Toaster (2026) Review!!

Synopsis – Murder and mayhem ensue as a miser gets fixated on a toaster he gifted for a wedding.

My Take – Ever since he made a striking debut with Love Sex Aur Dhokha (2010), Rajkummar Rao continues to shine as one of India’s most versatile and grounded actors, bringing depth and authenticity to every role he takes on. From intense dramas to lighthearted roles, he brings authenticity that resonates deeply with audiences.

Equally excellent is his wife, Patralekhaa, whose grace and strength beautifully complement his artistry. Hence, it came as exciting news when the two announced the launch of their own production house, KAMPA Films, with a promise to craft meaningful stories as a dynamic duo. And their first film which officially premiered on Netflix yesterday arrives as one of the most unusual and talked-about OTT releases, blending dark comedy with thriller elements.

However, while the film builds its narrative around a quirky yet intense premise that quickly spirals into chaos, it doesn’t realize its full potential. Despite flashes of humor and a terrific performance by Rajkummar Rao, the writing holds the film back from becoming the sharp black comedy it could have been.

Directed by Vivek Daschaudary and written by Parveez Shaikh, Akshat Ghildial, and Anagh Mukherjee, the film remains engaging with genuinely funny moments, but its uneven tone and lack of a zippy, gag-filled screenplay prevent it from soaring. Emotional beats interrupt comedic flow, and transitions feel rough. What might have been a wild, eccentric ride ultimately settles into being just an okay watch, with the narrative never quite hitting the mark.

The story follows Ramakant (Rajkummar Rao), who is not an ordinary miser. He is the kind of miser who feels like he’s won a lottery if a telephone company returns the six rupees he insists it owes him. His comely wife Shilpa (Sanya Malhotra), addicted to crime shows, hates the fact that they live in a building society full of senior citizens, one of them being a Mrs. D’Souza (Seema Pahwa), who can be sweet-talked into reducing their rent.

This humdrum existence, scrimping on a rupee here, a coin there, is sent into a spin when they end up buying a ₹5,000 shiny toaster as a present for a couple of newly-wed. Mainly because when that marriage falls apart Ramakant becomes desperate to get the expensive toaster back. What begins as a simple obsession quickly turns into a chaotic journey filled with misunderstandings, greed, and unexpected twists.

There is no doubt that a delectable wacky idea lies at the heart of the narrative. For a while, the film embraces this absurdity with real confidence. The first half brims with bizarre one-liners, crackling humor and bewildering pandemonium. It unfolds as a comedy of chaos and errors that works more often than not.

True to the spirit of dark comedies, the story is filled with twists and turns and introduces a host of eccentric characters, from Ramakant’s elderly friend and tenant D’Souza Aunty to her stoner son Glenn (Abhishek Banerjee), and another quirky resident of the colony, Mala Aunty (Archana Puran Singh). Even much of the humor rests on Rajkummar Rao’s energetic delivery, as the first half focuses on his desperate attempts to retrieve the toaster while concealing his antics from Shilpa, who suspects foul play and begins her own investigation.

The writing, however, remains perfunctory, relying on safe choices and stretching the joke about Ramakant’s stinginess rather than adding depth to the plot. Even so, it sparks some memorable moments, such as his outrageous funeral speech where he lies about having discussed a rent reduction with the deceased house owner, or the absurd encounter in which Glenn fails to recognize a burqa-clad Ramakant sneaking into his home to steal the toaster.

But the second half does not sustain the same spark. Repetitive episodes dilute the quirky premise, which gradually shifts into a murder mystery. Despite the chaos and laughter, the narrative struggles to keep viewers invested. After a perverse mid-point twist, the story begins to unravel, leaving little to revive it. The gun sequence near the climax feels unnecessarily stretched.

While the genre blend sounds exciting on paper, the execution on screen feels tonally confused. The latter half could easily have been mistaken for another of Rao’s plot-driven comedies, Vicky Vidya Ka Woh Wala Video (2024).

Performance wise, Rajkummar Rao, with his impeccable comic timing, keeps the audience hooked throughout. From the very beginning, his portrayal of Ramakant strikes a balance between being annoying, familiar, and endearing, compensating for his penny-pinching ways with wide smiles and a salesman’s charm. It is a delicate balancing act, and Rao conveys it with remarkable ease.

Sanya Malhotra, who has quietly established herself as one of the most dependable performers in Hindi cinema, adds warmth and realism to the film. Her reactions feel natural, and she never overplays her part. The chemistry she shares with Rao is effortless, and their scenes together bring a genuinely funny dynamic that helps carry the film through its weaker stretches. Archana Puran Singh is an inspired choice, though she struggles to fully navigate the character’s layered mysteries.

Abhishek Banerjee, in an extended guest appearance, delivers delightful energy, while Farah Khan and Seema Pahwa leave a lasting impression in their brief roles. Upendra Limaye, as the cop, once again showcases his understated humor, adding subtle charm to the ensemble. On the whole, ‘Toaster’ is a laborious dark comedy that struggles with tonal inconsistency, despite flashes of humor and strong performances.