Varun Dhawan’s Baby John, a remake of the Tamil blockbuster Theri, attempts to marry action and emotion but falls short in nearly every aspect. The film’s ambitious scope, meant to demonstrate Dhawan’s range as an action star, quickly spirals into chaos. The excessive melodrama and lack of originality weigh down the narrative, making it hard for the actor’s natural charm to shine through.
A Shaky Foundation with an Overstuffed Narrative
The film revolves around DCP Satya Verma, played by Dhawan, a supercop turned incognito baker, and his crusade against a psychopathic villain, Babbar Sher. The storyline, littered with clichés and disjointed sequences, struggles to find balance.
Rajpal Yadav attempts to break from his comedic mold to play a serious cop. Yet, his delivery feels misaligned with the film’s uneven tone. His statement, “Comedy is serious business. Action, even more so,” unintentionally becomes a critique of the film itself, where neither element lands effectively.
Recycling Old Tropes: What’s New in Baby John?
The core plot of Baby John mirrors Theri, with minor tweaks that fail to inject novelty. A psychopathic villain, a “good vibes only” supercop, and a precocious motherless child form the predictable foundation. Jackie Shroff’s character, Nanaji, is a caricature of the archetypal Bollywood villain—vicious but one-dimensional.
Even Keerthy Suresh, in her Hindi debut, is relegated to the sidelines as Meera, a house surgeon whose character arc dissolves into stereotypes. Her dialogue, “Main kaisi biwi hoon?” (“What kind of wife am I?”), followed by her husband’s reply, “You are like another mother to me,” is an outdated sentiment that undercuts her role’s potential.
Action That Misses the Mark
Baby John tries hard to establish Dhawan’s Satya Verma as an unstoppable force. In one sequence, he promises to defeat a gangster before a song on his car stereo ends. He delivers on that promise but does so in a cartoonish manner that lacks tension or excitement.
The action sequences feel dated, with fight choreography and shootouts that fail to generate any real adrenaline. The reliance on over-the-top stunts, accompanied by loud background scores, feels more exhausting than thrilling.
A Love Story That Slows the Film Down
The romance between Satya and Meera begins with a meet-cute in a hospital where Satya’s heroic antics catch Meera’s attention. However, the romantic subplot bogs the film down with unnecessary musical interludes and formulaic negotiations with disapproving parents. These moments, meant to add emotional weight, instead dilute the film’s impact.
A Tale of Two Fathers: A Weak Emotional Core
Dedicated to “all fathers,” Baby John attempts to present a narrative about good versus evil by framing it as a fatherly battle. Satya’s love for his daughter, Khushi, is meant to be the emotional heart of the film. Yet, these moments come across as forced and saccharine, lacking the depth needed to truly connect with the audience.
The women in Baby John are relegated to relational roles, with little agency or depth. Even Khushi’s schoolteacher Tara (Wamiqa Gabbi) becomes more of a plot device than a fully realized character.
The Flashback That Never Ends
A large portion of the film is devoted to an extensive flashback, where Satya’s past as a celebrated supercop in Mumbai unfolds. While the flashback attempts to build Satya’s heroism, it only serves to lengthen an already bloated runtime.
When the story returns to the present day in Alappuzha, Kerala, where Satya lives a quiet life with Khushi, the narrative momentum is all but lost.
Missed Opportunities for Innovation
Directed by Kalees, Baby John fails to capitalize on Atlee’s involvement as a producer. While Theri had its share of flaws, it resonated with audiences due to its mass appeal and emotional connect. Baby John, however, lacks the same spark.
The possibility of setting up an undercover cop universe is hinted at but feels like an afterthought. The final sequence, featuring a Bollywood A-lister, aims to generate excitement but comes off as a desperate gimmick.
A Lackluster Finale
The film culminates in a predictable showdown where Satya reverts to his old ways to protect his loved ones and dispense justice. However, the climax fails to evoke any genuine emotion or thrill.
Even the festive touch, where the characters wish the audience a Merry Christmas and acknowledge Indian festivals, feels hollow in light of the overall lack of connection the film establishes.
Conclusion: All Style, No Substance
Baby John is a muddled, overstuffed action-drama that tries too hard to please everyone but ends up satisfying no one. At 2 hours and 40 minutes, the film feels like an overstretched exercise in mediocrity.
Despite Varun Dhawan’s best efforts, Baby John lacks the originality, coherence, and emotional depth to make it memorable. For fans of Theri, this remake is a pale shadow of the original. For everyone else, it’s a reminder that action and heart cannot thrive on clichés alone.