Anand Tiwari’s Bad Newz left me feeling disappointed, reminiscent of the same frustration I felt watching Liger, another unfortunate venture from Dharma Productions. While I had hoped for an improvement after the recent success of Rocky Aur Rani Ki Prem Kahani, Bad Newz is a step backward, a regression that speaks to the broader issue of superficial storytelling in modern Bollywood.
This sequel to the delightful Good Newwz once again tries to explore complex relationships but falls flat on nearly every front. The film opens with a promising premise—Ananya Panday, playing herself, consults with Tripti Dimri’s character, Saloni Bagga, a renowned chef, as she prepares to portray her in a biopic. From here, the film dives into a flashback, setting up a story that should have been rich in drama and emotional depth but instead, turns into a shallow, cliché-ridden affair.
The chemistry between Vicky Kaushal’s Akhil and Saloni in the first half holds some promise. Their love story, set in the backdrop of Saloni’s career ambitions as a chef, had potential. But what starts off as mildly engaging soon descends into a cringe-worthy saga of misplaced comedy, regressive dialogue, and tiresome gags. The serious issues at hand—ego clashes, marital troubles, and career sacrifices—are sidelined in favor of overused tropes that reduce the film’s female protagonist to a mere prop in her own story.
At the center of the plot is a rare medical condition known as heteropaternal superfecundation, where Saloni ends up pregnant with twins from two different fathers—Akhil, her ex-husband, and Gurbir, a hotel owner played by Ammy Virk. While the concept offers an opportunity to delve into the modern dynamics of relationships, the film handles it with insensitivity and a lack of seriousness. Instead of exploring the emotional complexities of such a situation, the narrative devolves into a childish rivalry between the two men, with Saloni pushed aside until the plot needs her again.
What’s even more frustrating is the complete disregard for important themes like consent, safe sex, and women’s reproductive rights. In a country where discussions around these issues are critical, Bad Newz had the chance to add to the discourse, but instead, it opts for cheap laughs and shallow character development. The film doesn’t even broach the subject of abortion, an option that would have been a natural part of the conversation in a more nuanced portrayal of an accidental pregnancy.
Tripti Dimri’s character, who should have been the heart of the film, is sadly underdeveloped. Her aspirations as a chef—a thread that could have given the film depth and a unique angle—are treated as an afterthought, with more time spent on flashy song sequences and self-indulgent jokes. The audience is left wondering why a talented actress like Dimri wasn’t given more to work with.
Even the performances, while decent, cannot save the film from its uninspired writing. Vicky Kaushal and Ammy Virk are wasted in roles that reduce them to caricatures, and Sheeba Chaddha, who has shown her prowess in films like Badhaai Do, is similarly let down by the weak material.
It’s disheartening to see a film with such potential squandered on frivolous humor and lazy writing. Bad Newz tries to be progressive, but it ends up being a poor attempt at masking regressive ideas under the guise of modernity. Just because you don’t outright shame the woman for her choices doesn’t mean you haven’t made her the butt of the joke.
In conclusion, Bad Newz is a missed opportunity—a film that had the premise and the cast to be something great but ends up being a forgettable and frustrating experience. If you’re looking for depth, emotional resonance, or even a well-crafted comedy, you won’t find it here. Instead, you’ll walk out of the theater wondering when Bollywood will finally learn to balance entertainment with thoughtful storytelling.
