Critics Review
2.00
The Film Tries To Be Many Things But Ends Up Being Nothing!
A worthy storyline to bring on-screen despite the familiar arc and predictable tropes. But the hard to tolerate character behaviors and randomness in the screenplay make it a forgettable flick.(more)
Source: Ashwin Ram, MovieCrow
2.25
RJ Balaji is convincing as a hairstylist, but this underdog story has too much going on
The storyline of making hairstyling a noble profession and hairstylists as people, who deserve respect is good. But director Gokul has tried to bring together too many elements in Singapore Saloon and this is, sadly, its downfall.(more)
Source: Latha Srinivasan, Hindustan Times
2.50
Singapore Saloon is an awkward mix of humour and melodrama
The director also gives a new spin to scenarios that we have seen before. Like Kathir's dad (a likeable Thalaivasal Vijay), who, unlike dads in films in this genre, is practical and supportive; the miserly father-in-law (Sathyaraj), who instantly agrees to marry off his daughter to the protagonist; and even the rival who stops being one after a point! Eventually, it is these fresh spins and the humour that ensure our experience from turning into a bad hair day.(more)
Source: Suganth, Times Of India
2.50
The laughs land great, the sentiment not so much
The film does mean well and stands for sensible causes, but after the hilarity of the first half, it just feels difficult and wholly unnecessary to settle for a passable second half that hurtles through familiar roads to get to expected destinations. Well-ended is half done when it comes to feature films, and Singapore Saloon doesn�t do this either. It has a stretched-out climax portion that drags on well beyond the finish line. Surprise appearances include bizarre cameos from Singapore politicians and even our very own Chief Minister�and by then, I had begun reminiscing funny bits from the first half.(more)
Source: Sudhir Sreenivasan, CinemaExpress.com
2.50
Melodrama drowns a few good laughs in RJ Balaji's film
As the movie crosses the point of no return, we are left pondering why our filmmakers have an insatiable need to incorporate a social message, why conflicts escalate from personal to global, and why heroes seldom settle for smaller stakes, and why do we lack the courage to stop the barber before things go downhill.(more)
Source: Kirubhakar Purushothaman, Indian Express