Khel Khel Mein tries to delve into the complexities of modern relationships but barely scratches the surface. It aims to deliver a hearty dose of comedy, yet falls short, offering only sparse laughs. While it won’t put you to sleep, it might leave you feeling more frustrated than entertained.

Film Details

• Directed by: Mudassar Aziz
• Starring: Akshay Kumar, Taapsee Pannu, Vaani Kapoor, Ammy Virk, Fardeen Khan, Aditya Seal, Pragya Jaiswal
• Category: Comedy Drama
• Runtime: 134 minutes

Khel Khel Mein Storyline and Screenplay

Khel Khel Mein opens with a meta joke referencing one of Akshay Kumar’s earlier films—a bit that comes off as overly cutesy. The humor might have landed better with a more subtle touch, like a quick visual or a throwaway line, rather than the loud audio cue that tries too hard to connect the dots for the audience. Not the best start.

The screenplay quickly shifts to introducing the ensemble cast, reminiscent of a mixed bag of assorted dry fruits. The group consists of four old friends and their spouses, all converging at a wedding. We have: a top-notch plastic surgeon and his accomplished author wife; a Punjabi entrepreneur from a smaller city and his wife, a social media influencer, both named Harpreet; and a brand manager who married into wealth, reporting to his father-in-law. There’s even a decent laugh when you see how the couple save each other’s contact info on their phones.

Soon, we meet the final member of the group, a former cricket coach. This detail immediately reminded me of a time in Hindi cinema when characters often had no defined jobs, merely engaging in romance or drama without context. The brilliance of directors like Mani Ratnam was in grounding characters with real backstories and professions. Today, simply giving a character a job isn’t enough for applause, but at least in Khel Khel Mein, each occupation carries a bit of flavor and purpose.

After a group dance sequence that introduces all seven characters, the film settles into its main setup. Vartika Khanna, played by Vaani Kapoor, proposes a simple game with a hidden agenda that is revealed later. She suggests everyone hands over their phones, with every call to be answered on speaker and every message read aloud. This universally relatable premise sets up expectations for embarrassing secrets, surprising revelations, and possible connections among the group, and it mostly delivers on these fronts.

A potential pitfall becomes apparent: aside from a few flashbacks, the rest of the film plays out in just one or two locations with these seven characters. I feared the film might test my patience, but to their credit, writer-director Mudassar Aziz and co-writer Sara Bodinar manage to keep things engaging despite the limited setting. While Khel Khel Mein is many things, tedious is not one of them.

However, the writing does have its flaws, starting with an overemphasis on “grey” characters. Yes, modern stories demand complex, nuanced characters rather than clear-cut heroes and villains. But when every character is meticulously balanced between flaws and virtues, this grey can feel tiresome. Sometimes, it’s refreshing to see characters who are unapologetically flawed.

There’s also a tendency to force tidy resolutions for each character’s arc, a classical screenwriting formula that doesn’t always serve the story. Not every storyline needs to be neatly tied up—some ambiguity can be more satisfying.

The film also touches on contemporary themes like infidelity and homosexuality but does so superficially. The treatment of infidelity in particular is disappointingly shallow, offering nothing new or insightful. Meanwhile, the portrayal of a gay character coming out to friends feels predictable, despite a well-disguised setup.

Among the film’s social commentaries, the subplot on oligospermia stands out. It follows a husband who drags his wife from clinic to clinic, blaming her for their fertility issues despite knowing he’s the root cause. This storyline is one of the film’s highlights, a nuanced grey area that adds depth and isn’t used for cheap laughs. Even a seemingly minor joke early on gains new meaning once its context is revealed.

The writing around the homosexuality angle manages to maintain an element of surprise and even mines some genuine laughs without resorting to cheap shots. While it’s essential not to be overly sensitive to humor, Khel Khel Mein, as a comedy-drama, simply lacks enough funny moments. It’s not that the jokes fall flat; rather, there just aren’t enough of them.

