Ah, the age-old tale of twin brothers with identical looks but vastly different values meets film ideas that often originate from a simple spark—together reminding us how familiar stories and courtroom dramas keep circling back in Indian cinema, often unevenly. Arnab Banerjee reviews the latest Nishaanchi and Jolly LLB 3.

Nishaanchi and Jolly LLB 3 represent two contrasting yet familiar trends in Hindi cinema—Anurag Kashyap revisiting gritty hinterland crime sagas, and Subhash Kapoor extending his legal comedy-drama series. Both films showcase strong performers like Kumud Mishra, Saurabh Shukla, and Gajraj Rao, but struggle with originality and writing, leaving audiences with echoes of better works.

Nishaanchi - Kashyap throws in some more shootouts in familiar territory

Director: Anurag Kashyap

Cast: Aishvary Thackeray, Monika Panwar, Vedika Pinto, Kumud Mishra, Mohammad Zeeshan Ayyub, Vineet Kumar Singh

Duration: 176 minutes

Rating: ★★½ 

Ah, the age-old tale of twin brothers with identical looks but vastly different values. It's been done to death in Hindi cinema, and yet, here we are again—because why not revisit a classic, right? In Nishaanchi, Anurag Kashyap takes another swing at his Gangs of Wasseypur-like canvas, complete with brotherly brawls, betrayals, love affairs, and the occasional redemption arc. You know, just your typical Bollywood recipe for family dysfunction.

Produced by Ajay Rai, Vipin Agnihotri, and Ranjan Singh under JAR Pictures, in collaboration with Flip Films, this film stars newcomer Aaishwary Thackeray alongside Monika Panwar, Vedika Pinto, Mohammed Zeeshan Ayyub, and the inimitable Kumud Mishra. Kashyap once again takes a deep dive into the murky waters of small-town India, where politicians are corrupt, cops are bent, and men are generally itching to pull the trigger. It’s not just about a bullet to the head, though—no, no. The real violence here is much more intimate, and yes, we’re talking about the good ol’ Purabiya slang. Let’s be real: this is not the polite underworld; it's the kind where you need to duck every five seconds.

The Brothers’ Tale Of Crime And Betrayal

The story follows twin brothers Babloo and Dabloo (played by Aaishwary Thackeray), who try their hand at robbing a bank in Kanpur. Classic case of “it seemed like a good idea at the time.” Babloo, the hot-headed criminal, and Dabloo, the timid one, get tangled up in a heist gone terribly wrong. Babloo gets nabbed and sent to the slammer for seven years, while Dabloo and his love interest Rinku (Vedika Pinto) manage to make a clean getaway. Flashbacks then reveal their parents, Manjiri (Monica Dawar) and Jabardast Singh, once promising athletes whose careers were ruined by political corruption. Not-so-surprisingly, betrayal from Jabardast’s so-called best friend, Ambika Prasad, leads to Jabardast’s demise. If the plot sounds like it could have been pulled from a family drama where everyone’s got something to hide, well, you wouldn’t be wrong.

After his father’s death, Babloo falls under Ambika’s wing—unaware that this man was the architect of his family's destruction. Unsurprisingly, things go south when Babloo, with his “better-than-you” attitude, clashes with Ambika over a woman (shocker). Fast forward, and the family’s tangled in more blood feuds and revenge plots than a Mahabharat remake. Dabloo, always trying to do the right thing, takes over the family’s messy fallout. And Rinku? Well, she’s just trying to survive in a world where loyalty is rarer than a clean conscience.

The film doesn’t just stay confined to the claustrophobic alleys of Kanpur; it ventures into the "Badlands" where crime, criminals, and wrestlers in mud-soiled homes rule the roost. But let's not pretend like you didn't catch a whiff of Kashyap's Wasseypur in this three-hour crime epic. From its gritty hinterland setting to the trigger-happy gangsters, ambitious women (who could probably kill you with a single look), and sons looking for quick fixes to their daddy issues, it's the same old dance. Who needs character development when you can just throw in some more shootouts, right?

Babloo—ever the hothead—becomes a sharpshooter, first with a slingshot, then, naturally, a gun. Meanwhile, Dabloo is all about finding some semblance of peace while Babloo spirals further into criminal chaos. The plot trudges through prison term after prison term, inmate brawls, and shootouts—because who doesn't love a good bullet-riddled montage? And let’s not forget Rinku, who, despite her undeniable charm, doesn't exactly save the film from sinking into predictability.

