Bad Newz Review: A Superficial Spectacle with Clever Meta Quips
The film “Bad Newz,” starring Vicky Kaushal, is a visually appealing creation that, regrettably, only dazzles on a superficial level. Nonetheless, the creators merit commendation for their adept integration of numerous meta-jokes throughout the narrative.
Since 2012, Ayushmann Khurrana has held a quasi-monopoly over cinematic explorations into sex, sexuality, and reproductive health, tackling themes like sperm donation, erectile dysfunction, and gender stereotypes within gynecology. Gradually, other filmmakers also plunged into this thematic ocean, presenting narratives around condoms and sperm mix-ups during in-vitro fertilization. Now, Vicky Kaushal, Triptii Dimri, and Ammy Virk join this vanguard with their new film “Bad Newz,” which delves into the uncommon phenomenon of heteropaternal superfecundation—a rare condition where two ova are fertilized by sperms from two different men.
The storyline centers on Saloni Bagga, a Delhi-based chef with aspirations to win the prestigious Meraki Star. Her mother persistently nags her to attend weddings, hoping she’ll find a suitable match, much like Ranveer Singh and Anushka Sharma did in “Band Baaja Baaraat.” During one such matrimonial event, Saloni encounters Akhil Chaddha, a quintessential mamma’s boy and eligible bachelor who manages his family’s chaap shop in Karol Bagh.
Sparks ignite between Saloni and Akhil, leading to a whirlwind romance. They swiftly tie the knot and jet off to Europe for a blissful honeymoon. However, the honeymoon phase quickly dissipates as Akhil’s close-knit bond with his mother starts to irk Saloni. The traits she once found endearing in Akhil begin to reveal their more troubling aspects. His constant surprises and gifts at her café soon become sources of irritation. The breaking point comes when his actions indirectly cause her to lose the coveted Meraki Star. Realizing her career is at stake, Saloni decides to take control of her life.
Predictably, the couple divorces. In the aftermath, Saloni relocates to Mussoorie, taking up a position as head chef at a hotel. There, she spots Akhil’s social media posts with other women, which fills her with anger and sorrow. In a moment of vulnerability, she sleeps with Gurbir Singh Pannu, the hotel’s owner. That very night, Akhil reenters her life, and amidst a torrent of emotions, they end up being physically intimate. Six weeks later, Saloni discovers she is pregnant, only to learn from her doctor that she is expecting twins due to heteropaternal superfecundation.
While many Bollywood films suffer from a languid pace, “Bad Newz” falters due to its hurried editing. The love story of Akhil and Saloni—beginning from their meeting at a wedding, through flirting, dating, marrying, honeymooning, and ultimately divorcing—unfolds with disconcerting speed. The rapid succession of these pivotal moments fails to establish their relationship, leaving viewers perplexed by the whirlwind nature of their union, despite the filmmakers’ intent to convey a swift ‘chat mangni pat byaah’ scenario.
The grounds for their separation appear irrational. While unhappy marriages should not be endured, the film neglects the importance of communication and the nuanced dynamics of relationships. The depiction of how seemingly positive traits and chivalry might stifle a woman remains underexplored. Additionally, the relationship between Saloni and Gurbir is poorly developed. Viewers are left questioning why Gurbir is competing for Saloni’s attention against Akhil, whom she professes to have loved. The discomfort Gurbir exhibits during their intimate moments further muddles the narrative, undermining his consent and adding to the film’s disjointed portrayal of relationships.
Credit must be given where it’s due. Director Anand Tiwari and writers Tarun Dudeja and Ishita Moitra deserve accolades for their adept incorporation of numerous meta jokes. Ammy Virk’s character, Gurbir, humorously remarks that he isn’t like Vicky Sandhu from “Manmarziyaan,” who ends up as the third wheel in a love triangle. A particular star-studded cameo humorously dubs Triptii’s Saloni as the ‘national crush’ and ‘bhabhi 2.’ Vicky’s Akhil defensively protests when Gurbir attempts to remove a Katrina Kaif poster from Saloni’s room, and Saloni’s commentary on her neighbor Kabir, who both loves and fights with his lover Preeti, elicits chuckles. Despite these comedic moments, they aren’t enough to sustain the film’s lengthy 2-hour and 22-minute runtime.
Vicky Kaushal pours his heart into portraying Akhil Chaddha, a character reminiscent of Vicky Sandhu, or perhaps a blend of Vicky Sandhu and Rocky Randhawa. Though mischievous, Akhil is the epitome of a selfless lover. Vicky’s dedication to elevating the middling script is evident, and his comic timing shines, even though the dialogues could have been wittier. His exchanges with Ammy Virk are comedic gold. A standout scene is when Akhil and Gurbir first meet at a doctor’s clinic for their paternity tests—their chemistry in this scene outshines that between Akhil and Saloni.
The film includes some sensual musical numbers to depict Akhil and Saloni’s chemistry, but these moments quickly lose their spark. Their passionate encounters, whether on a dinner table or in the shower adorned in daring outfits, fail to add depth. Triptii Dimri’s portrayal of Saloni, while competent in scenes where she chastises Akhil and Gurbir, lacks range. Her character remains consistently annoyed, and Saloni deserved a more nuanced and robust portrayal for a film that revolves around her.
Ammy Virk attempts to deliver humor but often resorts to overacting. His subplot involving a Gujarati ex-girlfriend who leaves him for a trivial reason feels unnecessary. Neha Dhupia, portraying Maa Corona, is underutilized and her character adds little to the narrative. The two cameos in the film only serve to enhance its glamour without contributing to the storyline.
In summary, “Bad Newz” lives up to its title. It is visually appealing but lacks depth. The film had the potential to be much more. The creators barely explore the societal judgment faced by a woman involved in heteropaternal superfecundation. Moreover, the numerous songs interspersed throughout the film feel extraneous. The movie is predominantly a showcase for Vicky Kaushal and his performance in “Tauba Tauba,” but viewers must endure the entire film to witness his stylish dance moves to its catchy beats.
