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Post by : Anis Farhan
Released theatrically on January 16, 2026, Rahu Ketu arrived with considerable buzz, reuniting popular comic actors Varun Sharma and Pulkit Samrat in a mythological comedy adventure that promised irreverent humour and fantasy-driven chaos.
Directed and written by Vipul Vig, the film draws inspiration from Hindu mythological figures — Rahu and Ketu — infusing them into a contemporary narrative filled with slapstick elements, social commentary and over-the-top sequences.
Despite the potential of its concept and the recognizable faces leading the ensemble, the final product has sparked sharply differing responses from critics and viewers, falling short of delivering cohesive humour and narrative momentum. This comprehensive review explores why Rahu Ketu has elicited such reactions.
At its core, Rahu Ketu follows the story of two bumbling characters — Rahu (Varun Sharma) and Ketu (Pulkit Samrat) — who are brought to life from a magical notebook written by an eccentric storyteller named Churu Lal.
In the mythological tradition, the celestial bodies Rahu and Ketu are associated with karmic forces and cosmic influence. The film adopts this idea loosely, transforming the duo into literal beings tasked with correcting the world’s misdeeds. However, instead of efficiently fulfilling their divine duties, they stumble through chaotic adventures across situations involving corruption, crime and social dysfunction.
Their scripted journey becomes even more unpredictable when Meenu Taxi (played by Shalini Pandey) enters, setting off a chain of mischief and escalating mayhem that drives much of the film’s plot.
While the idea of celestial figures navigating the messy world of human foibles has innate comedic possibility, critics argue that Rahu Ketu fails to balance its mythological roots with effective storytelling. The screenplay attempts to juggle several subplots — including a bungled drug cartel angle and exaggerated corrupt officials — but ends up feeling disjointed and directionless.
The Hollywood Reporter India’s review categorises the film as a “feature-length prank” that never quite becomes a comedy, describing it as “a witless assault on the senses” and noting that its lengthy runtime feels aimless beyond the interval.
Additionally, the narrative’s reliance on meta-elements — such as characters breaking the fourth wall or fictional worlds colliding — adds self-referential humour that lands unevenly, contributing to the sense of a story losing focus rather than gaining momentum.
One of Rahu Ketu’s consistent strengths across many reviews is the chemistry between Varun Sharma and Pulkit Samrat, which recalls their earlier collaborations and playful dynamics from previous comedies.
Many audience discussions and social commentary note that even when the writing falters, the duo’s interactions and earnest performances remain engaging, offering occasional laughs and light relief amidst the chaos.
However, the actors’ efforts are frequently cited as being undermined by inconsistent and unfocused scripting, which fails to build coherent arcs for their characters or maximise their comic potential.
The ensemble cast, including Shalini Pandey, Piyush Mishra, Chunky Panday, Amit Sial, Manu Rishi Chaddha and Sumit Gulati, contributes to the film’s exaggerated tone, but many critics suggest these performances are also undercut by the screenplay’s lack of sharp direction and character development.
Some roles — particularly Chunky Panday’s eccentric antagonist — become caricatures rather than fully realised characters, reducing them to one-note figures in the narrative’s broader spectacle.
As both director and writer, Vipul Vig attempts to create a lively and eccentric comedy that blends mythological fantasy with slapstick humour.
Unfortunately, many reviewers argue that the film’s approach lacks nuance and narrative discipline. Scenes intended to be uproarious often feel forced or repetitive, and the humour — ranging from physical gags to social commentary — rarely sustains itself across the two-hour plus runtime.
Visual elements like exaggerated special effects or intentionally dated stylistic choices (e.g., scenes mimicking 1990s television aesthetics) come across as disjointed rather than imaginative, contributing to an overall tone that some find confusing and inconsistent.
The critical response to Rahu Ketu has been sharply divided, with many reviewers expressing disappointment in execution despite acknowledging its audacious attempt at fresh comedy:
The Hollywood Reporter India labelled the film “inane and aggressively stunted,” and criticised the humour and story coherence.
Hindustan Times pointed to the film’s chaotic execution and lack of effective laughs, giving it a 2-star rating and noting that it “has too much noise, too few laughs.”
Contrastingly, Times of India offered a moderately positive view, rating it 3.0/5 stars and highlighting that the film delivers genuine laughs for those looking for a different kind of comedy.
Other reviews described it as a mythological misfire that struggles to justify its premise and collates too many narrative threads without ensuring clarity or depth.
Audience reactions reflect the split in professional reviews. Some viewers praise Rahu Ketu for its lively energy, creative intent and effective comic timing at certain moments — particularly when the lead duo is in full swing.
Others, however, echo critics in arguing that the film tries to accomplish too much at once, muddling mythology, social commentary and slapstick into a film that feels unfocused and inconsistent.
Online discussions suggest that Rahu Ketu may resonate better with audiences who enjoy broad, chaotic humour and visual absurdity more than those seeking structured comedy or intelligent satire.
Rahu Ketu attempts to weave cultural and mythological ideas into a modern narrative. The central concept of celestial figures navigating human absurdities offers fertile ground for socio-cultural commentary.
Yet many critics argue that these thematic ambitions are undercut by thin writing and overwritten sequences, reducing potential satire to incoherent spectacle rather than meaningful exploration.
Elements like social corruption, drug networks and divine purpose appear in the script, but their integration often feels ad-hoc, making it difficult for themes to emerge with clarity or impact.
Technically, Rahu Ketu features a mix of conventional Bollywood visuals and stylised inserts meant to evoke fantasy or parody. Critics have not focused heavily on cinematography or production design, but many observed that dated special effects and uneven pacing hinder the viewer’s immersion.
Editing choices — particularly the film’s pacing and transitions between chaotic set pieces — have been criticised for contributing to narrative disarray rather than smoothing the story’s flow.
Rahu Ketu reflects an ambition to push Bollywood comedy toward mythological fantasy and surreal humour, a genre hybrid not often seen in mainstream Indian cinema.
However, its execution suggests that innovation alone is not enough; coherent writing, sharp direction and disciplined narrative structure remain crucial for comedy to land consistently with audiences and critics alike.
Whether Rahu Ketu will inspire future filmmakers to refine such genre blends or serve as a cautionary example of overreach remains to be seen.
In conclusion, Rahu Ketu emerges as a film with good intentions but flawed delivery. Its creative premise and engaging cast offer moments of entertainment, yet these are overshadowed by scripting and structural issues that prevent it from fully succeeding as a comedy. The film’s uneven reception reflects this tension — praised in some quarters for its humour and style, criticised in others for its lack of focus and depth.
For fans of Varun Sharma and Pulkit Samrat, Rahu Ketu may still provide flashes of enjoyment. But for viewers seeking tight storytelling or consistently effective comedy, it may fall short of expectations.
Disclaimer:
This review is based on critical evaluations and audience reactions available at the time of writing and is intended for informational purposes only. Opinions expressed in this article reflect the range of responses to the film and may vary among viewers.
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