Thank God review: Siddharth Malhotra-starrer is like a soppy morality show

Hyderabad: To sit through Thank God even in its truncated two-hour version gives you the feeling that you are required to evaluate a television reality show.

With the protagonist trying hard to anchor the show aka Big B, the filmmaker robs it even of the minimal space of creativity. The promos already tell you that a young guy met with a road accident and while the surgeons are with scissors and scalpels, our anchor is with a scripted talk show.

Ayan Kapoor (Siddharth Malhotra) suffers a huge business setback and has to move from affluence to poverty. His inspector wife (Rakul Preet Singh) and doting child are also called upon to quickly make adjustments as Richie Rich is trying stupid means to bring to sale his designer villa.

In a case of rash and negligent driving, he lands up in a near fatal accident. While the body is being treated, our hero moves to the court of Chitragupta and Yamadoot referred to as CG (Ajay Devgn) and YD (Mahesh Balraj). More than a talk show it is a soppy morality show dealing with trait, complaints of anger, ambition, lust, greed etc., and when not pompous, it is stupid.

The audience is treated to a kind of talk reality show which if at home, one would use a channel change button.

Every time the question is thrown at our end, we get a sneak preview into his uninteresting past involving his sister (Urmila Kanetkar), his brother-in-law (Prateek Deekshit), his dad (Kanwaljeet Singh), an equally irrelevant and cardboard cut-out characters. No one in the film makes any attempt to salvage the film.

Writers Aakash Kaushik and Madhu Sharma give you such insipid stuff that you wonder whether director Inder Kumar even had a script in the first place. Ajay Devgn is making faces, Siddharth Malhotra is lost and Rakul Preet Singh is either parading in her khakis or in stylised costumes but doing nothing to nudge the happenings. One sane facet is that she has nothing to do with the reality show. She is saved of any embarrassment.

The one sole credible performance on hard search comes from Seema Pahva as Aryan’s mom. In a world of altered morality dare and challenge, the preachy texture of Thank God is woefully out of times.

This thanks to God is either to compare the brevity of the film or a case of thanks, no thanks.