Despatch Movie Review: Manoj Bajpayee Brings His A-Game But Predictable Story Holds This Thriller Back

Last Updated:December 11, 2024, 04:51 IST

Despatch Movie Review: Kanu Behl’s Despatch has Manoj Bajpayee’s brilliance but a less-than-perfect story.

Manoj Bajpayee in Despatch.

Despatch Movie Review: Kanu Behl’s Despatch delves into the murky underbelly of Mumbai’s crime journalism, a fitting addition to the filmmaker’s repertoire of exploring human moral complexity. Known for Titli and Agra, Kanu, along with co-writer Ishani Banerjee, expands his thematic canvas to dissect the world of media digitalisation and journalistic desperation. But despite its ambitious scope, the film falters in delivering a story that keeps you hooked.

Despatch follows Joy Bag (Manoj Bajpayee), a journalist grappling with the pressures of sensationalism and the digital media landscape. His life is a mix of detachment, ambition and infidelity. The film opens with Joy’s search for a major story that leads him to uncover a smuggling racket tied to a broader political conspiracy. One discovery leads to another, pulling him into a complex web he can’t escape. The stakes escalate with each step, but even as he considers stepping back, it’s already too late. His desperation grows as he finds himself trapped, with no way out.

Manoj Bajpayee delivers a fantastic performance as Joy, capturing his moral conflicts, strained marriage with Shweta (Shahana Goswami) and affair with colleague Prerna. While the character’s struggles and flaws are evident, the story’s emotional depth feels limited. Shahana Goswami, an otherwise versatile actress, is wasted in a role that offers very little for her to do.

Kanu Behl’s direction is gripping in parts, capturing Mumbai’s far side with a mix of despair, sharp irony and moments of dark humour. However, the film struggles due to a weak screenplay with uneven scenes and cliched dialogue deliveries that leave you with a been-there-seen-that feeling. The story feels predictable, relying on familiar plot patterns that viewers can easily guess from the start. The disjointed screenplay adds to this, with scenes lacking a smooth flow. Despatch tries to explore personal and professional struggles but falls short in emotional depth. While Kanu Behl’s effort to merge internal and external conflicts is praiseworthy, the film ultimately ends up being overambitious.

That said, the film is carried entirely by Manoj Bajpayee, who effortlessly portrays a journalist caught between the chaos of his crumbling career and the dark side of Mumbai. His tension in high-stakes moments feels real, and he captures the desperation of a man spiraling into moral decay with ease. Even when the story wavers, you find yourself rooting for Manoj Bajpayee – just for the spectacular actor that he is.

The final sequence does manage to keep viewers on the edge of their seats and is a brilliant showcase of Manoj Bajpayee’s acting chops. Yet, the moment of brilliance can’t fully redeem a film that falls short of its potential. Despatch lacks focus and emotional depth, just falling short of becoming the intense crime drama it strives to be.