Love, violence and toxic men: Why viewers still flock to these Bollywood flicks
The success of films like Tere Ishk Mein illustrates that audience engagement often outweighs critical reviews. Strong emotional narratives and catchy music attract viewers, particularly in regions where social media influence is less pronounced, highlighting a shift in cinema consumption patterns.
Critics’ disdain and social media outrage seem powerless against films that strike a chord with the audience, with the latest proof being Anand L. Rai’s romantic drama Tere Ishk Mein, which crossed ₹100 crore domestically within two weeks of its 28 November release.
The Dhanush-Kriti Sanon starrer joins a growing list of widely slammed yet massively successful titles built on hyper-masculine leads, unapologetic melodrama and chart-topping music — think Animal ( ₹556.36 crore) and Kabir Singh ( ₹278.24 crore).
Trade experts say star power, catchy songs and raw emotional pull routinely trump reviews.
“A large section of the audience goes to the theatre for impact and engagement, not necessarily for realism or approval. These films spark conversation—positive or negative—and that curiosity often brings people in. Once the crowd sees drama, action or music they enjoy, word-of-mouth takes over. So, even polarizing films can turn into major box office successes," Mendiratta said.
Tere Ishk Mein tracks a volatile man who enters an obsessive and destructive relationship with a woman psychologist, pushing a passionate romance into a spiral of manipulation and violence—a theme echoing Raanjhanaa, also from the same director. While praised for its performances and music, the movie has been widely criticized for glorification of toxic obsession and violence in the name of love.
However, many viewers, especially outside metros, don’t base their decisions on social media, Mendiratta of Miraj Entertainment said— they respond to massy trailers, familiar stars and catchy songs. Sometimes, even online debates could boost a film’s visibility. If people feel a film is entertaining—even if it's loud or dramatic—they show up. In fact, the gap between social media buzz and ground-level reception has widened lately. What works online doesn’t always reflect what’s happening in single screens and tier-two or three cities.
Independent exhibitor Vishek Chauhan said people coming to theatres and spending on tickets and food and beverages need value for money; they don’t care about reviews or social media conversations.
“Perhaps viewers are more intellectually evolved in states like Kerala, but at least in north India or the Hindi-speaking belt, there is a disconnect between critical reviews and box office success," Chauhan said, adding that the template of the flawed, aggressive male lead is fascinating viewers, many of whom identify with these characters.
“Also, intense love stories have been out of fashion for the past 10-15 years; so, this generation doesn’t have a reference point for romantic dramas and hasn’t really got its dose of the same," he said, pointing to the success of Tere Ishk Mein and earlier Yash Raj Films’ Saiyaara that has earned over ₹337 crore when released this July.
To be sure, theatre owners and trade experts say it is common for films with mixed or poor reviews to do well due to strong local appeal, massy storytelling, or music. Social media hasn’t changed the core behaviour—audiences still go by emotions, entertainment and comfort. The only real shift is speed. Earlier, it was word-of-mouth in local circles; now it spreads on Instagram and WhatsApp. But the filter remains the same: if a film connects, it finds its audience.
“Reviews don’t really matter. They barely help even when good films are praised," said Ashutosh Agrawal, owner of Star World Cinemas in Uttar Pradesh, pointing to the dismal performance of Farhan Akhtar’s war drama 120 Bahadur that had released this November and only made around ₹15 crore at last count despite favourable reviews.
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