Jaat – A Loud, Outrageous, and Surprisingly Entertaining Mass Action Ride

When I walked out of the theatre after watching Jaat, I genuinely had to take a moment just to process what I had experienced. Sunny Deol’s latest mass-action spectacle had arrived with immense expectations, wild assumptions, and a truckload of pre-release noise – and trust me, I went in expecting absolute chaos. The posters, the teaser, the trailer, and the entire mood surrounding the film made it seem like this would be another loud, exaggerated, borderline-impossible action drama that would demand me to switch off my brain and simply surrender.

But Jaat turned out to be something much more curious and unexpected. In fact, even before the film started, I was mentally prepared to roast it. I had assumed it would be yet another forced attempt to capitalize on the Gadar 2 wave. Honestly, if it were purely up to my personal taste, I would not have chosen to watch it. But because I review films – and because audiences expect an honest, firsthand account from me – I went ahead, sat in that seat, bought my overpriced snacks, and braced myself for impact.

And that impact arrived in a way I did not expect.

Because Jaat… surprised me.

A Brutal, Fear-Soaked Opening That Belongs Entirely to the Villain

The movie opens with an unusual and confident choice – it dedicates its entire initial stretch to the villain. Not the hero, not the setup for a big entry, not even a slow build-up. Instead, we are thrown directly into the ruthless world of four Sri Lankan men who illegally enter India after bribing their way through the system.

Their leader, Ranatunga – played with a chilling stillness and raw menace by Randeep Hooda – quickly establishes his terror across 40 villages. The way the film portrays this entire reign of brutality is shockingly bold. Kids, elderly, civilians, even police – no one is spared. His name alone is enough to send policemen running. And every time Hooda appears on screen, that ominous, beat-heavy background score kicks in like a threat.

I have to hand it to the makers – this villain is crafted with absolute commitment. Hooda’s presence is so powerful that even imagining Sunny Deol standing against him feels like a natural clash of titans instead of a one-sided hero-dominant setup. The film is rated 16+, and it uses that freedom fully – slit throats, chopped thumbs, blood spraying like a pichkari – everything is presented without hesitation. At times, even I flinched at the intensity of these scenes.

Supporting Hooda is Vineet Kumar Singh as the level-two antagonist. Known for films like Chhava and Super Boys of Malegaon, Singh brings a distinct authority to his role here. This is his third film this year, and although his character in Jaat is drastically different from what he has done previously, he makes every moment count. He looks dangerous, unpredictable, and fully aligned with the chaotic world the film tries to build.

A Hindi Film With a South Heart – and an Identity Crisis

The first 30 minutes had me wondering what exactly I was watching – because even though Jaat is a Hindi film, its soul, texture, sound, editing style, and even dramatic beats are unmistakably South Indian. That makes sense once you know that the film is directed by Gopichand, a filmmaker from the Telugu industry, and produced by Mythri Movie Makers, the same powerhouse behind the Pushpa franchise and the Tamil film Good Bad Ugly, which coincidentally released on the very same day.

But because so many creative voices from different industries came together, Jaat sometimes feels like a hybrid – a Hindi film dubbed into Hindi. Actors speak one line in one tone and finish it in another tone. Lip movements and actual dialogues often don’t sync. Minor characters scream in ways typical of older Goldmines-style dubbed films. Emotional background music swells dramatically at the slightest provocation. At times, the stylistic mix felt strange and even distracting.

Still, despite these identity issues, Jaat managed to hold my attention – especially because I knew a big moment was coming.

The arrival of Sunny Deol.

When Sunny Deol Enters, the Theatre Explodes

Let me say it clearly – the film transforms the moment Sunny Deol steps into the frame. And yes, I fully mean it when I say that my ₹200–250 ticket suddenly felt fully worth it. His entry sequence alone could power an entire single-screen theatre for a week.

The setup is simple. Sunny paaji is travelling by train. The train halts unexpectedly because a goods train has had an accident up ahead. He steps down, casually asks the TT what happened, and is told that the clearing process will take at least four hours. Nearby, there is a small food stall – not a tea stall, but an idli stall – and so he walks there to get something to eat.

And from that point, absolute madness begins.

This is not subtle, sophisticated, arthouse cinema. This is unapologetic, sky-high, brain-switch-off, gravity-defying masala action. And it is so ridiculous, so unpredictable, so self-aware, and so hysterically over-the-top that I laughed out loud multiple times – not because the film was bad, but because I was genuinely enjoying myself. There were moments where I literally stamped my feet on the theatre floor in disbelief.

