Every year has its share of failures and turkeys. 2024 was no different, except that even the rotten ones are too dull to have any real offensive value.

Sukanya Verma lists 10 of its least favorite Hindi films of the year.

Bade Miyan Chote Miyan

In my opinion: Dressed in trendy clothing and sporting a slow-motion swagger, these globe-trotting, gun-wielding heroes highlight the merits of a wacky plot that has more bullets than brains in its storytelling. It wouldn’t be an exaggeration if the script reads bullet points after each sentence.

Although it would be a surprise if there was a script.

Just say the new Bade Miyan Chote Miyan has nothing to do with Amitabh Bachchan-Govinda’s 1998 comedy of the same name featuring perfect performers in dual roles.

Forget the comedic chops, you won’t find an ounce of camaraderie between Akshay Kumar and Tiger Shroff as they fire ammo and flex abs at a breakneck pace to fend off Prithvi’s clone army for nearly three excruciating hours of this noisy and absurd chatter. .

Yudhra

In my opinion: There are so many holes in this lazily scribbled plot, it could be another movie and still be just as lame.

Fully paid scholarships to major in a branch of science where students wear designer handbags and not backpacks to school aren’t as mind-boggling as one of its biggest pre-interval twists which is barely addressed and never confirmed.

Children and their doll games convey more coherence than the erratic way YudhraThe characters are written and opposed to each other.

Vicky Vidya Ka Woh Wala Video

In my opinion: Vicky Vidya Ka Woh Wala Video has the eagerness of a stand-up comedian.

It’s the kind of movie that feels obligated to make a joke before a sentence, between a sentence, and after a sentence. The problem is that the humor is not only banal, it’s also just plain unfunny.

Between tons of sexual innuendo and Kapil Sharma’s brand of slapstick gags characterized by loud caricatures, moronic behavior, flimsy wigs and cartoonish pacing, Vicky Vidya Ka Woh Wala VideoThe discordant notions of exuberance have nothing new to offer.

Sarfira

In my opinion: Mangal Mission, Raniganj MissionRam Setu Mission, Menstruation Mission and now Deccan Air Mission, Akshay Kumar has shed so much blood, sweat and tears to save, rehabilitate and restore the nation in the last few years, no amnesia in the world can erase the monotony. of this imagery.

Once again, his latest film is a remake of a South Indian hit inspired by a true story, meeting Akshay’s criteria for tackling a film, smoothing out its heroism and coloring it with his patented shade of patriotism.

Sarfira the depth of a potato chip. Instead of the struggle to make a low-cost airline work or partners who frame Veer like props not given due importance, Sarfira seeks to squeeze our emotional nerves to the point of disconnecting them.

Throughout its 155 minutes, every scene is bathed in blaring background music and melodrama. Disappointment alone won’t be enough, it must feel like a real disaster.

Patti

In my opinion: Credited for her story, screenplay and dialogues, Kanika Dhillon cannot distinguish her femme fatale from her feminist in her increasingly stereotypical vision, torn between ambiguous motives, disjointed interactions and big stage revelations.

Always seeking an element of danger through his insecure protagonists and their unhealthy preoccupation with toxic relationships, Dhillon’s women rebel or retreat.

Patti is a showcase of these limits.

For all its contemporary edge and desire to combat domestic violence, Dhillon’s story reeks of outdated sensibilities and their perverse ideas of reconciliation.

Dukaan

In my opinion: For a film that claims to sympathize with commercial surrogacy, which has been banned in India since 2015, it certainly goes too far in painting a horrific picture.

It’s like bonus points are earned every time the camera focuses on women showing off their last-trimester bellies in a low-cut fashion. ghagras, vomit, receive injections and go into labor when her water breaks and the gynecologist screams “Push!” kar!’ cut at Pushkar in Rajasthan.

Its insensitive perspective and comedic treatment of a sensitive subject makes a real mess.

Between her graphic take on bringing a baby into the world and her offensive notions about surrogacy, adoption and abortion, Dukaan delivers nothing but bullshit.

Blackout

In my opinion: Trippy black comedies fueled by freewheeling plots or making things up as they go along make for a zany ride of subversion and dark humor.

But BlackoutThe silly aspirations of refuse to up the ante of a potentially devious premise beyond a childish joke.

Blackout‘s mindless game of stupid masquerade has little excitement in its bag of stupid tricks and formulaic betrayals.

Murder Mubarak

In my opinion: It’s a mela of suspects — the key players, the secondary players, the periphery. The problem is not keeping up and feeling no interest.

Murder Mubarak‘s lazy pace and gentle comedy give the film the feel of a long-running web series. Without forgetting incessant background music alternating between sitcom and squeaky.

Homi Adajania has a gift for bold wit, but he cannot highlight the self-inflicted damage that the delusional and privileged are capable of or the disparity between high and low that eludes their worldview.

The Sabarmati report

In my opinion: Where sensitive films like Parzanie And Firaaq attempt to describe the trauma caused by the tragedy, The Sabarmati reportdedicated to the lives lost in the incident, spends all of its time pointing fingers at one side and entirely absolving the other.

Despite all his audacity, The Sabarmati report is so fragile in its execution that to be offended by it would be to honor its existence.

All the continuity errors visible in Vikrant Massey’s changing hair and stubble only suggest that this pitiful Balaji Films-produced project is a confused double agent that started out hoping to be a daring whistleblower, but ended up decided to become an appeaser for the regime in place.

Maidan

In my opinion: The stories of underdog sports are as invigorating as they are formal. What separates good from drag is vision.

Director Amit Ravindernath Sharma’s unhinged take on how an Indian football coach’s commitment led his team to win gold at the 1962 Asian Games in Jakarta, Indonesia, is incredibly meaningless.

Repeating the same routine, racist white players impose their power on a team freshly liberated from colonial rule, rioters in Indonesia give India a hard time and Devgn dribbles with determination to go all the way at Devdas.

Channeling the martyr spirit of Bollywood heroes of yore who valiantly stood their ground even when wincing in pain, it is yet another example of super-superficiality and superficiality. filmi biopic.