- Date of Release: 12 December 2025
- Genre: Comedy
- Language: Hindi
- Watch On: Theatres Only
Kis Kisko Pyaar Karoon 2
Introduction
From the very start, you get a feeling that the new Hindi film Kis Kisko Pyaar Karoon 2 is a film being released almost 30 years too late. The typical formula of a character being victimized by marrying multiple times was a recurring theme in many of the Govinda films from the 90s and early 2000s like Saajan Chale Sasural (1996) or Sandwich (2006). It further also creates an ambience of secularism that further reinstates this point, given how the whereabouts of the world lies today. Even the cold open of the protagonist running away from marriage on the railway track while being chased by a bride, will tell you a story or two on this aspect of filmmaking – I mean, he could just have run on an open road and nothing would have changed. In the same breath, logic takes a backseat too. If this were a Milap Zaveri film, I would have said ‘Logic Ka Bhi Logic Udd Gaya Hai’ but that line is for another day. But because this is a Kapil Sharma film, it almost feels like an extention of gags from his famous show that found its audience on television but eventually lost it on Netflix. And fortunately or unfortunately, that is seemingly the fate of the franchise too – audience lapped up the first film but this remains a different kind of a brainrot comedy, something that is so silly and ridiculous that even my laughter had loose motions.
Story & Screenplay
Written by Anukalp Goswami, logic remains on a notice period in Kis Kisko Pyaar Karoon 2 even while chaos and securalism are given prime posts after an appraisal meeting. In a parallel world, both of them decide to bully logic a lot, so much so that there remain glaring loopholes in the drama that wishes to tread on the lines of a brainrot comedy. I am all for brainrot comedies but if the writing stretches beyond a certain boundary without acknowledging its self-aware tone, then the end result is mayhem – something that we get to see here. So it is all hunky dorey (or maybe a calm before the storm) when we are introduced to Mohan (Kapil Sharma), a Hindu man by birth who is in love with Sania (Hira Warina), a Muslim woman by birth. The inter-faith clash between the two families remains evident even as Mohan decides to convert into Islam under a new name Mahmood, only to get married to Roohi (Ayesha Khan; the sister(?) of Sania), only later to be married off to Meera (Tridha Choudhury) and later in a bid to convert to Christianity and renaming himself to Michael, getting married to Jennie (Parul Gulati) just after giving her a CPR and impressing her with his double chin. Keep up pace with me here, the ride only gets wilder and chaotic!
Logic threatens to commit suicide in the drama early on when the writer wants you to believe that the protagonist is an absolute charmer of a man who drives girls crazy. Don’t get me wrong, I am not look-shaming anyone here – I would probably say the same thing for any guy out there. But the situations created are so absurd that it is hard to consume the drama at face value. For instance, the situation of Mohan – being Mahmood and marrying Roohi only as a mistaken, only for Roohi to threaten to commit suicide when Mahmood asks for divorce, is played out in the exact way as Mohan marrying Meera by mistake only for Meera to threaten to commit suicide when Mohan asks for divorce. Talk about a palindrome! Talk about divided by religion but united by suicide!
Some of the other characters also formulate the mindless fabric of storytelling here – Mohan’s friend Hubby (Manjot Singh) who always is aware of the three ODI matches that Mohan has been playing together while subconsciously uttering his friend’s secret openly. Santosh (Jamie Lever) and Pushpa (Trupti Khamkar) being these female empowering relationship breakers known to expose men practicing polygamy with the slogan – ‘Aadmi Fasao, Beti Bachao’, a father of the church (late Asrani) who convinces the viewers that he can speak all languages including Sindhi and Gujarati while being on the lookout for a guy who had confesses to marrying thrice. Then there is David (Sushant Singh), Jennie’s brother investigating the case, and the two fathers namely Akhilendra Mishra and Vipin Sharma to close the loop. If you notice closely, the ingredients are all there for a lip-smacking brainrot comedy, but then alas!
