Director Nipun Dharmadhikari’s latest film, Ishq Vishk Rebound, attempts to capture modern themes of love, rebound, friendship, and heartbreak but fails to create an impact. The film features an ensemble cast including Rohit Saraf, Pashmina Roshan, Naila Grewal, and Jibraan Khan, yet it does little to save this lackluster romantic comedy. Available now in theaters, the film has been given a rating of just 2 stars.
At its core, a good romantic comedy needs three essential ingredients: a believable love story, a sidekick who brings in humor and relatability, and some impactful one-liners. This formula has been a cornerstone in Bollywood, making films like Shahid Kapoor’s Ishq Vishk a memorable watch. Unfortunately, Ishq Vishk Rebound fails in almost every aspect, culminating in a confused, loveless rom-com that neither sparks romance nor incites laughter.
The plot centers around three best friends: Raghav (Rohit Saraf), Sanya (Pashmina Roshan), and Sahir (Jibraan Khan). Sanya and Sahir share a bond rooted in childhood and mutual trauma, while Raghav remains the odd one out in their equation. However, when Sanya and Sahir are compelled to part ways, it paves the way for a rebound relationship between Sanya and a heartbroken Raghav, who has been recently dumped by Riya (Naila Grewal). What follows is a convoluted love quadrangle that descends into even more confusion.
The film’s flaws become evident within the first 15 minutes, where the storyline is laid out so predictably that audiences may find themselves losing interest promptly. Despite the actors’ and director’s efforts, there is an apparent disconnect between the characters and the audience. This disconnect is exacerbated when the film presents another uninspiring love story between Riya and Raghav, which does little to capture any genuine interest.
Speed and pacing are significant issues as well. The story moves so fast and slow at the same time, creating a disorienting experience. Just when you start to get a grasp on the relationships, breakups happen out of the blue, making the entire narrative feel juvenile. The characters appear immature, failing to understand the essence of love and relationships. Jibraan Khan does his best to convey emotions, but his efforts fall flat.
Pashmina Roshan, making her debut, draws comparisons to Alia Bhatt in Student of The Year—a courageous but puzzled girl who knows what she wants but fails to communicate effectively.
. Her performance in emotional scenes, especially a heartfelt conversation with her mother, is commendable. However, the lack of depth in her character makes her role appear half-utilized, despite the filmmakers’ attempt to project her as a lead.
Rohit Saraf emerges as the movie’s hero, recapturing Shahid Kapoor’s boyish charm for a new generation. Unfortunately, his excellent acting and dancing skills cannot save the uninspired narrative. His voice-over narration feels outdated, further suggesting that the filmmakers didn’t trust the audience’s ability to follow the plot on their own. Saraf is the lone bright spot in the film, providing the necessary energy to an otherwise lackluster offering.
Among the supporting cast, Naila Grewal as Riya stands out for all the wrong reasons. Her character is immature and impatient, and after her remarkable performance in Maamla Legal Hai, it’s disheartening to see her talent wasted in an unnecessary cameo role that leaves no impact. Kusha Kapila features more prominently yet feels repetitive, failing to bring something new to the table.
Despite a runtime of just 1 hour and 46 minutes, the film nearly tests the audience’s patience, compelling viewers to contemplate leaving during the intermission. Although a few dialogues, like “Time doesn’t heal shit,” resonate, they also spell out the film’s fate as it becomes increasingly bewildering. Rohit Saraf receives support from Kusha Kapila’s character who hilariously questions, “Love story kahan hai?”—echoing the viewers’ sentiments.
The script’s disconnect alienates the audience from the trio’s friendship and romance, including their heartbreaks. Despite sharing the same production house as Ishq Vishk, the film’s uninspiring music serves as another missed opportunity to inject life into the otherwise monotonous narrative.
One expects real, mature, and believable themes to be tackled, but the film falls flat. Though apparently written for Gen Z, it appears as a cheesy, soulless attempt that gives neither the characters nor the audience time to emotionally engage. Ishq Vishk Rebound is less of a sequel and more of a poor imitation, warranting a disclaimer: “Watch at your own risk and only if you are a Rohit Saraf fan.”
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