Movie

The Vidyut Jammwal-starrer feels dated

Khuda Haafiz is streaming on Disney+ Hotstar VIP.

Khuda Haafiz film solid: Vidyut Jammwal, Annu Kapoor, Shivaleeka Oberoi, Shiv Panditt, Aahana Kumra, Vipin Sharma
Khuda Haafiz film director: Faruk Kabir
Khuda Haafiz film score: One and a half stars

How do you get an motion star to play a standard man pressured into conditions the place he has to make use of his fists-and-fangs however not like an motion star, and nonetheless be credible?

That’s the dilemma that Khuda Haafiz grapples with proper by, as Jammwal slaloms between being a Lucknow-based software program engineer working truthfully for a residing, and a determined husband in the hunt for his lacking spouse in a fictional Middle East nation referred to as Noman.

There was potential right here to make it a racy rescue mission, between a vicious gang of flesh-traders and the nice man, however the movie feels dated, and at two hours plus, it’s a lot too lengthy.

Newly-weds Sameer (Jammwal) and Nargis (Oberoi) discover jobs in Noman by way of an agent (Sharma, efficient) who seems so shifty that you already know immediately that he’s a foul ‘un. Of course, it doesn’t happen to the couple that there’s one thing fishy about the entire thing, as a result of it’s that sort of movie.

This is what we get: a kindly Pathan cabbie (Kapoor) as Sameer’s saviour, a determine we’ve seen a zillion instances earlier than. An officious however helpless official on the Indian mission. A few zealous native lawmakers (Panditt and Kumra) who monitor Sameer’s journey, as he encounters vicious brothel-runners and their henchmen, whereas on the lookout for the king-pin. And the gorgeous places in Uzbekistan, the place a lot of the movie is about: a number of the desert-and-ocean scenes are actually scenic.

But the one time the movie lifts off the display is when Jammwal will get going, minus the weepy spouse or the scenes by which he has to emote. A few strikingly choreographed fight-and-chase scenes maintain our curiosity, particularly one by which Jammwal is hemmed in a slender hall with an entire bunch of armed louts about to pound him into the bottom.

Both Panditt and Kumra, ready actors, are made to talk in a robust ‘Arabic’ accent which has no method to not slip. The just one who belongs to this universe is Kapoor, along with his dialogue-delivery (‘tum jise karz kehte ho, Pathan usko apna farz maanta hai; tumko jo ehsaan lagta hai, momin ko imaan lagta hai’, and so forth). The remainder of it’s creaky and cartoonish.

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