Baby John, starring Varun Dhawan and directed by Atlee, promises an action-packed spectacle with a stellar cast. But does it live up to the hype? Read our detailed review to find out what works, what doesn’t!
Varun Dhawan’s action-packed Baby John had been on the radar for quite a while, especially with Bollywood and the South Indian film industries weaving tighter collaborations. With a stellar cast bridging stars from both regions and a storyline promising a pan-Indian appeal, I walked into the theater expecting Atlee to deliver his signature flair in this Theri “adaptation.” But much to my surprise, I walked out feeling underwhelmed. If you’re planning to catch this Atlee directorial starring Varun Dhawan, here’s our take on whether it’s worth your time!
Baby John is helmed by Kalees, a director attempting to bring the spirit of Atlee’s 2016 Tamil blockbuster Theri into Bollywood. Presented by Atlee himself, the film stars Varun Dhawan in the titular role, supported by a talented ensemble that includes Keerthy Suresh, making her Hindi debut, Wamiqa Gabbi, Rajpal Yadav, and Jackie Shroff. The movie also features Sheeba Chaddha as Satya’s mother and Zara Zyanna as his daughter. Sunil Rodrigues choreographed the action sequences, while Thaman’s thumping background score sets the tone for the high-octane drama. Running for 165 minutes, the film tries to balance heartfelt moments with its mass appeal but struggles with dated tropes and predictable storytelling.
Plot
Set against the lush backdrop of Alappuzha, Kerala, Baby John follows DCP Satya Verma (Varun Dhawan), a once-revered crime-buster turned undercover bakery owner, forced into obscurity after a tragic encounter with Nanaji (Jackie Shroff), a brutal politician and human trafficker. Raising his spirited five-year-old daughter Khushi in peace, Satya is drawn back into action when his cover is blown, and his past resurfaces. The narrative unfolds in a non-linear fashion, detailing Satya's love story with Meera (Keerthy Suresh), his rise as a heroic cop, and his fall into anonymity. The film builds towards a showdown where Satya must protect his daughter while battling the corrupt and vengeful forces led by Nanaji, leading to a mix of personal sacrifice and vigilante justice.
What Works:
While Baby John has its ups and downs, there are a few highlights that deserve a mention. First and foremost, Zara Zyanna’s portrayal of Khushi is nothing short of adorable. Her aggressive yet comic moments provide a refreshing charm amidst the chaos, although it also makes you question the slight arrogance at times which gets a tad bit at times. But there’s more to the film than just Khushi’s presence, and thankfully, some elements stand out. Varun Dhawan and Jackie Shroff deliver solid performances, with Jackie stealing the show. Once again, Bhidu proves that his versatility and screen presence remains unmatched, effortlessly slipping into the skin of a menacing antagonist. Kalees deserves credit for crafting an antagonist who’s not only equally matched but arguably more intimidating than the protagonist. The cat-and-mouse dynamic between Jackie and Varun adds a layer of tension that keeps you hooked. Jackie’s ability to embody a villain driven by vengeance and ego gives the character an edge that elevates the narrative.
Varun’s portrayal in the flashback sequences stands out, showcasing a more grounded and relatable side of him. It’s a reminder of his Badlapur days, blending the boy-next-door charm with intense action. Speaking of action, Varun truly shines in the high-octane sequences, proving he’s no stranger to pulling off gritty, physical roles. Sheeba Chadha makes an impression despite her limited screen time, while Keerthy Suresh and Wamiqa Gabbi do justice to their roles with what they’re given. Rajpal Yadav, in an unexpected avatar, is a welcome surprise, offering a refreshing break from his usual comic roles. Thaman’s background score works well in heightening the intensity of the action scenes, even if the overuse of songs occasionally breaks the flow. But when the music hits the right notes, it amplifies the thrill.
Unfortunately, the list of shortcomings in Baby John is extensive, leaving me slightly more disappointed than satisfied. One of the biggest obstacles to enjoying the film was its non-linear storytelling. Atlee is known for his intricate narratives where multiple subplots eventually converge to elevate the protagonist into a larger-than-life, idealistic figure. However, in Baby John, the constant back-and-forth between past and present and an already complex storyline made it difficult to stay engaged. The jumps in time weren’t always seamless, and this fragmented approach often disrupted the emotional flow, making the narrative feel unnecessarily complicated.
Another glaring issue was the excessive use of song sequences. I understand the appeal of incorporating songs into a mass entertainer, especially to cater to a wider audience. But here, the sheer frequency of musical interludes, almost every eight minutes—detracted from the story rather than enhancing it. Just as I started connecting with a scene or character, a song would abruptly interrupt the momentum, making it hard to remain immersed. Adding to this was the fact that most of the songs failed to leave a lasting impression. Save for Nain Mattakka, which stood out thanks to Keerthy Suresh’s infectious energy, the rest of the soundtrack felt forgettable and uninspired.
The treatment of Wamiqa Gabbi’s character was another major disappointment. Her arc felt painfully underdeveloped, despite the clear potential for her role to shine. Wamiqa is an actor who has consistently proven her ability to deliver powerful and layered performances, and seeing her talent go to waste here was frustrating. This issue isn’t new in male-centric films, where female characters often take a backseat, but it’s especially disheartening when the actors in question have so much more to offer. Her character’s lack of depth and meaningful involvement left me longing for what could have been a standout moment for her in the film. Lastly, the film ends up being a bit too predictable at most times making you question whether the 2014 Theri was a more than just an inspiration.
The climax, which should have been the film’s high point, also fell flat. Jackie Shroff’s antagonist was brilliantly written throughout the story; it was perfectly menacing, intense, and compelling. Yet, when it came to the resolution, his character wasn’t given the justice it deserved. The final confrontation felt rushed and underwhelming, undoing much of the intrigue and power that had been carefully built around his role. It’s a shame because Jackie delivered one of the film’s strongest performances, and a better climax could have elevated the entire experience.
Verdict: A Visual Feast That Leaves You Hungry For Substance
Lastly, the runtime of 165 minutes felt excessive, especially with the frequent interruptions from songs and repetitive beats in the narrative. By the time the film reached its conclusion, it felt like it had overstayed its welcome. Instead of delivering a tight, engaging entertainer, Baby John ended up feeling bloated and dragged out. In summary, while Baby John had all the ingredients for a gripping action drama, a talented cast, an experienced director, and a promising premise, it did fall short due to its fragmented storytelling, overuse of songs, underdeveloped characters, and an unsatisfying climax.
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