Three other aspects have lingered in my mind since watching the film: First, the tired trope of the young stepmother and teenage stepchild feels played out. Second, the film features one of the most lackluster suicide attempts in recent Hindi cinema—a sequence that tries to mix humor with tragedy but lands awkwardly. Finally, I’ve grown weary of characters giving unsolicited speeches unless they’re on a podium; a father’s progressive monologue to his daughter, for example, felt more aggravating than inspiring.

Overall, Khel Khel Mein offers an intriguing look at modern relationships with a premise that’s both relatable and engaging, but its execution leaves much to be desired, often treading too lightly on themes that deserve deeper exploration.

Performances Overview

Akshay Kumar has openly admitted several times that in his early days, he wasn’t much of an actor, especially when it came to his acting skills. However, Priyadarshan revealed a talent for slapstick humor in him that Akshay has retained ever since. Since the year 2000, Kumar has almost mastered this style of comedy. He’s recently been on a notable run with 10 films over the past three years, all of which have failed either at the box office or on streaming platforms, except for OMG 2.

Kumar’s recent choices and his resultant overexposure have become easy targets for criticism as he becomes more prominent in the industry. It’s been distressing to see him become defensive when these choices are brought up. It’s undoubtedly a tough topic for Kumar, but his dismissive handling of the situation merits attention.

What sets Khel Khel Mein apart from its predecessors is its return to a formula that suits Kumar well. The role mainly requires him to embody a charismatic, silver-haired charmer who delivers laughs and occasional serious moments, which he does effectively. It’s refreshing to see him enjoy a role so thoroughly, and hopefully, this film will break his recent string of flops. Thankfully, the film addresses the age disparity with his co-star cleverly and shifts focus from it effectively. Discussing the pay gap with his co-stars would indeed be intriguing. A reminder that the over-the-top steering wheel antics in film driving scenes are outdated would be beneficial for Kumar.

I always embrace my personal biases as long as I recognize them. In this respect, I wholeheartedly support Taapsee Pannu because she stands out as a Bollywood mainstream actor willing to take considerable risks. Her genuine nature and her occasional subtle defiance are qualities I admire. While some of her performances are merely sufficient, she has never truly turned in a poor performance. (And yes, can we blame David Dhawan for remaking Chashme Baddoor? Even Rishi Kapoor couldn’t save that one.)

Whenever Taapsee appears on screen, especially during her dance number to Hauli Hauli early in the film, I wonder about her need to choose this project. She needed to do Dunki, although her heart might be more aligned with projects like Blurr. Yet, the clout and marketability she might gain from a multi-starrer like this, where she is one of two lead actresses, are questionable. Actors often have to strategize about these choices. If the rumors are true, Pannu might need better guidance in selecting commercial projects that complement her passion projects.

As Harpreet Kaur, Taapsee delivers some impressive punches, both literally and metaphorically. She could tone down the ‘small town girl’ act slightly, but her comedic timing is impeccable. In a sequence discussing her husband’s medical issues, she demonstrates excellent restraint, and her choices in expressions and pauses are perfect. Despite a moment of overacting, her portrayal is enjoyable overall.

Ammy Virk also portrays a character named Harpreet and provides a hearty dose of humor. His timely invocation of ‘Waheguru’ at the start of the film’s pivotal scene is memorable. He’s also effective in more reflective moments. Vaani Kapoor’s portrayal of Vartika Malik, an accomplished author, unfortunately, does not resonate as intended. While Kapoor likely approached the role with dedication and effort, she hasn’t managed to deliver a performance that truly impacts the audience or feels genuinely heartfelt.

Aditya Seal comes off as rather rigid and difficult to watch. It’s unfortunate that he relies more on old hairstyles and theatrical tears than on genuine emotional depth. Pragya Jaiswal’s debut in Hindi cinema gives off the vibe of a dated TV serial antagonist, not utterly terrible but far from a showcase of her potential.

