People's Choice
‘Son of Sardaar 2’: A Sequel Lost in Translation
‘Son of Sardaar 2’: A Sequel Lost in Translation
Studio Team CarryOnHarry, August 1, 2025
The much-anticipated, or perhaps dreaded, sequel, *Son of Sardaar 2*, has landed with a resounding thud, failing to recapture the boisterous energy of its predecessor. While sequels often struggle to live up to the original, the consensus among critics suggests this latest offering falls significantly short, burdened by tired humor, a flimsy plot, and a general lack of inspiration. The saving grace, it seems, lies in the performances of a few supporting actors, offering fleeting moments of vibrancy in an otherwise dreary cinematic landscape.
One of the most consistent criticisms revolves around the film’s humor. Many reviewers have pointed out that the jokes feel dated, relying heavily on predictable India-Pakistan banter and tired slapstick routines. The one-liners, often intended as comedic zingers, frequently miss their mark, leaving audiences with an uncomfortable silence instead of laughter. Even the pairing of Ajay Devgn and Mrunal Thakur, intended to provide romantic spark, is described as awkward and unconvincing, further diminishing the film’s comedic potential. The reliance on illogical gags, while a staple of many Bollywood comedies, simply doesn’t land effectively here, contributing to a sense of forced and manufactured humor.
However, amidst the general criticism, there are glimmers of hope. Ravi Kishan and Deepak Dobriyal have been singled out for their energetic and engaging performances. Their contributions are seen as providing much-needed life to an otherwise forgettable ensemble cast. The second half of the film, particularly the climax, is also mentioned as a slight improvement over the first, with a few more laughs sprinkled throughout. Whether this late surge is enough to salvage the film is debatable, but it suggests that some effort was made to address the initial shortcomings.
Technically, *Son of Sardaar 2* also fails to impress. The music and cinematography are described as average at best, with some critics even deeming them gaudy. The scenic Scottish settings, which could have added visual appeal, are reportedly underutilized, representing a missed opportunity to elevate the film’s aesthetic quality. This lack of attention to detail further contributes to the overall sense of mediocrity that permeates the production.
Ultimately, *Son of Sardaar 2* appears to be a sequel that no one really asked for. Critics largely agree that the film lacks freshness and a clear reason for its existence. While a small minority of viewers might find it to be a harmless family entertainer, the overwhelming consensus suggests that it’s a tedious and uninspired comedy that fails to capture the spirit of the original. Viewers hoping for the chaotic fun of *Son of Sardaar* are likely to be deeply disappointed. The film serves as a cautionary tale about the dangers of pursuing sequels without a compelling story or a fresh comedic vision. It highlights the importance of originality and innovation in a genre that often relies on familiar tropes and recycled jokes. A few standout performances from the supporting cast cannot compensate for the film’s fundamental flaws in storytelling, humor, and technical execution, resulting in a largely forgettable cinematic experience.
In conclusion, *Son of Sardaar 2* is a disappointing sequel that fails to live up to the expectations set by its predecessor. Its reliance on tired humor, a convoluted plot, and uninspired technical execution results in a largely forgettable cinematic experience, despite the best efforts of a few supporting actors.
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Editor's Choice
CSIFF26’s Shortlist: How Six Filmmakers Are Pushing Caribbean Cinema Beyond Borders
Six Best Film nominees at the Conch Shell International Film Festival span the Caribbean and diaspora. The festival takes place October 9–11, 2026.
Balle Balle Radio™ Entertainment Desk
Six Best Film nominees at the Conch Shell International Film Festival span multiple locations across the Caribbean and diaspora—Havana and Los Angeles, Kingston and Brooklyn, Georgetown and London. CSIFF takes place October 9–11, 2026, with screenings at Regal UA Midway in Forest Hills and discussion panels at HB Playwright Theatre in Manhattan, per festival details.
This year’s slate is part of a larger official selection of 47 films from 14 countries and territories, per festival materials, with the six Best Film nominees standing in for the breadth of that lineup. Conch Shell is a program of Conch Shell Productions, Inc., a Queens-based nonprofit built around the idea that Caribbean and diaspora film can serve as a tool for social change.
The slate encompasses both narratives rooted in the Caribbean and stories told from diaspora communities, and the directors’ own accounts of their work point in different directions. Gabriela Paciel, born and raised in Havana and now based in Los Angeles, built "I F*cking Hate You!" out of her relationship with her sister. Paciel reflected that she has long said "I will give her a kidney," emphasizing the depth of familial commitment. "I hope she doesn’t need it ever, but I will give her a kidney. And I know she will do the same."
Hanif James’s "A Shade Of Indigo," set in Jamaica, follows a girl raised on the message that "anything Black not good" — a phrase James describes as common there — and traces it back to his own grandmother’s advice never to marry anyone darker than himself.
