Director - Rajat Kapoor
Cast -  Vinay Pathak, Ranvir Shorey, Waluscha De Sousa, Saurabh Shukla, Koel Purie, Sadia Siddiqui, Chandrachoor Rai, Rajat Kapoor 
Platform – ZEE5
Duration – 108 Minutes
  
“Everybody Loves Sohrab Handa,” directed by Rajat Kapoor, sets itself up as a cosy, chamber-style whodunit with a moral twist. With a runtime of just 108 minutes, the film promises a refreshing change from loud, high-stakes crime dramas. Instead, it opts for intimacy—placing a cluster of flawed, talkative characters inside a Khandala cottage and letting their tensions simmer. The premise is appealing: a wedding anniversary gathering that spirals into something darker. But while the setup is intriguing, the payoff feels underwhelming.
 
Kapoor revisits the chamber drama format he explored in Kadakh, this time swapping a Diwali party for an anniversary celebration gone wrong. The story revolves around Sohrab Handa, played by Vinay Pathak, whose presence seems to anchor the narrative even when the script meanders. Surrounding him is a sprawling ensemble cast—Ranvir Shorey, Waluscha De Sousa, Saurabh Shukla, and others—each bringing their own quirks and interpersonal baggage into the confined setting. The stage is crowded, almost theatrically so, which works both for and against the film.
 
Once a corpse is discovered, the film shifts into mystery mode, introducing investigators played by Saurabh Shukla and Saurabh Nayyar. Flashbacks attempt to unravel the tangled relationships and hidden motives among the guests. However, the narrative struggles to build convincing tension. There’s plenty of chatter—games, arguments, and scattered monologues—but very little that convincingly escalates into murder. The mystery feels less like a tightly wound puzzle and more like an afterthought.
 
Where the film truly shines is in its performances and dialogue. Kapoor’s strength as a writer lies in crafting sharp, witty exchanges, and the cast delivers them with ease. The camaraderie among the actors is palpable, particularly between Ranvir Shorey and Vinay Pathak, who inject life into otherwise sluggish stretches. Even when the plot falters, the banter keeps the film watchable. It often feels like you’re watching a group of seasoned performers enjoying the process, rather than characters trapped in a high-stakes situation.
 
Technically, the film embraces its theatrical roots. Cinematographer Rafey Mehmood uses the confined cottage space effectively, maintaining a sense of intimacy without making it visually monotonous. Characters drift in and out of rooms, conversations overlap, and the camera quietly observes rather than intrudes. Kapoor handles blocking and movement with confidence, ensuring that the space never feels static, even if the story does.
 
Ultimately, “Everybody Loves Sohrab Handa” doesn’t quite live up to its genre ambitions. It borrows lightly from classic Agatha Christie-style mysteries but lacks the precision and intrigue needed to sustain them. It’s not Knives Out, nor does it try too hard to be. Instead, it settles into a comfortable, talk-heavy rhythm that prioritizes character interaction over narrative urgency. While it may work as a casual, actor-driven watch, those seeking a gripping mystery might come away disappointed.