Is Omar Lulu’s ‘Bad Boyz’ Worth Your Time? A Deep Dive into the Comedy of Errors

The world of filmmaking is no easy venture. With creativity running amok, it’s hard to pin down the balance between genuine innovation and a mere display of ideas thrown together haphazardly. Filmmaking is not just about capturing a scene; it’s about crafting an experience, a story that leaves its mark. In the words of the famous director James Cameron, “Pick up a camera. Shoot something. No matter how small, no matter how cheesy… Now you’re a director.” That’s how many filmmakers begin, but what happens when that philosophy is stretched beyond its intended limits?

Omar Lulu’s latest release, Bad Boyz, seems to have tested that boundary. What was intended as a casual, quirky action-comedy has turned into a perplexing, chaotic mess of scenes that feel stitched together with no cohesive narrative. And yet, there’s something to be said about how audiences perceive this kind of film. Does it still hold any entertainment value? Let’s take a closer look.

The Premise: A Plot in Disarray

In Bad Boyz, Omar Lulu tries to weave a story around Antappan, played by Rahman, and his gang of misfits who are infamous for their goonda activities. Antappan’s life takes a bizarre turn when he accidentally injures a notorious gangster, Vettukad Benson, putting him in a coma. In response, a group of other gangsters declares Antappan their new leader. What follows is an erratic series of events that barely qualifies as a plot, feeling more like random comedic sketches than a structured narrative.

What’s the real issue here? The film doesn’t seem to have a clear sense of direction. It’s as if Omar Lulu handed his screenwriter a pen and said, “Just write something. We’ll see where it takes us.” The result is a scattershot approach where scenes don’t build upon each other, but rather stand alone, often confusing the audience. The idea of a plot? It feels like a distant memory.

Character Development: Missing in Action

Character arcs are essential for drawing the audience into a story, but in Bad Boyz, the characters seem more like caricatures. Antappan, the supposed protagonist, is portrayed with a carefree attitude by Rahman. While this could have been a refreshing take on the lead character, the lack of depth and context makes him, and the rest of the cast, appear one-dimensional.

Bibin George, Senthil Krishna, and Anson Paul, who play Antappan’s gang members, do their best to bring some life into their roles, but without a proper script to back them up, their performances fall flat. The comedic elements, which are supposed to be the backbone of this film, often feel forced or fall into predictable slapstick territory.

It’s like watching a comedian with a bag full of old tricks, hoping the audience won’t notice that they’ve seen it all before.

Comedy: Hit or Miss?

Now, let’s address the supposed heart of Bad Boyz its comedy. Comedy, when done right, can elevate even the simplest of stories. Unfortunately, in this case, the jokes feel more like a desperate attempt to fill gaps in the screenplay rather than genuine, well crafted humor.

From a black belt-seat belt joke to a fart gag that overstays its welcome, the humor is juvenile at best. It competes directly with the quality of poorly written TV comedy skits. One could argue that the movie is a spoof, a parody of gangster tropes and cultural references, but even for a spoof, there needs to be a basic structure or a level of self-awareness that Bad Boyz seems to lack.

At times, the film tries to engage in meta-humor, poking fun at itself and the industry. There’s a scene where a film producer hires Antappan’s gang to threaten online reviewers, blaming “review bombing” for the failure of movies. This is where the film’s humor peaks, as it mirrors a real-life incident involving a director who sued reviewers for criticizing his film. But moments like this are few and far between, lost in the shuffle of poorly timed gags.

Execution: A Series of Unfortunate Choices

What makes Bad Boyz feel particularly disjointed is its execution. The film doesn’t seem to know what it wants to be. Is it an action-comedy? A spoof? A satire? It tries to juggle all these genres, but instead of blending them seamlessly, it ends up making each feel underdeveloped. Scenes feel written on the spot, with the availability of actors dictating the plot rather than the other way around.

In many movies, it’s common to say that certain scenes could have been cut to tighten the narrative. In Bad Boyz, you could easily remove 80% of the scenes, and it wouldn’t change the story one bit. That’s a major red flag for any film, suggesting that the content was added purely to pad the runtime.

The Cast: Wasted Potential

Rahman, who plays Antappan, seems out of place in this film. He channels an odd mix of Mammootty’s style with Unni Mukundan’s dialogue delivery, and while it might sound entertaining on paper, it doesn’t translate well onscreen. The rest of the cast, including familiar faces like Senthil Krishna, Bibin George, and Babu Antony, do their best, but their efforts are hindered by the weak script.

One bright spot is Ramesh Pisharody, who manages to shine in his brief appearance with some genuinely funny moments. His comedic timing feels natural, unlike much of the forced humour that plagues the rest of the film.

Final Thoughts: A Comedy of Errors, Quite Literally

Bad Boyz is not a film for those seeking a well-crafted narrative or characters with depth. It’s a slapstick comedy with no real purpose other than to fill seats during the Onam festival. While some audiences might appreciate its absurdity, the film ultimately falls flat, lacking the basic elements that make a comedy truly memorable.

If you’re looking for something light and silly to pass the time, perhaps Bad Boyz can offer you a few laughs. But don’t expect much beyond that. In the words of a disgruntled audience member, “It’s like they’re trying to sell you nothing, and expect you to pay for it.”

Ultimately, Bad Boyz feels more like a missed opportunity than anything else, and while it might find its niche among fans of lowbrow humor, it’s unlikely to be remembered as anything more than a footnote in Omar Lulu’s filmography.