Sargeant’s multi-hyphenate effort "Stand Clear ‘The Closing Doors" was inspired by a subway encounter and filmed guerrilla-style over six hours on an operational train. "I made this film for Black women first and foremost," Sargeant said, "to feel seen and also to let us know that we have a right to take up space unapologetically in this world."
Juliette Jeffers, who grew up in the Bronx fascinated by the steel pan drum, turned a one-woman stage show into "Pan Gyul," which she describes as the first professional film to tell a Nevisian story. The film has screened at Cannes and the Pan African Film Festival, where Jeffers says audiences unfamiliar with Nevis left wanting to visit the island themselves.
Noella Letitia Mingo’s "Mummy?," based on her cousin’s story, centers on a tragedy that reshapes a woman’s life and the strength it takes to carry on. "As a Black woman who lives in Britain, who’s of Guyanese heritage, I didn’t feel I was being heard at all," Mingo said. "That’s why I started making films."
And in Karen Martinez’s "Trinidad Remains," a British-born woman named Nikki travels reluctantly to Trinidad to scatter her estranged grandmother’s ashes, joined by her cousin Jade and an unreliable old car — a trip upended by a stranger’s hold-up that ends up changing how Nikki understands both the island and herself.
"What excites me about these six films is that there is no single way they are telling us what it means to be Caribbean," said Magaly Colimon-Christopher, the festival’s founder and director, in the announcement. "These filmmakers are talking about colorism, sisterhood, belonging, Black women taking up space, grief, family, and the complicated relationship we can have with the places we come from."
Full schedule and ticket information are posted at conchshelliff.com.
For Studio CarryOnHarry, what stands out here isn’t the geography so much as the range packed into six films — colorism, subway encounters, steel pan history, inherited grief — proof that a festival built around one region doesn’t have to tell one kind of story.
Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.
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After Seven Duds, ‘Resident Evil’ Finally Captures What Fans Want: The Feel of Playing the Games
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Zach Cregger’s new "Resident Evil" adaptation has cleared a bar the franchise’s live-action films have struggled with for two decades: both critical and audience responses have converged around the film’s merits. The film holds a Certified Fresh 95% among critics and a Verified Hot 91% audience score on Rotten Tomatoes’ Popcornmeter, according to the site’s own audience-review roundup, and it has also broken multiple franchise and opening-weekend box office records.
That combination matters given the history. There have been seven prior live-action "Resident Evil" films, most recently a 2021 reboot that landed with little critical or commercial traction. Cregger, whose credits include "Barbarian" and "Weapons," took over the project as a self-described fan of the video game series, and the approach he settled on was not a direct retelling of any single game’s plot but focused on capturing the sensation of experiencing the games rather than adapting their narratives.
reviewers throughout the compiled responses consistently emphasize this same theme. One reviewer, identified only as Kevin, wrote that Cregger seemed to recognize he couldn’t satisfy every fan by adapting "RE1," "2" and "3" directly, so he built the film around the sensation of being dropped into the games instead. Others compared the tonal mix — jump scares layered with comic relief — to John Carpenter’s "The Thing," and several said the film works for viewers with zero background in the games, while still scattering in enough series nods to reward longtime players.
while mostly positive, some audience members raised reservations. At least one commenter, going by Rob, argued the film’s connection to the source material is thin enough that it plays more like a loosely licensed spin-off than a true franchise entry, and suggested it might have scored better as a standalone horror movie without the "Resident Evil" name attached. Another reviewer flagged pacing choices around humor landing in otherwise tense scenes as a point of friction, and called the ending unresolved. Both critiques came alongside largely positive scores from the same reviewers, which is its own data point about where the film sits with its audience.
For a franchise that has spent most of its life as a critical afterthought regardless of its box office reliability, the more interesting story may be less about this single film’s numbers and more about whether prioritizing directorial vision over source-material fidelity — is the formula that finally works for video game movies built on atmosphere rather than plot.
Public Opinion
Audience response has coalesced around Cregger’s tonal balance and his choice to prioritize the *feeling* of the games over strict narrative fidelity. The film’s 91% Popcornmeter score reflects viewers’ appreciation for that approach—particularly among those with no prior series knowledge, who found the jump-scare-and-humor blend accessible. Multiple review threads across platforms highlight the same tension: while some longtime fans questioned whether the loose connection to source material warranted the "Resident Evil" name at all, suggesting it might have worked better as a standalone, most paired such critiques with positive assessments. Cregger himself acknowledged surprise at the fan response, reassuring both veterans and newcomers that the film would satisfy them despite its departures from game canon. The consensus suggests audiences largely accepted the trade-off—narrative deviation in exchange for directorial vision and atmospheric cohesion.
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