Rating- *** (3/5)
Cast: Sohum Shah, Tinu Anand, Shilpa Shukla, Nimisha Sajayan
Written & Directed by: Girish Kohli
Produced by: Sohum Shah Films
You have to be a little unhinged to craft a film like Crazxy—a thought that likely crossed the minds of writer-director Girish Kohli and actor-producer Sohum Shah more than once. The dilemma here is an interesting one: this audacious experiment walks the fine line between being a stroke of genius and a case of overindulgence. The real kicker? It manages to strike an unfortunate balance between the two, tipping toward brilliance at times and veering into missteps just as often.
Credit must be given where it’s due—Crazxy is nothing if not bold. In an era where mainstream cinema thrives on safe bets and formulaic storytelling, this film actively rebels against the status quo. It takes risks, wears its influences on its sleeve, and delivers a singularly unique experience.
The film’s technical precision and relentless pacing keep the audience invested, and for the most part, it succeeds.
Abhimanyu Sood (Shah) is a well-off, accomplished surgeon, on his way to settle a legal dispute with a hefty sum of five crores stashed in his Range Rover. The plan is simple. The execution? Anything but. A phone call informs him that his daughter has been kidnapped. Another call from the alleged kidnapper sends him spiraling further into chaos.
Meanwhile, his ex-wife looms over the conversation, his current girlfriend complicates matters, and the stakes keep escalating. What follows is a relentless, high-stakes ride where all the drama unfolds over a series of phone calls.
The intention is razor-sharp—to craft a singular, character-driven thriller within the confines of a tight 93-minute runtime. The focus remains unwaveringly on one man, one face, and a whirlwind of tension that never lets up. Kohli and Shah clearly take cues from Locke (2013), but rather than being a derivative rehash, Crazxy carves its own identity.
The film’s technical precision and relentless pacing keep the audience invested, and for the most part, it succeeds. But just as it seems to be heading toward something truly remarkable, the third act unravels.
Girish Kohli and Sohum Shah’s ambition is undeniable, but their pursuit of quirk and originality occasionally borders on self-indulgence
The fundamental strength of any whodunnit rests on two pillars—either the grand revelation has to be so staggering that inconsistencies are rendered irrelevant, or the journey itself must be compelling enough to overshadow a less-than-perfect conclusion. Crazxy leans toward the latter, maintaining a tight grip on intrigue and novelty. Abhimanyu’s journey is frenetic, unpredictable, and brimming with tension.
However, the final act loses steam, betraying the momentum that had been meticulously built. Suspension of disbelief is a given in such narratives, but when the required leap is too vast, the immersion shatters, leaving the climax underwhelming.
Yet, for a film that is, quite literally, a one-man show, Crazxy benefits tremendously from Shah’s commanding performance. He is at once likable, detestable, and pitiable—his flawed yet brilliant character oscillating between desperation and arrogance.
Equally commendable are the voice performances, with Nimisha Sajayan as the ex-wife, Shilpa Shukla as the girlfriend, Tinu Anand as the menacing kidnapper, and Piyush Mishra as the embroiled doctor. Their vocal deliveries add gravitas, proving that raw emotion can resonate just as powerfully without a physical presence on screen.
The conflicts within Crazxy—both internal and external—are compelling. Abhimanyu juggles his ethical dilemmas, his medical expertise, his fractured relationships, and the haunting consequences of his past decisions. The film presents these elements with precision, only for the climax to let them fizzle out in a manner that is neither emotionally nor logically satisfying.
Kohli and Shah’s ambition is undeniable, but their pursuit of quirk and originality occasionally borders on self-indulgence. The inclusion of random musical interludes, for instance, feels tonally disjointed. While Goli Maar Bheje Mein and Abhimanyu Phas Gaya Hai Chakravyuh Mein serve some narrative purpose, the remaining tracks seem tacked on, more ornamental than essential.
Ultimately, Crazxy is an experiment worth applauding. It is technically proficient, narratively daring, and refreshingly original. However, for all its ingenuity, it stumbles in its final moments, leaving audiences more puzzled than awed.
A tighter resolution could have cemented it as a game-changer, but as it stands, Crazxy remains an ambitious yet flawed endeavor—one that gets so much right but doesn’t quite bring it all together in the end.
