Cast: Akshay Kumar, Kareena Kapoor Khan, Diljit Dosanjh, Kiara Advani, Adil Hussain, Tisca Chopra, Anjana Sukhani
Director: Raj Mehta
Rating: *** 1/2
Good Newwz works best when it is being its indelicate, senseless, boisterous self. It plunges when it veers towards bring-out-the-hankies feeling bowing to the proclamation of ‘by what means can a Bollywood film not make you giggle and cry simultaneously’.
Two couples with similar names, sperm tests, in-vitro fertilization, and a trick which has sweeping, haha, results: is this actually a Bollywood film?
Simply going by the genuinely novel reason, I need to hand it to Good Newwz: so refreshing to have something so out-of-the-crate (another word for ‘dangerous’) leave an industry whose default alternative is to play safe by churning out worn out, tainted spin-offs of drained, bored super-starry vehicles.
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GOOD NEWWZ FROM TOMORROW pic.twitter.com/F7Nz3QVkuK
— Sajan 💯% 🏃Back 🤗 🇮🇳 (@LoverHistorical) December 26, 2019
Here are your normal individuals, regardless of whether they wear make-up in bed, and are delightfully styled out of it (the primary arrangement of Batras), and are a walking-talking old hat representation of the uproarious, wealthy Punjabi (the subsequent set), joined with all of us in their craving to create their own offspring. Reception? ‘Haye nahin, apna khoon toh apna hota hai’.
So here’s your foursome, Varun (Kumar) and Deepu otherwise known as Deepti (Khan) and Honey (Dosanjh) and Monika (Advani) getting very close and extremely, individual over a lab specialist’s error. The outcome, for both the Batra sets who have been trying hard to become guardians, is both gratifying and hazardous: who has more rights over the bun in the broiler?
The inquiry comes directly at the midway imprint, leaving us intrigued. By what means will Good Newwz take care of this issue? When sperms and eggs need fruitfulness masters—a smilingly unctuous specialist couple played by Adil Hussain and Tisca Chopra—to arrive at their decision, does it upset the normal request of things? Or on the other hand, is this logical intervention probably the most ideal courses out for a frantic couple? Going by the soul of the film, it trashes reality, choosing cheesiness, and we are set up for chuckling.
I completely delighted in the principal half, with its simple, spiky exchange among Varun and Deepu, as they (she more than he) gaze at the correct date on the ovulating schedule, and get down to the activity. Good to see Akshay Kumar a) not being a banner waving-patriot loyalist b) owning up to dim stubble-on-chin, and c) reminding us exactly how entertaining he can be. Kapoor Khan has not a single hair strange in any event when she needs to seem unsettled, filling out the job splendidly. Dosanjh’s quintessential go figures out how to defeat the top-to-toe smooth bling; I just wish Advani had somewhat more to do, regardless of whether her loyal mata rani worshipping, pinni-eating Punjabi spouse look is right on the money. Chopra offers capable help, and Hussain’s straight-colored, praying-to-the-god-like doc is a flat out a hoot.
In the event that the film had remained consistent with its wide comedic bone, it would have been the ideal remedy to these horrid occasions. In any case, no, it plunges into acting with the full supplement of violins wailing in the foundation, giving the macho male stars a sorrowful scene. Why not be certain, even of the elitist lines leading to modest chuckles mouthed by a character? Kareena Kapoor Khan has the cash monolog, in which she talks honestly and straightforwardly about the effect of pregnancy on a female body: when did you know about an A-lister discuss how involuntary and embarrassing peeing turns out to be a piece of this ‘aurat-sirf-mama banane-ke-liye-paida-hoti-hai’ schtick Bollywood has been drenched with?
Additionally, for a film that originates from the Dharma stable which is normally so cautious about style, it’s surprising how a portion of the sets look so obviously like sets: I was especially struck by a gol-guppa-eating grouping which falls off more thought up than touching in light of the fact that even the unexpected shower that descends on the characters feels like it’s been made by a rain machine just past our vision.
The film works best when it is being its off-color, senseless, rowdy self. It plunges when it veers towards bring-out-the-hankies feeling bowing to the proclamation of ‘in what manner can a Bollywood film not make you chuckle and cry simultaneously’. When will filmmakers move beyond this aged conviction? All things considered, Good Newwz isn’t bad by any stretch by any means.
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