The structure of the narrative is designed to work in isolation with no connecting tissue between them. And to be fair, there are some moments of laughter – be it a transgender singing ‘Dulhe Ka Chehra’ at both the houses of the protagonist, or the protagonist having to donate the blood thrice – each in the name of Mohan, Michael and Mahmood. It reeks of the eccentricity of Manmohan Desai with a film like Amar Akbar Anthony (1977) wherein you had the three protagonists give the blood to their mother. Or that you may have a Varun Sharma coded character who would say – ‘Tumhe Science Nahi Samajhta Toh Aur Achche Se Samjhega’. But when you sit for questioning the logic, the drama makes no sense.
There are so many facepalming moments in the second hour that reignited the pain on my forehead which was on a break last week. Be it a child watching a couple making out while the lady has barely any clothes on her – a scene that felt like a discarded one from Mastiii 4, or the characters failing to recognize the protagonist whom they have been chasing just while he has donned a turban and speaks like Navjot Singh Sidhu, or even the father of the missing bride not acknowledging once on where her daughter has disappeared suddenly – the latter living under a new identity and wanting to marry the original Mohan who is now Manjeet is another tangent altogether! Also, talk about an Abbas-Mustan twist out of nowhere!
Brainrot was fine but I couldn’t have allowed my intelligence to be taken for granted – or the pain I had to endure in my forehead even as the drama would break the grammer randomly with a speech on Hindustan, its constitution and its inclusivity out of nowhere. Or the brainless finale that added to tally of women wanting to marry the protagonist after all are convinced of his innocence, and one having regained her memory too. Logic commits suicide on loop in this multiverse of madness and loyalty gives birth to stupidity too. Enough said!
Dialogues, Music & Direction
The dialogues are decent in most places but also cringe at a few instances. In a scene when a character randomly says in front of his children that his ‘performance’ was the best at home as opposed to his wife aspiring to go on a honeymoon to Goa, it just felt awkward! The idea here was to write individual sketches and put them together in a film – so the dialogues felt straight off the sets of Comedy Cirkus or The Kapil Sharma Show that maybe witty alright but don’t always land. The music is forgettable, as is the BGM that doesn’t necessarily raise the bar of comedy anywhere. The cinematography is basic – as basic as a student film with camera angles that starkly resemble a comedy sketch. Even the costumes given to characters are absurd – why would you want to s*xualize her character in school by giving her a low-neck attire (she is a teacher to be precise). Oh, I forgot – no place for logic! But what about the colour correction and colour grading that weren’t done correctly either?
The editing pattern is choppy, almost like the entire film is cut into a reel with individual set-pieces put together in the drama. It feels abrupt while also wanting to question the logic – how are the three married women dim-witted enough to not understand the antics of their husband. No place for logic here though. Director Anukalp Goswami treats this film like a comedy sketch and wants you to enjoy the proceedings without questioning its very existence. This partly works in the first hour but it completely derails in the second hour wherein you can’t help but think on what an absurd plot it is, even while negating ‘some’ of the good work done in the first hour. The direction remains below par almost throughout the narrative.
Performances
The performances are decent by the members of the cast. Asrani in one of his final outings as The Father (at the church) does manage to tickle your funny bone. Jimmy Moses, Flora Jacob, Anil Charanjeett and Shrikant Yadav have their moments to shine. Akhilendra Mishra, Vipin Sharma, Sushant Singh as David deliver animated performances that go in line with the tone of the drama. Jamie Lever as Santosh and Trupti Khamkar as Pushpa are fairly entertaining here. Hira Warina as Sania is quite weak while never fully committing to the pitch of the comedy that the film demanded. Ayesha Khan as Roohi remains sincere, Parul Gulati as Jennie is decent as well. Tridha Chowdhury as Meera has her moments to shine but again the pitch needed to extract laughter was missing. Manjot Singh as Hubby does succeed in tickling your funny bone at a few instances. Kapil Sharma after Zwigato (2022) and Crew (2024) is back to his comfort zone as Mohan, and he just knows his forte really well. He finds humour at unexpected places even when the writing is basic, and that defines the talent of an artist who is at the top of his game in a genre that he has been ruling since a decade.
Conclusion
Kis Kisko Pyaar Karoon 2 is the most secular brainrot comedy ever in a ‘Kis Kisko Logic Samjhaaoo’ drama wherein logic has left the chat. At one point, it also made me go – ‘Kis Kis Ko Gaali Dun’. Now you decide – ‘Logic Fek Ke Maaru Ya Gaali’ (never mind the translation). Available in a theatre near you.