Aap Jaisa Koi

Positives:

1. R. Madhavan and Fatima Sana Shaikh's chemistry was good and suited the story, which revolves around a 42-year-old unmarried man. The rest of the film builds on their chemistry.

2. I can say the dialogues were at least good, especially the Bengali accent-not like the recent horror films I've seen. They preserved the essence of the words and emotions in a simple way, which didn't sound bad at all.

3. The visuals and cinematography are the third-best aspect. They are beautifully captured. The camera angles and the old charm of Kolkata are used perfectly. It looks authentic and leaves a strong impact throughout the film.

4. Songs.

5. Background score (BGM).

Negatives:

1. Weak screenplay. Even though the duration was short, I stayed hooked only because of the three positives mentioned above.

2. Weak story. It tries to teach something but fails, as the narrative doesn't stick to its point and keeps losing direction.

3. Poor use of side characters. Their integration into the story felt weak and unconvincing.

4. Weak comedy-more of a hit-or-miss case. Sometimes it works, and sometimes it doesn't even try to land the joke.

5. Weak ending. The film started on a good note, but the ending felt messy and lacked emotional depth. It left no real impact.

I was so excited for this film, but it turned out to be just average.

Rating: 5/10.

A beautiful woman, a french teacher, falls in love with the simplicity and authenticity of a simple shy nerdy guy, a sanskrit teacher nearly 10 years older to her. The story is about how their love gets tested over some hidden issues in Indian society - one of wielding power over women - not of the domestic violence ones, but the subtle and silent one - that outsiders wouldn't really be able to sense.

For instance, showing decisions taken by the women as permitted by the man. The movie touches upon touchy topics of loneliness of unmarried people, marriages that exist without love for decades, and most importantly genuine, authentic equality between a couple - both the man and the woman.

R Madhavan is as his usual best - playing the boy next door, albeit older as naturally as possible.

Ayesha Raza Mishra plays the role of the loving, but vulnerable, wife who's eyes yearn respect from her husband so well.

After Metro in Dino, and now AJK I am falling heel over head for Fatima Sana Shaikh - Amazing screen presence, nuanced acting - she has done a marvelous job. Couldn't take my eyes off her acting, her presence on the screen.

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.

If you're bored, scrolling endlessly for something to watch - here's a sweet little film that might just surprise you.

"Aap Jaisa Koi" is not your typical love story. It's about a man in his 40s - single, calm, and quietly dealing with life's noise - until destiny (and maybe a little chaos) brings someone perfect into his life. Starring the ever-charming R. Madhavan and the effortlessly graceful Fatima Sana Shaikh, this film explores the idea of companionship beyond the usual stereotypes.

What really stood out to me was how the film subtly breaks down patriarchy within families. It doesn't shout its message - it lets it unfold naturally through the characters. You'll see how a man deals with societal expectations, family pressures, and still manages to stay true to himself. At the same time, it beautifully captures equality in a relationship - no dramatic speeches, just real conversations and relatable moments.

Every actor delivers - nobody overacts, nobody underdelivers. It's all just... right. The kind of film that doesn't scream for attention but grows on you quietly.

If you're looking for a light-hearted, feel-good movie with a heart, "Aap Jaisa Koi" could be a perfect weekend pick. It's warm, simple, and leaves you smiling - like a cup of chai on a rainy day. ☕🎬

At one point in the movie she says that a nerdy guy like him and a cute girl like her would make a nice romcom . Unfortunately this doesn't happen and what follows is a collection of pointless scenes with confused sentiments.

The plot is about a shy, docile, unromantic Sanskrit teacher Shrirenu who plays a Sitar and a young lady Madhu teaching French language who plays a piano. He belongs to a middle class family of Jamshedpur while she belongs to a Bengali family based in Kolkata.

Despite their different approaches to life both get along fine at first, romance blooms but there are disagreements over petty issues and they break up. They love each other and later when their misunderstandings are getting cleared Madhu's earlier boyfriend makes an appearance. This complicates matters and creates the customery triangle but worse follows when there is an emotional upheaval in both families.

The movie meanders between the endearing and the insipid. While the vicissitudes of romantic relationships are well projected there are quite a few totally unconvincing scenarios in the families of couple. To me the plot twist at the end appeared grossly unconvincing and outlandish. Overall the movie looked like a missed opportunity for the makers. Both Madhavan and Fatima do what the character limitations permit them to do but these characters could have made a better impression if the plotline was realistic and stronger.