Raj Kumar Gupta is back to direct Raid 2, with Ajay Devgn once again playing the upright and unyielding IT officer, Amay Patnaik. The Raid series, much like the Singham franchise’s portrayal of the police force, glorifies the income tax department through heroic exploits, with Ajay Devgn leading the charge. The complete independence enjoyed by these heroic government officers is part of what makes these films feel like unrealistic fantasies.
Story
Raid 2 takes place seven years after the events of the first film, where Amay took on corrupt politician Rameshwar Singh (Saurabh Shukla). Now, after 73 successful raids and 73 subsequent transfers, Amay’s wife has undergone a magical transformation – from looking like Ileana D’Cruz to resembling Vaani Kapoor. Since Kapoor is new to the role of the hero’s wife, two songs are included to establish their romantic connection, with Kapoor gazing longingly at her husband and Devgn appearing to long for his files.
Amay’s 74th transfer occurs when he is accused of accepting a bribe. However, it is soon revealed that this was a calculated move by Amay to get posted to Bhoj, where he has set his sights on a new target – Dada Bhai (Riteish Deshmukh), a popular Cabinet minister. Amay believes that Dada Bhai is hiding a dangerous, corrupt villain behind his clean-cut image, and he is determined to expose him.
The film finally finds its footing when Amay and his team carry out their first raid in Bhoj, and the hero realizes just how cunning Dada Bhai truly is. However, Patnaik’s cool-headedness saps the tension, as he never seems fazed, as if he’s always hiding aces up his sleeve – and we’re not supposed to worry about where they are.
The second half follows a suspended Amay as he plays a long game to bring down Dada Bhai. However, this undermines Dada Bhai’s supposed brilliance, making him seem more like a bumbling figure than a mastermind. Amay’s ‘clever’ tactics often rely less on smart writing and more on conveniently placed plot devices.
However, things do not go according to plan. Dada Bhai is more cunning than Amay anticipated, and the stakes are higher than ever. The first Raid film was based on a true event, which gave the hero a underdog feel and the narrative a tight, claustrophobic tension. Raid 2, on the other hand, trades realism for a fictional setup and urgency for cool detachment. Amay is more confident, even in the face of setbacks, and the film loses its gritty underdog charm in favor of a slicker, more superficial power play between hero and villain.
The climax offers some fun as Patnaik, living up to the film’s title, launches another raid while throwing back to the original’s threats and tactics. Saurabh Shukla’s recurring appearances as Rameshwar Singh add a few cheeky, enjoyable moments. And if nothing works, always bring in a mention of ‘Lord Ram’ so that you are in sync with the mood of the nation.
Performances
Ajay Devgn is on autopilot, delivering his lines with a steady, low-key intensity. He either mumbles through some of the dialogue or delivers it with minimal swag that would make for cool trailer moments. Riteish Deshmukh, as the antagonist, gives a solid performance but is let down by a script that deflates his menace in the second half. Vaani Kapoor’s casting may have come with a stipulation that she get to do something in a narrative that has no place for her character. Hence, she is featured in a track where she seeks out help to expose Dada Bhai’s amoral side in a very unconvincing manner.
Supriya Pathak plays a mother who thinks her son is whiter than milk, and she performs the role with needed sincerity. Shruti Pandey, who plays Amay’s subordinate and fan-girl, was nice. Amit Trivedi’s background score, with some aid from Amar Mohile, lends energy to the raid sequences, at least giving them some pulse.
An unnecessary item number featuring Tamannaah Bhatia adds nothing but titillation. Just when the film seems to be sliding lower and lower, in walks Amit Sial as Lallan Sudheer and saves the show. His oily, show-stealing presence injects a bit of life into the film. Not that things dramatically improve, but at least his performance offers some entertainment.
Behind the scenes
Raj Kumar Gupta has established himself as a skilled director who creates commercially successful and realistic films, particularly with No One Killed Jessica and Raid. His cinematic skills are impressive and demonstrate his ability to excel in the mainstream film industry without compromising his unique vision. But definitely the earlier X factor in Raj Kumar is missing in Raid 2 as there were many chinks in the whole film. The film’s camerawork, led by the talented Sudhir K. Chaudhary, further enhances the storytelling that is a wee bit off the mark.
The music in the film is a mixed bag, but there are standout tracks. Sachin-Jigar’s “Nasha” is a memorable composition, while “Money, Money” is decent. The re-creation of Nusrat Fateh Ali Khan’s song is passable, but Amit Trivedi’s background score truly shines and adds depth to the film.
Final Verdict
Unfortunately, the treatment does not live up to the ambition. A smarter, tighter screenplay was needed, but instead, the narrative is soaked in convenience and lethargy. The opening act, which involves a raid on Govind Namdeo’s sleazy maharaja, feels more like a filler than a rousing reintroduction. Hazy editing and aimless pacing plague the film, even after the introduction of the seemingly dynamic Dada Bhai.
It would have helped if the film maintained some ambiguity about Dada Bhai’s morality. But just like it rushes to reveal Amay’s masterplan, it’s too eager to confirm that Dada Bhai is indeed an evil mastermind. This lack of suspense hurts the film later, when the ‘big twists’ are far too easy to predict.
Raid 2 wants to be a tense game of wits between a stoic hero and a wily villain, but it stumbles with a rushed narrative, lazy twists, and a screenplay that coasts on convenience. There are moments of fun, thanks to supporting players like Amit Sial and Saurabh Shukla, but the film never quite captures the spark or suspense of the original.