The makers knew precisely what they were building – and they embraced it with swagger. They didn’t hide behind logic, didn’t slow down, didn’t try to tone it down. Instead, they went all-in, aiming for the moon and somehow reaching another galaxy in the process. The effect is absurd, yes, but also undeniably entertaining.

One particular gag – Sunny paaji catching someone’s tongue with his bare hand while repeatedly pressing a jeep accelerator – becomes a recurring theme in the movie. The entire theatre laughed every time it happened. I laughed every time it happened. It was nonsense, but the best kind of nonsense – the kind delivered with conviction.

By the time the interval arrived, I was unexpectedly impressed. I thought, “Sunny paaji, this is your zone. This is your space. Make more films like this. Kill the analysis. Kill the realism. Give us pure entertainment.”

Sunny Deol: A Star Who Still Commands Belief

There is a reason Sunny Deol’s brand of action works even in 2025. Many actors try to look larger-than-life, but it doesn’t land. Something feels off. The body language isn’t right. The expressions don’t match the intensity. But Sunny Deol – even today – retains that raw, earth-cracking aura.

His roar, his stare, his stillness, his voice – all of it still carries weight. When he uproots a railing or lifts a massive object or strikes the ground, I believe it. The audience believes it. The film believes it. And that belief is what makes Jaat such an unexpectedly enjoyable experience.

Despite his age, his screen presence remains magnetic. His movements may not be as fluid, but he plays to his strengths. Every punch, every glare, every outburst feels like a fragment of the legacy he built decades ago.

A Second Half That Falters Under Its Own Weight

Up until the interval, Jaat is an absolute blast. But then comes the second half – and the energy begins to dip. The film shifts suddenly into melodrama mode. Long emotional sequences appear, many of them repetitive. Villagers cry about atrocities, women sing in sorrow, and the film revisits everything it has already told us.

And worst of all?

No Sunny paaji for a prolonged stretch.

No Randeep Hooda either.

Without its two towering pillars, the film wanders. The pacing begins to wobble. The impact lessens. The runtime stretches. A 2 hour and 33 minutes film could easily have become leaner, sharper, and more engaging if the heavy, dragged-out middle portion was trimmed.

To be fair, the second half does have one solid action sequence inside a police station – a moment where the film regains some of its lost energy – but it never reaches the insanity of the first half again. The high peaks that the film crossed early on come crashing back to earth.

Why I Would Still Pick Jaat Over Gadar 2

Here is something I didn’t expect to say: If you asked me to rewatch either Gadar 2 or Jaat, I would pick Jaat without hesitation.

Both films are loud, chaotic, absurd, and driven by nostalgia for the hero. But Jaat has something Gadar 2 lacked – a sense of fun. It knows it’s ridiculous and leans into that ridiculousness without shame. It goes so high into the masala zone that it becomes an experience rather than a film.

Randeep Hooda is exceptional. Vineet Kumar Singh delivers fully. The entire villain side of the film is cast brilliantly. The action is out-of-this-universe levels of exaggerated, but shot with clarity and punch. Unlike some modern action spectacles (KGF, Salaar), Jaat lets you see what’s happening. Every weapon hit, every slow-motion shot, every Sunny Deol impact moment is clean.

And when he uproots a hand pump? Pure cinema.

When he swings a fan like a weapon? Double pure cinema.

The Final Word: Should You Watch Jaat?

Here is my honest advice.

Watch Jaat only if:

• You want ridiculous fun
• You can switch off your brain
• You enjoy mass-masala films
• You liked Gadar 2
• You don’t demand realism
• You want Sunny Deol in full over-the-top mode

Do not watch Jaat if:

• You need logic
• You prefer subtle films
• You dislike dramatic exaggeration
• You expect grounded emotions

Because Jaat does not pretend to be realistic. Its emotional scenes are extremely over-the-top in my personal view. Its drama is loud. Its world is violent. Its tone is theatrical. But what it delivers – it delivers with 100% conviction.

And for me, that conviction is what saved the film.

Rating: 3.5/5

A wildly entertaining, absurd, unapologetic action drama driven by Sunny Deol’s sheer screen presence and Randeep Hooda’s terrifying villainy. Flawed in its second half, but unforgettable in its highs.