Kartik’s Arjun is a radio anchor at the start of this Netflix offering, having been relegated from his prime-time television anchor post after a five-year tenure. He’s also seated in a whirl of smoke from his cigarette at his corner radio studio, poring over a divorce draught and reminiscing about the life that was. We eventually discover about the disagreement and how his personal and professional lives have evolved into what they are now. He goes on the air, gives a traffic update (the Sea Link will be closed between 9 and 10 a.m. due to construction work, so avoid it), and then takes his first caller. “Main Sea Link udane wala hoon,” says a man who introduces himself as Raghubeer Mhate.
You’re probably aware that Dhamaka is taking a turn in the direction of A Wednesday (2008), which is also accessible on Netflix if you want to check it out. The following events are predictable, yet adrenaline-pumping.
This film fails on the level of scriptwriting, as Madhvani fails to bring in someone like Jim Sarbh to balance the film’s opposite side. By the end, he’s exhausted Kartik’s character with all the white, black, and grey. The decision to reveal 90 percent of the bridge-blast portions on TV wasn’t the best one because it didn’t cause any heart palpitations when we saw it.
Kartik Aaryan clearly puts his heart and soul into this film, it’s his character that was lazily written. His character’s shade of news reporter comes across as overused at times, he tries but couldn’t balance it out with dramatic nuances. With the lines and range he was given to portray. Although there was a risk of him going overboard in each moment, and he happily managed to not do it.
In the film, Amruta Shubhash plays Kartik’s immediate harsh trp-minded boss, and she’s just about okay. It’s largely due to her character’s incredibly brief storyline. Her character does not grow, making her sound monotonous throughout the film. Mrunal Thakur’s cameo adds the needed drama, but the execution is lacking. The emotional connection would have been much better if the filmmakers had spent a little more time developing the romance between the leads than just the song.
Kasoor, by Prateek Kuhad, is the first to lay out the lead’s chemistry, and it works. Despite being a chilly music, Amit Trivedi’s Khoya Paya leaves no impression because it comes at the end, when everything is already scattered. It’s just another example of something that, despite being fantastic, fails to connect due to the script.
If you enjoy thrillers, Dhamaka will not disappoint you, it’s the direction that needed more work.