Baby John Story, Review, Trailer, Release Date, Songs, Cast 2024 -

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Baby John Story :-

To safeguard his family, a DCP relocates from one place to another in this Hindi remake of the 2016 Tamil film Theri.

Baby John Release Date, Trailor, Songs, Cast :-

Release Date	25 December 2024
Language	Hindi
Genre	Action, Drama
Duration	2h 39min
Cast	Sanya Malhotra, Wamiqa Gabbi, Varun Dhanwan, Jackie shroff, Upendra Limaye, Keerthy Suresh, Rajpal Naurang Yadav, Manikandan K., Sheeba Chaddha, Kamlesh Sawant
Director	Kalees
Writer	Kalees
Cinematography	Kiran Koushik
Music	S. Thaman
Producer	Atlee, Priya Atlee, Jyoti Deshpande, Murad Khetani
Production	A for Apple Productions, Cine1 Studios, Jio Studios
Certificate	18+

Baby John Review :-

Baby John has been watched! Varun Dhawan describes the film as a Hindi adaptation of the 2016 Tamil film Theri, not a direct remake. Reflecting on the original Theri, it was a pivotal moment for Atlee, who had made his directorial debut with Raja Rani (2013) just three years earlier. By the time they collaborated, Vijay was already a major star in the Tamil film industry, and their partnership propelled Atlee’s career beyond expectations, leading to two more collaborations. When Theri was released, many criticized its clichéd subplots, but the melodramatic moments helped the film stand out and turned it into a blockbuster. Will Baby John meet the same fate?

When watching a remake or so-called adaptation, there are always challenges, especially for those familiar with the original. A few days ago, I revisited Theri in anticipation of Baby John’s release, hoping to analyze its scene-by-scene translation into Hindi and its relevance in today’s world. Unfortunately, the efforts seem to fall short.

Unlike Theri, where a rape case is the central plot point, Baby John shifts focus to human trafficking as the precursor to the crime. However, Jackie Shroff’s portrayal of the villain—a notorious gangster who pays no attention to personal hygiene, even while sleeping on stacks of currency—feels off. The move from a clean, white-clad politician to a menacing, unhygienic villain may have been intentional, but sadly, it comes across as a misstep.

At its core, the film leans heavily on a predictable and clichéd revenge plot. The tale of a righteous cop avenging a personal tragedy is a well-worn trope in Bollywood, and Baby John does little to offer anything new in this regard. While the story occasionally includes flashbacks, its familiar, linear progression often robs the film of any genuine surprises, making it feel like a rehash of countless action dramas that came before it.

Emotionally, the moments between Varun and his on-screen daughter Zara are touching, but the impact fades when the dialogue kicks in. Why? If Atlee, who collaborated with Kalees and Sumit Arora on the script, had penned this story, it feels like a dubbed version of Theri. Reuben’s uneven editing, which worked somewhat in Theri, doesn’t have the same effect here, despite mirroring every line and framing every angle in a similar manner.

Baby John still retains a relevant storyline, but in the eight years since the original’s release, many films and series have explored this theme, often with greater success. Although Varun has potential as an action star, his constant air of pomposity in every film limits his ability to fully realize it.

That said, if the film resonated with me in any way—though minimally—it was primarily due to the actor’s effort in bringing two distinct characters to life, each taking charge at different points.

Like his mentor, Kalees places style above substance, relying heavily on glossy visuals, slick action sequences, and high-octane heroism—often at the expense of logical coherence. Every scene featuring Varun feels like a grand entry, a trend so ingrained in the South film industry that it’s now creeping into this film as well.

Varun’s invincibility in combat and the ease with which he reinvents his life after faking his death, coupled with a disjointed screenplay, further erode the film’s believability. While these moments may aim for entertainment, they ultimately undermine the film’s realism and emotional depth.

If this is an adaptation, a slight adjustment would have been beneficial, as Baby John’s reliance on clichéd tropes weakens its narrative. The film largely sidelines its female characters, especially Meera (Keerthy Suresh) and her daughter Khushi, reducing them to mere plot devices that serve the hero’s arc rather than allowing them to be fully realized individuals. While I expected a twist in Theri concerning the second lead’s character, I wasn’t surprised when it unfolded here. As for Tara (Wamiqa Gabbi), despite her screen presence, her character does little to impact the plot or elevate the film, nor did her performance shine as it did in her earlier web series roles.

Keerthy Suresh’s role is key to Varun’s emotional journey, but her character is mainly confined to flashbacks, leaving little room for meaningful development. Unfortunately, her Bollywood debut falls short of making a lasting impression.

Baby John Trailor :-

Even with Jackie Shroff’s subdued performance as the antagonist, the one-dimensional writing of his character is disappointing. His motivations remain shallow, making him a forgettable villain in an otherwise emotionally charged story.

While the first half blends action, romance, and emotion smoothly, the second half feels drawn-out and uneven. The abrupt shifts between emotional flashbacks and present-day action disrupt the flow, leaving me more distracted by the choppy editing than the screenplay or performances. Moreover, Kalees follows Atlee’s tendency for melodrama, which sometimes overwhelms the narrative, making certain emotional moments feel contrived instead of natural. The problem largely stems from the literal translation of the dialogues, even in the comedic scenes.

Final Thought

Baby John attempts to shake up Bollywood with a mix of South Indian masala, but ends up weeping over missed opportunities. While Varun Dhawan juggles dual roles, the film struggles in a crib of clichés, failing to balance style with substance.