Bloody Daddy Review: Big Fat Wedding Meets Gangster Gore

This looks to be one of those films that was made merely because a celebrity was available and a good budget – not too expensive, given that the most of it was shot in one location – could be raised.

There’s no time to draft a story, and most of the American and Korean films are already booked, so here’s a 2011 French picture that could fit.

How do you update? Include COVID references. Genius!

So Ali Abbas Zafar’s Bloody Daddy is a remake of Frederic Jardin’s Sleepless Night, which the Tamil industry initially attempted with Thoongaa Vanam in 2015, but nobody remembers?


It’s the tail end of the epidemic, so the streets of Delhi are likely empty when two men race a car, smash it, and lift a bag holding Rs 50 crore in cocaine.

During the shooting, one of them loses his mask, revealing his face.

Sumair (Shahid Kapoor) is a narcotics officer who collaborated on this crime with Jaggi (Zeishan Quadri).

Before he can decide how to go, he must deal with his grumpy son Atharv (Sartaaj Kakkar), who is meant to be spending quality time with him but is chastised by his ex-wife for being an irresponsible parent.

The child is then taken by Sikander (Ronit Roy), the enraged owner of the bag, to a seven-star hotel in Gurugram.

Sumair must return the bag and save his son, so the action changes to a blindingly gaudy hotel in the midst of a big, massive wedding, complete with unending mayhem and noise.

Of course, the bag disappears, and two other officers, Sameer (Rajeev Khandewal) and Aditi (Diana Penty), are sniffing about for the narcotics and the elusive Sumair.

Sikander’s customer (Sanjay Kapoor) is becoming antsy in his suite, and a simple transaction turns into a maze of deception, murder, and chases through the crowds, the kitchen, and the hotel’s labyrinthine hallways.

What may it be?

Sumair’s street-smart jugaad saves what could have been a tedious journey to a foreseeable conclusion.

It’s amusing how he enlists the assistance of two Nepali cooks and an eager to please novice bartender.

Strangely, security is conspicuously absent at a seven-star hotel, and they haven’t heard of lactose-free milk, which their victim requires.

Sumair’s street-savvy jugaad prevents what could have been a tiresome trek to a predictable end.

It’s humorous how he enlists the help of two Nepali chefs and an eager rookie bartender.

At a seven-star hotel, security is noticeably absent, and they haven’t heard of lactose-free milk, which their victim demands.

Sumair is not a nice or sympathetic guy, despite his desire and love for the child, which he strives to express.

In an act reminiscent of Kabir Singh, he kicks over the newlyweds’ meal for no apparent reason.

Sikander and his henchmen do not appear frightening enough to convince the spectator that Atharv is in serious danger.

What Zafar captures effectively is the vulgarity of Delhi’s nouveau riche, as well as the frantic live-it-up mentality of individuals emerging from post-pandemic claustrophobia.

A violent gunfight is staged while Badshah prances on stage singing Survive, tongue firmly in cheek.

The performances are adequate.

Shahid Kapoor’s (too trendy and unique a hairdo for a Delhi officer!) expression remains tense.

Rohit Roy gets into character as a hopped-up criminal who can’t believe the grandeur of his surroundings and despises the thought of anyone getting the best of him, not the officer, not the other gangster.

Bloody Daddy, with its sleek cinematography (Marcin Laskawiec) and breakneck speed, isn’t really intended for OTT, but that’s where it ends up.

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