Sunny Sanskari ki Tulsi Kumari Review
There are some films that remind you why cinema is magic. And then there are films like Sunny Sanskari ki Tulsi Kumari that remind you why patience is a virtue.
A Start That Never Takes Off
The movie opens with Varun Dhawan channelling his Main Tera Hero days. For a brief moment, you expect that same manic charm. Two dialogues in, the charm fades, the energy feels forced, and the laughs just don’t land. What should’ve been a fun throwback sets the tone for what follows — a performance that only dips lower as the runtime stretches.
Rohit Saraf’s helicopter entry tries to recreate a Shah Rukh Khan moment, but instead screams “Karan Johar film” in neon letters. Subtlety is not on the menu here. By the fifteen-minute mark, you’ve already figured out the entire premise, which is either efficient storytelling or lazy filmmaking — depending on how forgiving you’re feeling.
Writing That Sinks the Ship
Let’s not sugarcoat it: the dialogues are atrocious. They’re not just unfunny; they’re aggressively bad, the kind that make you wince more than laugh. Out of dozens of jokes, maybe two or three elicit a chuckle — the kind you’d also get from a Kapil Sharma one-liner on a tired weekend episode.
What hurts most is the sheer lack of effort in character writing. Janhvi Kapoor plays a middle-class girl, but nothing about her performance or presentation convinces you. Worse, her character arc completely ignores its own foundation: her father warns her about never compromising self-respect, yet she spends the film doing exactly that. That’s not irony — it’s careless writing.
A Lone Bright Spot
If there’s one saving grace here, it’s Maniesh Paul. As a wedding planner, he looks sharp, delivers his lines with confidence, and actually feels alive in this otherwise comatose film. In one frame where all the leads stand together, Paul outshines everyone — effortlessly. And naturally, that means many of his best scenes were chopped off. Because why highlight the only actor doing a good job, right?
Karan Johar, Cameos, and Chaos
Karan Johar pops up in a cameo so cringe-worthy it deserves its own warning sign. It’s almost self-sabotage — the kind of moment that makes you question whether anyone even rewatched the final cut. Add to this the endless name-dropping of Bollywood films and a yoga scene so bizarrely bad it feels like parody, and you’ve got a mess of indulgences stitched together without rhythm.
Songs That Don’t Save the Day
The first song is so uninspired it feels like filler designed to test your patience. “Bijuria,” though, is a rare exception — shot well, choreographed decently, and actually fits in. But one decent track can’t carry a film weighed down by yawns.
The Second Half, or the Longest Hour
If you thought the second half might redeem the film, you’re wrong. It drags with the same sloppy pacing, half-baked conflicts, and zero comic timing. Characters flip their affections faster than a light switch. Varun breaks up, ruins weddings, falls in love with his ex’s husband’s fiancée, and then doubles back again. The sheer absurdity would be fun if it weren’t so exhausting.
By the end, it’s all chaos — everyone’s an ex of everyone, no relationship feels earned, and the so-called climax brings laughter only because of how ridiculous it is.
Final Word
A big budget, glossy sets, and a star cast — yet the film has neither heart nor humor. It’s a comedy that forgets to be funny, a romance that forgets to make you care. Maniesh Paul, a single song, and one accidental laugh near the climax — that’s all this film has to show for itself.
For the rest of it, Sunny Sanskari ki Tulsi Kumari is proof that sometimes, Bollywood forgets that audiences want stories, not recycled noise.
