Sometimes a film hits you quietly. It doesn’t shout, it doesn’t chase drama—but it leaves something behind. That’s what Srikanth does. It doesn’t try to dazzle. Instead, it lets the story speak for itself—and thankfully, it has Rajkummar Rao to do just that.
Based on the life of Srikanth Bolla, the film follows a young man who’s been blind since birth but refuses to be defined by what he doesn’t have. No big melodramatic moments. No unnecessary tears. Just a life lived with grit, intellect, and an almost stubborn optimism.
Rao, as always, disappears into the role. But this time, it’s different. There’s restraint in his performance. He doesn’t lean into the “inspirational hero†trope. Instead, he makes Srikanth real—funny, clever, angry, and ambitious. He’s not perfect, and that’s why you root for him.
What’s refreshing is how the film resists turning disability into a spectacle. There are struggles, of course, but they’re shown matter-of-factly. The bigger fight here is against attitudes—schools that won’t admit him, companies that won’t hire him, people who speak about him but never to him.
Some parts drag. A few emotional beats feel slightly forced. But overall, the film stays grounded. Tushar Hiranandani’s direction is understated, and that works in its favor. You’re watching a story unfold, not a sermon being delivered.
By the end, Srikanth leaves you thoughtful—and maybe a little more hopeful. And Rajkummar Rao? He’s not acting to impress. He’s just telling the truth of one remarkable life. And sometimes, that’s more powerful than any big-screen hero moment.
Every now and then, Bollywood throws you a curveball so odd, you can’t decide whether to laugh, cringe, or keep watching just to see how far they’ll take it. Bad Newz is that movie. It takes a bizarre premise—two men, one woman, and a wild pregnancy twist—and turns it into a chaotic cocktail of comedy, awkwardness, and emotional detours you didn’t see coming.
Let’s just say right off the bat: this is not your typical rom-com. Vicky Kaushal steps into full-blown madman mode, and honestly, it suits him. He’s unhinged, unpredictable, and somehow manages to make you root for him even when he’s being completely ridiculous. Triptii Dimri holds her ground with a calm, grounded presence that balances out the madness. And Ammy Virk? Surprisingly solid. There’s an earnest charm to him that grows on you.
The film leans into absurdity—and that’s where it thrives. There are moments that are loud and a bit much, sure. But if you surrender to the weirdness, you’ll find yourself laughing harder than expected. Especially in the second half, where things spiral into total unpredictability, but never lose heart.
Under all the jokes and mix-ups, Bad Newz actually has something to say—about parenthood, masculinity, and letting go of control. But don’t expect any heavy messaging. The film’s too busy being nuts in the best way.
Is it flawless? No. Some gags run long, and the script occasionally stumbles trying to juggle sentiment with slapstick. But what it lacks in finesse, it makes up for in sheer guts. It knows it’s outrageous and leans into it with full confidence.
In a time of overly polished, factory-made films, Bad Newz is messy, loud, and oddly refreshing. It's like being dragged into a party you didn’t want to attend—but by the end, you’re glad you stayed.
