Aap Jaisa Koi

Vivek Soni's directorial debut delivers a competently crafted romantic drama that feels frustratingly familiar despite its earnest intentions. This Netflix original attempts to breathe fresh life into the middle-aged romance template, pairing the reliable charm of R. Madhavan with Fatima Sana Shaikh's spirited energy in a cross-cultural love story that tackles contemporary social issues with varying degrees of success. While the film succeeds in creating genuine moments of warmth and connection between its leads, it ultimately falls victim to the very conventions it seeks to challenge, resulting in a viewing experience that satisfies without truly surprising.

Soni demonstrates solid technical competence behind the camera, crafting a visually pleasant film that captures both the academic tranquility of Jamshedpur and the cosmopolitan vibrancy of Kolkata. The cinematography serves the story adequately without ever achieving the kind of visual poetry that might elevate the material above its generic roots. The production design effectively contrasts the traditional world of Sanskrit academia with the modern sensibilities of contemporary urban life, though these contrasts often feel more schematic than organic. The pacing remains steady throughout, though certain sequences drag when the script indulges in overly explanatory dialogue about societal expectations and gender roles.

Madhavan delivers exactly what audiences expect from him at this stage of his career: a measured, thoughtful performance that invests even mundane exchanges with genuine emotional weight. His portrayal of Shrirenu Tripathi, the reserved Sanskrit professor, captures both the character's inherent decency and his deep-seated insecurities about stepping outside societal norms. Shaikh brings considerable vivacity to Madhu Bose, though her character occasionally feels more like a symbol of liberation than a fully realized individual. The supporting cast, including Ayesha Raza and Manish Chaudhari, provides solid work within the confines of their somewhat predictable roles as family members representing various degrees of traditional resistance.

The film's greatest strength lies in its willingness to address serious topics about patriarchal expectations and the challenges facing middle-aged individuals seeking romantic fulfillment. However, these themes often receive treatment that feels more dutiful than inspired, with conversations that sound more like position statements than natural dialogue. The script, penned by Radhika Anand and Jehan Handa, demonstrates clear knowledge of contemporary social discourse but struggles to integrate these ideas seamlessly into the romantic framework. The result is a film that occasionally preaches when it should simply observe, undermining the very naturalism that makes the central relationship compelling.

Despite these structural weaknesses, the film generates genuine emotional resonance in its quieter moments. The developing relationship between Shrirenu and Madhu benefits from both performers' commitment to finding truth within familiar situations. Their chemistry feels authentic rather than manufactured, allowing viewers to invest in their journey even when the surrounding circumstances feel contrived. The cultural clash between traditional expectations and personal desire provides rich material, though the film's resolution leans toward the overly tidy.

Started off very well - characters did justice at the start - but it became a very slow moving tv serial style drama after Curt's half - it stayed with the essence of the message until the end - but the dialogues and BGM was not powerful enough to let audience stay in love with the characters.. lack of power toward the end .

Cast was good for each character - each person played with full justice individually - just when the characters get woven together as the family - the chemistry was not powerful enough.

Coming of age in terms of equal respect to both sides of the relationship in a marraige - message stayed consistent - that was good.

*The film normalizes toxic relationships (of kamala bhabhi) under the guise of passion and spontaneity, sending questionable messages to the younger generation.*

Instead of promoting communication, respect, and personal growth, the film glorifies possessiveness and impulsive decisions. Characters jump into intense commitments without self-awareness or maturity. Being transparent, resolving past ties respectfully, and giving yourself and others emotional clarity is not only fair but necessary for future peace.

It may entertain, but it fails to set a positive example for viewers who are still forming their understanding of healthy relationships.

A rom-com movie! Story revolves around a 42 yr old traditional man trying to find himself a girl for marriage n then calling off marriage with the so found girl knowing her to be on a dating site n what follows next is the movie. This is neither funny nor interesting. The first half will bore to the next level. In one instance, they show adultery in marriage is cool if one wants to seek love outside marriage. I personally don't buy it. Movie is less than 2 hours but I personally don't recommend it. Available in Netflix, my ratings 4/10!

A rom-com movie! Story revolves around a 42 yr old traditional man trying to find himself a girl for marriage n then calling off marriage with the so found girl knowing her to be on a dating site n what follows next is the movie. This is neither funny nor interesting. The first half will bore to the next level. In one instance, they show adultery in marriage is cool if one wants to seek love outside marriage. I personally don't buy it. Movie is less than 2 hours but I personally don't recommend it. Available in Netflix, my ratings 4/10!

The first half is great with a nice bit of comedy. Madhavan is solid most part of it except in some scenes. Overall after long could watch a Bollywood move in one go so is captivating enough.

The movie tries to convey a one sided message of males being judgemental, well the movie itself is judgemental in judging the males so ! When in reality lot of females probably will have issues too or will be judgemental for the kind of things they may believe are ok for them to do or are very cool about (Pyar Ka Panchanama portrays this well). Also probably the dramatic angle of Kusum bhabhi getting involved could've been avoided and rather stick to main story line. This side story also unknowingly (or maybe intentionally) conveys the wrong message of overruling a long standing family structure assuming probably an attraction or a lending shoulder to be love. Many a families have been destroyed with such "love".

If the point of the movie is love only seeks love, then institution of marriage probably shouldn't exist. It is very convenient and affordable to be loving when stakes are not equally high like in marriage.