Maalik (2025) [Movie Review]: A Gangster’s Rise That Fails to Captivate

Deepak (Rajkummar Rao), the impoverished farmer’s son, is pulled into Allahabad’s criminal underbelly after seeing his father savagely assaulted by a notorious local mob boss. Rechristened “Maalik,” he claws his way to the top, outmaneuvering rival dons and corrupt politicians alike. Along the way, he battles MLA Balhar (Swanand Kirkire), a suspended Kolkata SP Prabhu Das (Prosenjit Chatterjee), mentor-turned-adversary Shankar Singh (Saurabh Shukla), and power-hungry rival Chandrashekhar (Saurabh Sachdeva). As Deepak ascends the criminal hierarchy, his pregnant wife Shalini (Manushi Chhillar) urges him to abandon his violent empire—forcing him to juggle survival, loyalty, and the hope of redemption.

Direction & Screenplay

Pulkit’s vision for Maalik leans heavily on genre conventions, offering familiar beats of betrayal, revenge, and turf wars. Co-written by Jyotsana Nath and Pulkit, the screenplay glosses over Deepak’s transformation, relying on montage and one-dimensional confrontations rather than emotional depth. The narrative frequently stalls between shootouts, making it hard to stay invested in the stakes. While a mid-film twist and a well-executed climactic sequence inject brief energy, they arrive too late to rescue an otherwise predictable plot.

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Performances

Rajkummar Rao grounds the film with a restrained yet powerful performance, seamlessly evolving from a fragile young man into a merciless crime lord. His scenes with Manushi Chhillar add emotional weight, even if her screen time is limited. Prosenjit Chatterjee brings gravitas to his short but pivotal role as the dogged SP, and Anshumaan Pushkar shines as Deepak’s college friend turned loyal lieutenant. Among the supporting cast, Saurabh Shukla’s portrayal of the betrayed mentor and Swanand Kirkire’s scheming MLA stand out, though they too are constrained by underwritten arcs.

Technical Craft

Anuj Rakesh Dhawan’s cinematography captures the dusty backstreets and opulent hideouts of Allahabad, lending the film a gritty authenticity. Action sequences are competently staged, with crisp editing that highlights Maalik’s rise through violence. Ketan Sodha’s score underscores key moments but often veers into cliché, mirroring the film’s overall sense of déjà vu. Production design and costumes effectively reflect the 1990s–2000s era, but a lack of visual innovation means Maalik never quite feels fresh.

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Final Verdict

While Rajkummar Rao delivers a compelling lead performance and there are sporadic moments of suspense, Maalik’s reliance on overused gangster clichés leaves it feeling lackluster. With uneven pacing, a thinly sketched script, and repetitive action beats, the film struggles to distinguish itself in an overcrowded genre. Fans of hard‑edged crime dramas may find moments to appreciate, but those seeking a deeper, more original story would do better to look elsewhere.

Rating: ★★★⯪☆ (3.5 / 5)