Ginny Wedss Sunny 2
Introduction
I am sitting on this review for an hour now – fidgeting with my keyboard, scrolling my empty document, getting distracted by the birds chirping in the vicinity, only terrified to recall any bits of the headache that I had to endure while watching this film. I mean a film starring two solid actors – Avinash Tiwary and Medha Shankr, despite a dated look of its trailer – what could possibly go wrong even? And quite honestly, even the sense of having a headache can be an understatement for this dreadful film – Ginny Wedss Sunny 2, a spiritual sequel of the first Ginny Weds Sunny (2020) who nobody remembers anyway. In 2026, why would you want to put your money on a love story that is so dated, that even a few 90s love stories would appear to be modern in front of it. Why would you literally create this mess with good actors like Lillete Dubey and Sudhir Pande, who are probably briefed to match the tone of their performances to the bizarre tone of the film.
In a day and age when film criticism is systematically being fazed out, this film redefines the need for film criticism – remember what film critics have to endure so that you don’t have to. Think twice before shutting a critic with a notion of ‘Why Don’t You Make A Film Of Your Own’. If films are made of this standard, I can guarantee you that even with a limited skillset, a film critic would make a better film than this mess!
Story & Screenplay
Written by Prasshant Jha, Ginny Wedss Sunny 2 has the most basic premise with regressive anecdotes gift-wrapped in a container that would appear to be progressive. When you are first introduced to Sunny (Avinash Tiwary), he is a pehelwaan at an akhaada – because that is what alpha males do; they fight. After being wrongly accused of harassment and being a poster boy of public shame in Hrishikesh, the most eligible bachelor becomes the least eligible bachelor. And in doing so, he has to contend with his blabbering father, his irritating elder brother who wants hia property, and his IAS-aspirant friend who is a reflection of the sad times of the country. Also, where is the 12th Fail when you need him the most!
Elsewhere, Ginny (Medha Shankr) remains a typical ‘Dilliwali Girlfriend’, the one Ranbir Kapoor would rave about. She is modern, outgoing, and a poster girl of every ‘Bollywood’ stereotype that one would associate with. She wears skimpy clothes, parties through the night, consumes alcohol, and every other checkbox that you would find ticked with respect to her personality. She has had a broken engagement too, and is anything but ‘Sushil’ to an average Indian joe – a trait in men which itself must be called out and ranted on, all of whom want their partners to be ‘Sati Savitris’, and well….’Virgins’.
Unfortunately for Sunny, he falls in this exact ‘regressive’ category – a supposed conflict that would play a major riding force in a tepid second hour. But in the meanwhile, it is a game of lies wherein both parties decide to lie in their matrimonies – and probably that explains the extra ‘s’ in ‘Wedss’ – wherein ‘s’ stands for sh*t….oh umm…secret. Things are rosy to begin with for the new couple in town, unlike that for the viewers whose facial muscle appear to be paralyzed, and their brain cells featuring as zombies in the Michael Jackson record ‘Thriller’. And the tone of the comedy is so loud that it would put Akshay Kumar’s Bhooth Bangla (2026) to shame. Or more so, competing to be louder than Ravi Basrur’s BGM in KGF Chapter 2 (2022).
It is interesting on how a wedding night opens a can of worms for the couple – she gets to know that he is regressive as ever, and he gets to know that she is ‘Bawaal’ as ever (hot as hell), which by the way is an issue for both parties. And in doing so, the drama is regressive and predictable both in the same breath. You literally know the drill like expecting the Delhi AQI to be above 200 in winters (more than 500 if one begins to dig deeper) – they part, meet again, refuse to communicate, sing a song together, appear as friends again, fall in love again, and finally showcase their PDA to the world – a proper progressive arc done wrong! All of this while my braincells shot themselves twice in the head, died, reincarnated and aged all over again through the course of the second half. Ginny and Sunny should not have met at all!
Dialogues, Music & Direction
The dialogues are so loud that any remote sense of emotion or laughter is drowned in its own loudness. The music is marginally better, and thank god for the songs to randomly break the narrative by suddenly appearing every now and then. The BGM is plain bad, almost trying desperately hard to create any sense of laughter. So when a character mistakes a girl working at the call center for a call girl, the sound that you get is ‘toing’. What is so funny again? The cinematography has a dated feel to it, with its grainy frames that haven’t been colour corrected too. It further flattens out the characters and their emotions, which anyway were cardboard extensions of trauma in the narrative.
The editing pattern is a random piece of a pizzle assembled together haphazardly, wherein there is no accountability for the emotions in play too from one scene to another. Everything is jerky, everything is random, everything is loud. Director Prasshant Jha misses the mark by a countrymile. I usually look for silver-linings even in the most hopeless films, but from a direction standpoint, I just couldn’t fathom the quality of the product being served. It was so poor and dated, that the world building and characterization felt nauseating after a point. I literally have nothing to write home about, and I guess I shall just stop here – in hope that the only way forward is upwards for the director.
Performances
The performances are a huge red-flag in the drama. And it is a shame considering the talemt involved in the acting department (no puns intended). The likes of Govind Namdeo have so very little to do. Vishwanath Chatterjee as Pintu and Gopi Bhalla as Sugriv are absolutely unfunny here, while hamming their way through the narrative. Even veterans like Lillete Dubey and Sudhir Pande are technically wasted, given how their performances don’t leave any impact. Rohit Chaudhary is such a safe actor generally, but his high pitch here doesn’t make you laugh even once. Avinash Tiwary and Medha Shankr are such talented actors, and proven performers. But here, the writing is just so poor that the only thing that stuck out with their performances was loudness. Where was the chemistry? Where were the emotions given that this was a Rom-Com afterall ? Both the performances were proper red flags in what felt like forgettable appearances for both of them.
Conclusion
Ginny Wedss Sunny 2 is a headache-inducing, dated Rom-Com that is regressive in nature and fails to impress. Also, the next time you call critics names like ‘Morons’ or ‘Haters’, know that they are on your side, and ‘taking one for the team’ – by watching films like these so that you don’t have to. Available in a theatre near you.