Vikrant Massey leaves no stone unturned to rock the scrappy film
When filmmaking is reduced to a shot in the dark, more hope than conviction is attempted. Blackout You get what you get. This is an out and out non-starter. Written and directed by Devang Bhavsar, Slipshod is a crime caper.
Neither the makers nor the actors knew where they were going. Please, viewers are not in the dark. The film is so ham-fisted that it takes no more than ten minutes to let itself go.
BlackoutStreaming on JioCinema, truly free for all. With the exception of lead actor Vikrant Massey – who dons the garb of a Pune crime reporter who specializes in disguise and sting operations – the characters are random individuals who come and go in the film without the slightest trace of coherence.
That’s a bunch of weirdos Blackout The ensembles could probably drive an exciting affair if the screenplay had an idea how to arrange them half decently. The show here is anything but insanely inspired variety. It scrapes the bottom of the barrel and, needless to say, finds nothing of value.
Actually, there is no point in running a blackout on the go. The city is supposed to be in darkness on a dry day night, but the characters on the street, in a hospital, in a cemetery, inside a liquor store and finally in a gangster’s hideout have no visibility problems due to the electricity grid. in the blink of an eye
As the journo wanders around the city, he is joined by a homeless drunkard (Sunil Grover) with a past, some influencers-cum-thieves (real-life video makers Karan Sonavane and Sourav Ghadge) and a girl (Mouni Roy) who suffers for a cause. do
And while the film haphazardly moves back in time, we are introduced to a corrupt policeman (Prasad Oak) who strikes a nefarious deal, a disgraced politician (Chaya Kadam) waiting for his chance to strike back, and a persistent detective (Jishu ) Sengupta) described as Byomkesh Bakshi of Pune.
The city is shrouded in darkness with a gang of criminals who plan and pull off a heist. In the hours leading up to and following the robbery, journalist Lenny D’Souza (Macy), sent by his wife to buy eggs and bread, jumps from one crisis to another.
His car went out of control and collided with a van. He stumbles upon a chest full of cash and jewelry in the car boot. Then he met with another accident. As the night wears on, Lenny must reckon with the peccadillo of alcoholics, two thieving Instagrammers, and a woman pleading for help.
The car is low on fuel. The drunk demands his liter or two of single malt whiskey. Two petty smugglers hope to kill Lennie by twisting his arm.
As the mayhem worsens, the film also throws in a wife and a friend — played by Anantavijay Joshi, who recently shared more meaningful footage with Massey. 12th fail – To complete the portrait of a lucky man bound by a series of disasters. Spouses and pals only compound Lenny’s problems
Vikrant Massey, in a sloppily written role, spares no effort to carry the swing of the gritty film. He gives everything he has. Unfortunately, with logic and any sort of comic rhythm conspicuous by their absence, there’s nothing like Blackout to lunge at in the hope of making something out of it.
Massey sits at the wheel of a car like a blindfolded driver without brakes. He struggles not to end up in an unedited pile of piles of films. He never stops trying to give credit where it’s due.
As for the rest of the cast – several of them are proven talented actors, not least Chaya Kadam and Jesus Sengupta – are criminally spoiled. Kadam and Sengupta have two-and-a-half scenes of the chaos into which they are thrown. They just go through the motions.
Sunil Grover is mistaken for a filthy poetry-spouting alcoholic whose current delusions are rooted in an eventful past. Sooraj Pops pops up in the role of a gangster who delivers a brief and completely pointless run.
The characters do a lot of running around together Blackout But the film always feels completely comatose. The potential of the idea – throw an array of oddballs into a rigmarole that never ends in a night when the lights are out and out – is summarily dashed by a screenplay that doesn’t know any better.
Blackout Has the appearance of a rushed compilation that would have been better nixed at the scripting stage. It’s hard to understand something that has come this far, clinging to the darkness.
