Review: Katrina’s Phone Bhoot is goofy, wild, and weird.

A picture of Phone Bhoot trailer. (courtesy: aExcel Movies)

Cast: Katrina Kaif, Ishaan Khatter, Siddhant Chaturvedi

Director: Gurmmeet Singh

Evaluation : 2.5 stars (out of 5)

It’s wacky, wild, and weird in a way that takes a lot of getting used to. From the opening sequence, Phone Bhoot is a kind of maelstrom. That you can identify with and enjoy the quirky horror comedy of Phone Bhoot will depend solely on your taste for the bizarre. If so, the film produced by Excel Entertainment offers you a full range of incentives. He stops at nothing in his pursuit of all that is strange and bizarre in the occult.

Phone Bhootdirected by Gurmmeet Singh (who notably directed Mirzapur and some episodes of InsideEdgein addition to films such as What the fish and Sharafat Gayi Tel Lene) makes a calculated shot on Bhool Bhulaiya-… like a fantasy. The results are uneven but not totally useless.

The makers of the film believe that Phone Bhoot represents an idea that can be exploited beyond the limit of a single film. A spectral sutradhar that features voice-over narration at the beginning, middle, and end of the film indicates that a sequel is in the cards. Are we excited at this point? We’re not entirely sure.

The film’s whimsical flights of fancy don’t always land on the right tarmac, but it manages to piece together a slew of gags that, taken together, provide hilarity, craziness, and plenty of manic moments led by a cast in pitch-perfect synchronization with the crazy spirit of the film.

A wandering soul, Ragini (Katrina Kaif), seductive as hell, resurfaces out of the blue and sells a business idea to two self-proclaimed clumsy people. bhoot-Sherdil Shergill “Major” (Siddhant Chaturvedi) and Galileo Parthasarathy “Gullu” (Ishaan Khattar). The two boys, one from Punjab, the other from Tamil Nadu, grew up obsessed with ghosts and ghouls and inevitably found each other.

The two are in conflict with real people, especially Major’s dad and Gullu’s appa. The first wants his son to join the army, the second hopes that his son will one day become a scientist. However, in the only scene where the two fathers (Manu Rishi Chadda and Kedar Shankar) appear, they do not hide that they have practically abandoned their boys.

It turns out that the wandering soul that has made its way into their lives has a plan much bigger than the wandering duo can initially comprehend. When they realize what they’re drawn into, they’re at first baffled, then choose to keep playing the game, no matter the cost. They have nothing to lose except their self-loathing and the disheartening taunts of the world.

They find themselves willy-nilly on a collision course with the evil “soul catcher” Atmaram (Jackie Shroff), whose power comes from a staff that is both a weapon and a trap for the seeking dead. the Salvation. His fortunes take a steep dip when the two clumsy boys unknowingly offer him stiff competition in the field of freeing souls wandering the mortal world.

One such soul is Chikni Chudail, played by Sheeba Chaddha, whose character is a far cry from the one she usually takes on with elan in family dramas. Farce that quickly turns into unbridled comedy is not his forte. Yet when she has lines to give, she not only doesn’t spoil them, but owns them with abandon and adds to the film’s rapidly rising weirdness quotient.

parts of Phone Bhoot dial the right numbers, others just don’t connect. Despite being a blockbuster affair, the film unhesitatingly treads a path of wacky absurdity, as honest Ghostbusters come up against pernicious forces that seek to tame them. and turn them off.

Phone Bhoot incorporates many nods to popular Hindi cinema of the 1980s and later, the most notable being one that alludes to Jackie Shroff’s early career. The voluble character that the Bollywood veteran embodies turns to his young adversaries and mocks them: ” Asli hero idhar khada haisince 1983.” He begins playing a tune from the actor’s first film, Subhash Ghai’s Heroon a flute.

Nothing is more instantly reminiscent of Bollywood’s past than the villain’s lair in which the climax is played out, without restraint. Shroff revels in the excesses he is allowed to freely indulge in. His teammates are in tune with him, with Atmaram trying to stop the Major and Gullu’s lassi-black coffee combination from finding a way to knock him down.

The lovely Ragini is not the only ghost on the side of the Major and Gullu. They have their own guardian ghost, Raka (Surendra Thakur), who takes center stage in their home dominated by posters of titled movies. Cheekhti Deewar and Bandh Darwaza. Just the frame that a bhatakti aatma wouldn’t need an invitation to float in it.

Katrina Kaif literally floats through the film until her story, told in detail by Ragini herself in the second half, turns her into the central character, a dead woman with a real mission. Siddhant Chaturvedi, who plays the cheeky and fast major, fits the bill. But the actor who wins the film, effortlessly, is Ishaan Khattar. In the role of the intellectual Gullu, he brings both charm and audacity to his performance.

telephone booth isn’t a genre-shattering event, but it does feel like a mad hatter’s party where anything goes. He doesn’t apologize in the least. This is the main strength of the film. Achieving this isn’t easy, as evidenced by the many hiccups in the film’s wacky plot, but the farce doesn’t end. Which, by all accounts, should be considered a success.

Recommended but with a minor health warning: Phone Bhoot is not for all palates.

Video of the day

Mili screening: Sara Ali Khan and Ananya Panday photographed together

Review: Katrina’s Phone Bhoot is goofy, wild, and weird. – In question