Munna Michael movie review: Who cares about logic when you have dance, action courtesy Tiger Shroff?
Munna Michael was written keeping in mind Tiger Shroff's best skills: dancing and action. But what about story and originality?
It’s 1995. An aging dancer with a disturbing Michael Jackson hangover is removed from the chorus line of a dance troupe. Michael (Ronit Roy) is devastated. He’s seeking solace at the bottom of a bottle but fate has him wander past an abandoned baby. Michael adopts the child and raises him as Munna.
Inspired by his father, Munna Michael (Tiger Shroff) becomes a dancing machine and makes a quick buck by pulling cons on the dance floor. His inspiration is also Michael Jackson.
It’s bad enough that our choreographers are stuck in a time warp – they either design sequences aping Jackson or are rehashing hip-hop moves from the mid-90s. But here we have a film where even the writer and director are holding on to nostalgia, not just in terms of inspiration and choreography but also a story line.
Munna Michael takes the comic route and the cold, corpse-like narrative comes alive with the introduction of the ever-reliable Nawazuddin Siddiqui. Siddiqui plays Mahinder Fauji – a hotelier and a thug with a soft corner for a dancer called Dolly (Nidhhi Agerwal). He believes the best way to impress her is by learning to dance, and for this job he hires Munna.
Let me explain that by this time Munna has left his ailing father in Mumbai and moved to Delhi to continue his con-on-the-dance-floor act. We don’t know what his father is suffering from and why Munna cannot think of any other career option but being a dancing cheat. But there you have it.
The moment Munna sets eyes on Dolly, it’s love at first shimmy and shake. Dolly’s dream is to win a dance show on TV. The men believe she’s a dancing queen. But Agerwal dancing is passable at best with her studied moves making her barely convincing as a champion dancer. Maybe she should have joined Munna’s dance classes! Alongside her, Shroff’s robotic moves almost look fluid.
Munna is assigned the job of helping Mahinder court Dolly and then, when she flees from Delhi, Munna must bring her back to Mahinder. What Dolly wants is, of course, of little consequence to Mahinder giving Munna an opportunity to deliver a lesson about that. Fortunately Mahinder’s obsession doesn’t become too creepy as the character is shown to be mean as nails otherwise but soft when it comes to matters of the heart. Siddiqui looks like he’s really enjoying the dance lesson sequences even as he flubs the steps.
Director Sabbir Khan and writer Vimi Datta have designed a film that is serviced by Shroff’s two skills – dancing and action. In spite of being predictable story with slack storytelling, Khan once again (Heropanti, Baaghi) showcases just what is needed to keep Shroff’s fans satisfied.
Put in enough of these two elements and who cares about logic, story, acting or originality.
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