In Baby John, a young girl named Khushi hides in fear as chaos ensues outside, leaving her to anticipate the worst. It makes one wonder why her father, Baby John, didn’t train her like Honey in Citadel: Honey Bunny. Honey instructs her daughter Nadia to stay calm during attacks, showcasing her maturity beyond her years.
Both Nadia and Khushi belong to a unique club in Indian cinema, portraying precocious kids who speak like adults. While meant to be endearing, it often comes off as forced. Baby John bombards viewers with star power, visuals, sound, songs, and a convoluted plot in an attempt to captivate. However, despite its grandeur, the film fails to hold one’s attention.
The original source material, Theri, was a masterpiece blending action, emotion, and social commentary seamlessly. Baby John, the Hindi remake, amplifies the spectacle but falls short of its predecessor. The film lacks the same depth and finesse as its inspiration.
The promotional campaign hyped Baby John as a mass entertainer, featuring exaggerated cinematic moments aimed at creating a collective euphoria in theaters. However, the execution falls short of delivering these high points effectively.
The film heavily relies on Varun Dhawan’s performance as the quintessential masala hero, showcasing his talent in various roles. However, the plot transitions are abrupt, leaving viewers with a disjointed viewing experience.
Despite Dhawan’s commendable performance, the two leading ladies, Keerthy Suresh and Wamiqa Gabbi, are underutilized. Their talent shines elsewhere, such as in Telugu film Mahanati and the series Jubilee.
In conclusion, Baby John is a relentless and joyless film that lacks the charm required for a successful mass entertainer. Christmas needed a better cinematic offering this year.
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