The cast, thankfully, pulls through, with Kumud Mishra being the MVP, delivering his role without any need for grandstanding or extra dialoguebaazi. Monica Panwar and Vedika Pinto also manage to bring something new to their roles, breaking free from the usual female archetypes seen in many films. As for Aaishwary Thackeray, well, let’s just say he gives it his all, though he still seems a bit... incongruous for the role. It’s like watching a puppy try to play with the big dogs—you can see the effort, but it’s not quite there yet.

The screenplay, written by Kashyap, Ranjan Chandel, and Prasoon Mishra, is as familiar as your grandma’s cooking: comforting but a little too tired to surprise. But hey, at least the music, credited to a star-studded team including Anurag Saikia, Manan Bhardwaj, Aaishwary Thackeray, and Dhruv Ghanekar, brings some life to the table. The track Kanpuriya Kantaap, with lyrics by Varun Grover and sung by him along with Dhruv Ghanekar and others, is a standout. It’s rustic, raw, and has just enough energy to make you nod along while you’re distracted by the chaos on screen.

Cinematographer Sylvester Fonseca deserves special mention for his camera work, which adeptly follows the characters into the claustrophobic spaces and tight corners they navigate in their struggle for survival and dominance. His lens captures their relentless drive for breathing room, amplifying the tension and urgency of their fight.

Nishaanchi offers everything you’ve seen in Kashyap’s earlier films—just a little slower, a little more predictable, and a tad more drenched in the kind of grime you can’t wash off. But, hey, if you’re in the mood for a Gangs of Wasseypur rerun, complete with all the blood, sweat, and ‘small-town drama,’ then this one’s for you. 

Jolly LLB 3 - Saurabh Shukla and Gajraj Rao make it watchable!

Cast: Akshay Kumar, Arshad Warsi, Saurabh Shukla, Seema Biswas, Gajraj Rao, Huma Qureshi, Amrita Rao

Director: Subhash Kapoor

Cinematography: Rangarajan Ramabadran

Music score: Mangesh Dhakde

Songs: Aman Pant, Anurag Saikia, Vikram Montrose

Rating: ★★

Film ideas often originate from a simple "spark"—a personal experience, a keen observation, or even an arbitrary thought—that is subsequently nurtured through creative techniques such as brainstorming, research, and writing. Once an idea takes root and begins to blossom, there's no turning back for the creator. Following the phenomenal success of Jolly LLB (2013), writer-director Subhash Kapoor drew inspiration from the complexities of the Indian legal system, rather than from a specific case, and capitalized on this concept with the sequel Jolly LLB 2 (2017).

Sparks That Struggle In Court

Now, the third instalment in the series, Jolly LLB 3, continues this tradition, promising yet another legal comedy-drama that blends elements from real judicial cases into entertaining, and often humorous, narratives that highlight both the legal system and its human side. Directed by Kapoor, the film stars Akshay Kumar, Arshad Warsi, and Saurabh Shukla, with Amrita Rao and Huma Qureshi reprising their roles from the previous films. The plot is inspired by the 2011 land acquisition protests in Uttar Pradesh.

In Jolly LLB 3, Jagdwishwar 'Jolly' Mishra (Akshay Kumar) defends a powerful political figure accused of land-grabbing by local villagers. The film sees both Jollys—one from Meerut (Warsi) and the other from Kanpur (Kumar)—practicing in the same courtroom in Delhi, much to the dismay of the beleaguered Judge Sunder Lal Tripathi (Saurabh Shukla). Tripathi, who has recently taken up fitness in the wake of his wife’s passing, would prefer to be anywhere but presiding over a case involving the bickering Jollys. His personal life also takes a turn as he explores the world of online dating.

Amidst the comedic squabbles between the two Jollys, filled with stale jokes, the narrative takes a serious turn. The tragic suicides of a farmer and his daughter-in-law in a small Rajasthan village spark a determined elderly woman (Seema Biswas) to travel to Delhi with two goats in tow, seeking justice.

However, the film's charm lies not just in its humour but in its surprising, sharp critique of the establishment, reminiscent of the rebellious spirit found in classic Hindi cinema. On one side, there are the impoverished farmers, silently displaced by corruption and greed; on the other, ruthless builders like Haribhai Khetan (Gajraj Rao), who are shielded by a well-oiled nexus of village heads, pliant judges, and other power brokers.

While the narrative holds promise, the uninspired writing fails to spark the kind of enthusiasm needed to captivate both the actors and the audience. The lack of compelling dialogue and fresh ideas leaves the film languishing in mediocrity, where star power cannot compensate for weak storytelling. If not for Saurabh Shukla and Gajraj Rao—both immensely compelling actors who effortlessly embody any character—the impact of many scenes would have fallen flat.

And so, unfortunately, Jolly LLB 3 does not live up to the standard set by the first part in the series, and even Jolly LLB 2 surpasses this instalment in terms of engagement and originality.