the same instruments as say, an Aparna Sen slice-of-life film. While the audience reacts to cinema in an emotional capacity, critics go beyond and inspect the atmospherics, camera angles and other technical constituents of filmmaking.īut as the lines between parallel and mainstream cinema continue to blur with each passing day, the yardsticks by which these seemingly contrasting styles of cinema were judged are no longer different. There has been a significant difference in the case of mainstream and parallel cinema too, in terms of how they have been received by the audience and the critics. If the reason behind this gap, between critics' and audience's response, is deconstructed, one of the major reasons could be the lens through which both communities view the film.
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SECOND FILM to cross ₹ 100 cr mark in 2018, after #Padmaavat. #SonuKeTituKiSweety marches into ₹ 100 cr Club. Its commercial output does not quite fall in line with the critical response as it received mixed reviews at best. Almost a month after its release, Luv Ranjan's 'bromantic comedy' Sonu Ke Titu Ki Sweety has managed to navigate its way into the coveted Rs 100 crore club.