Malang Movie Review & Full Movie, Story

Cast: Aditya Roy Kapoor, Disha Patani, Anil Kapoor, Kunal Kemu, Elli Avram
Director: Mohit Suri

No evidence, no witness, no statement, case closed. The verdict is pronounced by crime branch officer Anjani Agashe (Anil Kapoor) in the final scene of Mohit Suri's Malang, a thriller set in Goa, with no tell-tale clue left after a veritable act of vengeance. The film is, like the murder that heralds in the end: despite all the huffing and puffing that it creates a confrontational confrontation between the suspect and the men in uniform. When he plays outside, he doesn't get the high he wants.


Let us understand the filth from the perspective of our man Agashe, the previous staging and the previous guru in the cover-up. He spends more than six hours - the action in the film's current time-frame spans a little after five in the evening after midnight on Christmas Eve - trying to figure out where a mysterious man is committing murder. Why have the policemen competed on the doers? Trigger-Happy SHO, once he is implicated in the case, finds no reason to suppress the allegations and seek personal pride. Exuberance and fatigue faded her enthusiasm.

Malang is a story of revenge from five major players - Badla Advaita (Aditya Roy Kapur), a young man who runs away from relationships; Sara (Disha Patani), a migrant NRI girl who was watching the rapture in the land of her migrant parents; Jezebel (Elli Avram), a golden-hearted Swedish ex-pat who lives by selling herself and pedalling drugs; Michael Rodríguez (Kunal Kemmu), a straightforward police officer who believes in following the rules strictly; And the aforementioned policemen who cross the line on minor excuses.


The film has a style applicant, but the plot is built on devices that resemble explicit contradictions rather than believable twists. As a result, despite the power and vigour of making, Malang is never overt. With the introduction of the prison staged to establish the physical invincibility of a predominantly male protagonist, the film delves into two faces of policing who represent Agashe and Michael.

The clichés proceed uncontrollably from all directions - rave marriages, a crumbling wedding, court threat to youth, and police raids end badly - while the murders happen one after another during the hours of 24 December. The past and present are intermixed to give place to the pieces facing us which explain why Advaita is like a man.

In excerpts from the past, five years ago, he and Sarah, who literally bump into each other on the beach, become a combative person investigating the movements pushing towards their borders. They have "wild, wild do you know what" (the act is not just camera capture), pop psychotropic bullets that send them from one to the other, dipping from an early cliff into the Arabian Sea - unchaai see abb darr nahi lagega kicks Sarah out - and, jump off a helicopter to prove that the heights no longer hold any terror.

The daring streak they embrace helps relieve their fears for Sarah's mission. After seeing his parents ruining his life, he does not want to repeat the mistake. As the story progresses, each major character is presented as a back story rooted in family issues. One talks of an abusive father and a miserable childhood, another loses a daughter in a shootout, while a third man becomes smart due to the messy isolation of his parents.

Oversimplification is the main ban of the film. Malang wants to go along with the complex people entangled with the demons inside him, but the narrative does not have the psychological bandwidth to deal with the mental and emotional suffering with any degree of depth. Oddly, Malang is written "by Aseem Arora" but the "script" is attributed to Anirudh Guha. This "two" is the case of many cooks: the screenplay hollows out the surface of worn-out breasts and presents images that are too explicit to force us to ignore gaps that open in this way.


The series of murders, which shake off Goa, escalates a hasty investigation, even as Agashe and Michael disagree on the methods employed to bring the culprit to the book. The pace of the film is breathless and yet it feels long. The narrative has a catchy, disjointed rhythm that no flash and flair can hide.

What comes our way is a stale, ordinary bauble that comes as no big surprise. A thriller without a real twist - a big reserve for the climax, but if you know the game is easy, it's easy to guess - the water served in a leaky bowl is similar to a chicken. You can call it to slap before all this. If Malang does not disappoint you, it is purely because it keeps throwing something at the audience, but rarely does it form a pattern.

The lead actors - Aditya Roy Kapur and Disha Patani - cannot be faulted as they give it their all, which, unfortunately, is not in keeping with all the holes they have to plug. A boy with a torn body and a girl who seizes cannot stop Malang from getting out and end up in a situation where the eccentric policeman is forced to put a lid on the case and move on.

The two characters played by Anil Kapoor and Kunal Kemmu are far more intriguing than the young lovers, whose sole purpose of life is to unpack knots on a pose around the heroine's wrist - each knot denoting a prohibition that must be shed.

"I like the challenge", Agashe says early in the film. It is a role in Anil Kapoor's Gully. His explanation of fat and a ready cop is on the money. Keenum, playing a part role that allows him to detect a wide range of impulses, is impressively stable. Elli Avram, in an extended role, makes an impression as a girl living on the edge and thrives on her.


If you're looking for frantic, mental insanity, Malang is definitely not the film for you. But it can only live up to modest expectations.