The latest dark comedy Toaster marks a new milestone for Rajkummar Rao, who not only headlines the film but also makes his debut as a producer. While the premise promises a quirky, chaotic ride, the film ultimately struggles to maintain its momentum beyond the initial laughs.
A Quirky Premise with Comic Potential
Rao plays Ramakant, a miser obsessed with saving every rupee, living in a modest Mumbai housing society with his wife Shilpa, portrayed by Sanya Malhotra. His frugality is pushed to the extreme when the couple purchases an expensive toaster as a wedding gift—only for the wedding to be called off.
What follows is a series of absurd misadventures as Ramakant attempts to retrieve and return the toaster. However, the object soon becomes more than just an appliance, entangled in a larger, murkier secret involving a politician.
Comedy Driven by Performance
The film thrives largely on Rajkummar Rao’s energetic performance and comic timing. The first half is packed with situational humour, especially as Ramakant tries to outsmart his suspicious wife, who begins her own investigation.
There are genuinely funny moments—like Ramakant’s shameless speech at his landlord’s funeral or the bizarre encounter with a stoner character played by Abhishek Banerjee, who fails to recognise him in disguise.
Weak Writing and Predictable Turn
Despite a strong setup, the screenplay remains safe and formulaic. The humour, while effective initially, is largely one-note—focused on stretching the joke around Ramakant’s stinginess rather than adding depth to the narrative.
A mid-film twist attempts to shift the tone, but instead weakens the story’s grip. As the plot unfolds, the film loses emotional investment, and even Rao’s antics begin to feel repetitive.
Underutilised Cast and Flat Setting
While the ensemble cast adds some value, not all characters are fully realised. Sanya Malhotra’s role feels limited, lacking agency in the narrative. Archana Puran Singh stands out with a more substantial role, navigating tonal shifts effectively, while Abhishek Banerjee leaves an impact in a brief appearance. Farah Khan’s cameo, however, doesn’t quite land.
Despite being set in Mumbai, the city itself feels underused, missing an opportunity to enhance the story’s context and Ramakant’s character.
Visual and Tonal Limitations
The film’s visual style leans heavily into a generic streaming aesthetic, with flat colour tones that reduce realism. As the story progresses, even the novelty of the concept fades, making the second half feel stretched and familiar.
The narrative arc begins to resemble earlier comedic formats, diluting the originality it initially promises.
Final Verdict
Toaster starts off as a promising dark comedy with a unique idea and a strong central performance by Rajkummar Rao. However, inconsistent writing, underdeveloped characters, and a lack of narrative depth prevent it from reaching its full potential.
While it offers moments of genuine humour, the film ultimately settles for surface-level entertainment rather than delivering a lasting impact.
