Bandar (2026): Bobby Deol Finds gives the film energy despite weak payoffs

Anurag Kashyap’s latest crime thriller opens with Samar Mehra, played by a remarkably restrained Bobby Deol, navigating a world that refuses to make sense. The actor, long typecast in loud actioners, finds a quiet, coiled intensity here that anchors the film’s 2-hour-16-minute runtime.

Deol’s performance is the single most discussed element across critical coverage, and for good reason. He conveys the moral exhaustion of a man caught between legal procedure and something far more primal, often without raising his voice.

Kashyap’s Direction Wrestles With an Overstuffed Narrative

Kashyap’s strength has always been his ability to create lived-in, gritty milieus, and Bandar benefits from that signature world-building. The director assembles a fascinating cast and clearly gives them room to breathe, which results in layered character moments.

Yet the screenplay’s ambition becomes its undoing. Cinema Express noted that the film gets mired in multiple subplots, and that sprawl dilutes the central tension. The pacing suffers in the middle act, where the mystery loses its sharp edge amid the narrative detours.

It is a film that trusts its audience’s patience, but perhaps overestimates how much narrative baggage it can carry without collapsing under its own weight.

The Ensemble Cast Elevates a Flawed Structure

Bandar is best approached as an ensemble piece rather than a star vehicle. Sanya Malhotra, as Suhaani Mehra, brings a grounded presence that complements Deol’s stoicism, though her role feels underwritten in stretches. Raj B. Shetty, cast as the intriguingly named Lizard Man, adds a dose of unpredictability that the film desperately needs.

Jitendra Joshi’s Deore provides solid support, while Sapna Pabbi and Saba Azad round out a cast that signals Kashyap’s intent to build a textured, performance-driven crime drama. The supporting lineup consistently noted as a strength in coverage, and the casting alone suggests a film aiming for character depth over conventional thrills.

Each actor seems to understand the serious tone required, contributing to the film’s somber atmosphere even when the script loses its way.

The Thriller Mechanics Work in Fits and Starts

When Bandar commits to its crime-thriller core, it demonstrates that Kashyap still knows how to build tension. The film’s positive critical reception on Rotten Tomatoes, which shows 91% positive reviews among 11 critics, suggests that the tension-building in key stretches functions effectively. The atmosphere is thick with unease, and Kashyap’s direction creates a palpable sense of dread.

However, the mystery element gets tangled in the web of subplots that Cinema Express flagged. The film’s commercial response was weak, with Hindustan Times reporting a modest opening day of ₹50 lakh net in India. This disconnect between critical appreciation and audience turnout points to a thriller that may be too cerebral or structurally messy for mainstream consumption.

By the first week, Sacnilk reported the India net at ₹4.20 crore and a worldwide gross of ₹4.97 crore, figures that ultimately led to a final verdict of “Flop.” The genre execution, while competent in isolation, fails to cohere into a propulsive whole that would have justified its theatrical run.

For those interested in exploring more such layered narratives, our Hindi Thriller reviews cover similar territory.

Reception Split: Critics Applaud, Audiences Stay Away

The film’s fate presents a fascinating case study in the gap between critical consensus and commercial reality. While the average critic rating sits at a respectable 6.6/10 on Rotten Tomatoes, the audience clearly voted with their feet, staying away in droves. The trade commentary, referenced through Sacnilk-based reporting, painted a picture of a film that could not find its audience despite the pedigree attached to it.

Deol’s performance was repeatedly highlighted as the main draw, yet it proved insufficient to pull in crowds. The serious tone and subject matter, while praised by critics, likely alienated viewers seeking mainstream entertainment. The film’s narrative complexity, a feature for some, became a bug for the broader audience that Kashyap once commanded.

I found myself admiring the ambition while wishing the execution had been tighter, a sentiment that seems to echo across the critical fraternity.

Bandar is a film that demands patience and rewards those who appreciate character-driven crime dramas over conventional thrills. For fans of Bobby Deol’s recent career resurgence or Kashyap’s uncompromising vision, this is essential viewing. The best format to watch this one is OTT, where its sprawling narrative can be absorbed at one’s own pace without the pressure of a theatrical commitment.

Bandar (2026) is a flawed but fascinating crime drama that deserves a watch for Deol’s career-best restraint, though its tangled subplots keep it from greatness, earning it a 3/5 in my book.

For a sharper dissection of power dynamics, revisit Critique review.

If you prefer your crime sagas with more explosive energy, Mirzapur verdict offers a different flavor of ambition.