Dunki (2023), directed by Rajkumar Hirani and starring Shah Rukh Khan, Taapsee Pannu, and Vicky Kaushal. This is a fresh review, straight from my perspective, dissecting the film’s highs and lows with the flair of a movie critic.

Dunki marks a rare collision of two Bollywood titans: Rajkumar Hirani, the maestro of heartfelt satire (3 Idiots, PK), and Shah Rukh Khan, the superstar who ruled 2023 with Pathaan and Jawan. The film promises a poignant tale of “donkey flights”—the illegal, circuitous immigration routes taken by desperate dreamers—and it delivers, but only in fits and starts. What could’ve been a soul-stirring commentary on migration and belonging instead lands as a patchy, overstuffed dramedy that’s equal parts charming and clunky.

The story follows Manu (Taapsee Pannu), Hardy (Shah Rukh Khan), and their ragtag crew from a Punjab village, yearning for a better life in London. When legal paths fail, they turn to the titular “dunki” route—a perilous journey through borders and backwaters. The first half flashes back to 1995, painting a warm, nostalgic picture of small-town camaraderie and unrequited love. Shah Rukh Khan, as the ex-soldier Hardy, is in his element here—twinkling eyes, dimpled grin, and a goofy sincerity that’s vintage SRK. His chemistry with Taapsee’s fiery Manu crackles, especially in lighter moments, like a wrestling match that’s pure Hirani whimsy. Vicky Kaushal, as the lovelorn Sukhi, steals every scene he’s in—his tragic arc is the film’s emotional peak, and his exit leaves a void the second half can’t fill.

Hirani’s signature touch—blending humor with humanism—shines early on. The language-learning montages, where the gang hilariously mangles English, are a riot, and the film’s heart beats strongest when it’s poking fun at bureaucracy or celebrating resilience. Pritam’s soundtrack, with gems like “Lutt Putt Gaya” and “O Maahi,” adds a lilting charm, while Amitabh Bhattacharya’s lyrics tug at the nostalgia strings. Visually, the Punjab vistas and London dreamscapes (shot by CK Muraleedharan and team) are postcard-pretty, though the film leans hard on that sepia-tinted glow.

But then comes the second half, and Dunki trips over its ambitions. The shift to 2020, with an older Hardy orchestrating a rescue mission, feels disjointed—like two films stitched together with shaky glue. The tone veers from playful to preachy, with heavy-handed monologues about immigration that lack the bite of Hirani’s past work. The script, co-written by Hirani, Abhijat Joshi, and Kanika Dhillon, buckles under its own weight—subplots pile up (a courtroom drama, a refugee crisis), but none get the depth they deserve. At 161 minutes, it’s not as bloated as some 2023 releases, but it still drags, especially in a final act that trades nuance for melodrama.

Shah Rukh Khan remains the glue holding it together. He’s less kinetic here than in Pathaan or Jawan, leaning into a softer, more grounded avatar that suits Hirani’s world. Yet, the film doesn’t fully harness his star power—his big moments feel restrained, almost apologetic. Taapsee Pannu is spirited but underserved, her character reduced to a prop in the latter half. The ensemble—Boman Irani, Vikram Kochhar, Anil Grover—adds flavor, but they’re more caricatures than characters. And while the film aims for emotional heft, it often settles for schmaltz, like a teary border scene that’s more soap opera than cinema.

Technically, Dunki is polished but unremarkable. The VFX in the smuggling sequences are functional at best, and the editing (by Hirani himself) feels choppy, especially in transitions between timelines. It lacks the kinetic energy of SRK’s other 2023 outings or the crisp storytelling of Hirani’s classics. What it does have is heart—muddled, messy, but undeniably there. The film wants to say something profound about home, exile, and the human spirit, but it gets lost in its own detours.

Dunki is a noble misfire—a film with a big soul and a scattered mind. It’s not Hirani’s sharpest satire nor SRK’s most electrifying turn, but it’s got enough warmth and wit to keep you rooting for it, even as it falters. I’d give it 2.5 out of 5 stars—a middling effort in a year when Shah Rukh Khan could do no wrong, and Hirani could’ve done so much more. It’s not a disaster, but it’s no destination either—just a bumpy ride with a few beautiful views.