Director: Sabbir Khan
Cast: Tiger Shroff, Nawazuddin Siddiqui, Niddhi Aggerwal
Munna Michael feels like an over-stretched version of an 80s film that rides high only on dance moves and action sequences. The film marks the third collaboration between filmmaker Sabbir Khan and Tiger Shroff and can easily be referred to as a platform specifically helmed for Tiger to let him flaunt his moves and fists.
It’s 1995 and Michael (Ronit Roy) is a seasoned but aging dancer of a local troupe in Mumbai, with quite an upsetting MJ hangover. And because he’s old now, he’s asked to leave the troupe. Soon, he finds himself turning to a bottle of alcohol on a rainy night and while he’s struggling to comprehend all that happened to him, he hears a newborn crying and in despair, decides to take the child home and names him Munna.
Munna, just like his father, finds his inspiration in Michael Jackson. He dances like a dream and heads to Delhi in pursuit of his passion. Following a sequence of events, Munna even agrees to coach an hotelier and a thug, Mahinder Fauji (Nawazuddin Siddiqui), who nurses a soft corner for a dancer Dolly (Niddhi Aggerwal) and believes that the best way to impress her is by acing his dance moves.
Munna turns a courier man for Mahinder and even takes the responsibility of courting Dolly for him when she runs away, but like one’d expect, the hero (Munna) ends up falling for the heroine (Dolly). What follows is a predictable run and chase tale featuring the three and their starkly different dance moves – Tiger, the perfectionist, Nawazuddin, the earnest and Niddhi, the forced one.
Considering it’s a dance-oriented film, Niddhi is a misfit. Perhaps, she was more in need of Munna’s dance classes than Mahinder will ever be. Tiger, on the other hand, does what he does best. With sheer elan and an unexplainable grace, he lights up the screen whenever he’s dancing but ruins the vibe whenever he acts. Nawazuddin is a delight to watch and his comic timing is probably the only thing you’d be thankful for (apart from Tiger’s chiseled moves). Even when he’s training under Munna, there’s a certain honesty with which he delivers his lines and performs his steps.
Mahinder-Munna’s brotherhood is perhaps another aspect that filmmaker could have played on. But alas, nothing much comes of it. Nawaz pulling off a Rajasthani dialect and Tiger flaunting a Marathi accent make their camaraderie sound interesting but for a lack of an interesting story, it falls flat.
The film, in entirety, lacks any logic and coherence in its plot. The story is predictable and will often have you looking at your watch. After Baaghi and Heropanti, the filmmaker continues to maintain a routine formula – zilch story but plenty of action and dance sequences. But sadly, even the dance sequences aren’t worthy of much and the action scenes are only forced testaments to Munna’s tag line Munna jhagda nahi karta, Munna sirf peetta hai.