Sunny Sanskari Ki Tulsi Kumari movie review: Janhvi Kapoor looks good, Varun Dhawan adds charm, but Rohit Saraf and Sanya are wasted in flat romance

Dubai: Romantic comedies thrive on chaos — misplaced affections, meddling lovers, and the familiar tug of “will they, won’t they?”

Director Shashank Khaitan’s Sunny Sanskari Ki Tulsi Kumari tries to pack all of that into a brightly packaged two-and-a-half hours with an ensemble cast headlined by Varun Dhawan, Janhvi Kapoor, Rohit Saraf, and Sanya Malhotra.

The premise is promising: what happens when two exes crash the wedding of their former lovers to “save” them from making a supposed mistake? But like most glossy Bollywood rom-coms of late, the film hovers somewhere between fun and frivolous, never quite sinking its teeth into its central theme.

The story goes like this: Rohit Saraf and Sanya Malhotra, who play the exes of Janhvi Kapoor’s Tulsi and Varun Dhawan’s Sunny, are set to marry each other. Instead of moving on with dignity, Tulsi and Sunny gatecrash the wedding festivities with a singular agenda — to win their exes back. On paper, that sounds like the stuff of screwball comedy. In execution, however, it raises an eyebrow or two. Who’s more toxic in this equation? The film wisely doesn’t lean too hard into that question, keeping things light and frothy. But the premise itself feels shakier with every passing song-and-dance sequence.

What works is that the film doesn’t take itself too seriously. There’s a breezy, self-aware energy running through its first half, with snappy exchanges and a few genuinely funny moments. Saraf and Malhotra’s relationship, in particular, feels like the most grounded part of the story. Their attempt to move forward — rather than pine endlessly for people who treated them poorly — is refreshing. It’s also a gentle reminder of how fragile and fleeting modern love can be, especially in a world of dating apps, swipes, and ghosting. Unfortunately, Khaitan never digs deeper. Just when the film seems poised to comment on contemporary relationships, it drowns itself in another predictable twist or elaborate musical set piece.

Performances are a mixed bag. Varun Dhawan, talented as he is, seems to be stuck on autopilot. His Sunny feels like a mash-up of characters we’ve seen before in Humpty Sharma Ki Dulhania and Badrinath Ki Dulhania. There’s familiarity, yes, but also fatigue — it’s hard to root for him when his trajectory feels this recycled. Janhvi Kapoor, meanwhile, looks luminous as Tulsi, styled in a wardrobe that seems wildly at odds with her character’s modest profession as a teacher earning ₹25,000 a month.

The suspension of disbelief stretches thin here: couture gowns and endless designer lehengas don’t exactly scream “teacher-next-door.” However, one scene that truly popped was Sanya Malhotra locking horns with her mother. Here’s a daughter armed with the best education money can buy, yet all mummy dearest can see is shaadi, shaadi, shaadi. It’s a telling reminder that even the most ‘progressive’ Indian parents can slip into good old-fashioned regressive mode when it comes to their daughters’ futures.

As for the dynamics between the four leads, the film seems overly enamored with Janhvi’s Tulsi. Everyone falling head over heels for her stretches credibility and sidelines the more interesting pair: Saraf and Malhotra. Both deliver quietly effective performances but get the short end of the stick narratively. In a film that markets itself on a love quadrangle, it’s a shame their arcs aren’t fleshed out with equal weight.

The songs, too, are a double-edged sword. While a few are catchy enough to merit a replay, the sheer number drags down the momentum. Characters frequently break into song instead of simply talking to one another, which underscores the film’s biggest problem: its couples don’t communicate.

Every emotional beat is padded with music, leaving little room for honest conversation or organic connection. By the second half, the film livens up slightly — there’s more plot, more drama, and more energy — but the climax remains painfully predictable.

In the end, Sunny Sanskari Ki Tulsi Kumari is a glossy confection that entertains in patches but never commits to its own potential. The humor is sporadic, the romance feels forced, and the toxicity of its central pair is brushed aside for the sake of a happily-ever-after.

The film may find its fans among those who enjoy candyfloss rom-coms, but for audiences craving substance beneath the sparkle, it’s another predictable song-and-dance affair.