Lastly, Fardeen Khan’s role in the film seems intended to mimic the impact Bobby Deol had in Animal. Yet, while Deol managed to add some nostalgic charm, Khan’s performance is painfully lackluster, marked by monotonous dialogue delivery and nearly absent expressions, even during a crucial monologue advocating for gay rights—an almost comically inadequate effort that leaves much to be desired.

Direction and Technical Execution

Handling a script like this one was undoubtedly a challenging task for Mudassar Aziz, and editing it by Ninad Khanolkar was no small feat. The bulk of the movie features seven characters interacting within confined spaces like a room or garden, necessitating a multi-camera setup to capture the dynamics effectively. It was during the editing process that the film really came into its own. Aziz earns praise for maintaining a tight runtime of 134 minutes, ensuring that the pace remains brisk without making the film’s length burdensome. The structure remains engaging, avoiding any sense of monotony from repetitive phone calls or messages—a significant achievement in keeping the audience’s interest.

Visually, the film doesn’t venture beyond conventional grandeur, but Aziz excels within these confines. However, there are fundamental issues in the filmmaking that should not be overlooked. It’s been ages since I’ve encountered a film plagued with so many dubbing problems, which is surprising considering they usually go unnoticed. Editor Khanolkar creatively obscures these dubbing mistakes by positioning characters with their backs to the camera during problematic dialogues. Despite these efforts, some discrepancies remain noticeable and are quite glaring. It would have been beneficial for the editing team to track and minimize these errors more effectively. Moreover, the film occasionally suffers from awkward cuts and a lack of close-up shots that might have added more depth to the scenes.

Musical Elements and Soundtrack

Utilizing “Parde Mein Rehne Do” effectively adds humor to the film, making it a highlight. The background score tends to be somewhat overpowering but follows the typical formula seen in Bollywood comedies—it’s more about acceptance than expectation. However, the broader question remains: should we not elevate the musical scoring of comedies to match that of traditional cinematic films rather than resembling subdued cartoon escapades? Yet, it wouldn’t be entirely right to isolate Khel Khel Mein for this critique. As for the soundtrack, tracks like “Hauli Hauli” shine on their own but seem superfluous when used within the film’s context or as background music, a critique not unique to this movie alone.

In essence, Khel Khel Mein manages to entertain without being dull, though it occasionally lets down with its unrealized comedic potential. If it had been filled with more consistent laughter, it could have been more impactful. Fans of Akshay Kumar might still find it worth watching, but those who are critical of the efforts of a 50-year-old actor attempting a resurgence without substantial acting merit may want to steer clear.

Khel Khel Mein Review

Khel Khel Mein is a remake of the 2016 Italian movie Perfetti Sconosciuti, also known as Perfect Strangers. This film has inspired over 25 adaptations worldwide, including a Kannada version and two Malayalam versions, one featuring the renowned actor Mohanlal. I must admit that I haven’t seen the original film or any of the remakes. However, it became apparent early on why the original has spawned so many variations.

The premise of the film is incredibly universal, adaptable, and accommodating, lending itself to endless creative reinterpretations. I suspect that most of these adaptations are far from being direct copies. It seems likely that writers would have effortlessly incorporated the central theme into fresh contexts, explored new cultural nuances, and developed additional layers of intriguing subplots. I would not be surprised if several of these remakes even outshined their source material in depth and execution.

Final Verdict

50-Word Review: Khel Khel Mein explores contemporary relationships but lacks depth. It aims to entertain with humor but falls short. Akshay Kumar finds his stride in familiar territory. Fardeen Khan’s performance is painful to endure. The film won’t bore you but may leave you feeling frustrated.

Vibe: Khel Khel Mein Movie Review: Despite strong performances from Akshay Kumar and Taapsee Pannu, they struggle to lift a comedy that skimps on genuine laughter.