Toaster Review: It Started Promising But Quickly Became an Absolute Drag – Brutally Honest Take

I finished Sambhavam Adhyayam Onnu—a taut, atmospheric Malayalam thriller with its clever time-loop mystery, forest setting, and relentless tension—and immediately switched to Toaster, hoping for a lighter but sharp contrast. The genres couldn’t be more different: one is a high-concept suspense ride that keeps you hooked with smart twists and building dread; the other bills itself as a quirky dark comedy about a miser obsessed with retrieving an expensive toaster he gifted at a canceled wedding, which spirals into murder and chaos. Yet, the biggest disappointment was how badly Toaster failed at the one thing that matters most—gripping the audience.

It started off fresh and promising. The premise had that absurd, relatable middle-class stinginess angle—Rajkummar Rao’s character as the ultimate kanjoos (miser) who can’t let go of a Rs 5,000 toaster felt like it could deliver biting satire mixed with madcap situational humor. Early scenes had a certain chaotic energy, and the trailer moments teased a fun, offbeat ride. But then it quickly derailed into a complete khichdi—a messy mishmash of tones that never quite settles.

What begins as a character-driven comedy about obsession and frugality tries to morph into a dark comedy thriller with murders, cover-ups, and escalating absurdity. The execution is sloppy at best. The pacing drags painfully in the middle, subplots feel forced and underdeveloped, and the story loses its way so badly that by the second half, it feels almost pointless. You keep waiting for the “dark” part to land with clever irony or sharp social commentary on materialism and marriage, but it never quite hits. Instead, it meanders through bizarre sequences that neither build suspense nor deliver consistent laughs.

The Archana and Raj angle (involving Archana Puran Singh‘s character) comes across as particularly bizarre and tonally off. It disrupts whatever momentum the film builds, and none of the intended comedy in those parts lands. If the goal was dark humor through awkward family dynamics or over-the-top reactions, it falls flat into cringe rather than clever. Most of the attempted gags feel labored, like the writers were trying too hard to force eccentricity without earning the laughs.

That said, not everything is a total wash. Some dialogues are genuinely hilarious, especially in isolated bursts. The standout is the ending sequence where the protagonist drags his wife to a Gurudwara to “celebrate” their anniversary in the most hilariously inappropriate way possible. It’s absurd, perfectly timed, and delivers that one big chuckle that explains exactly why the makers put it prominently in the trailer—it works because it’s unapologetically silly and true to the miser’s chaotic logic. A few other one-liners sparkle with Rajkummar Rao’s delivery, showing he can elevate even weak material with his timing and commitment.

The actors largely deliver what was on the page. Rajkummar Rao throws himself into the role with full energy, making the miser both annoying and oddly watchable. Sanya Malhotra does solid work as the long-suffering wife trying to navigate the madness. I won’t dwell much on performances because they weren’t the problem—the writing and direction were. The supporting cast (including Abhishek Banerjee and others) feels wasted in poorly sketched roles that add to the overall sloppiness.

Ultimately, Toaster wants to be a sharp, irreverent dark comedy that skewers middle-class obsessions while delivering chaotic thrills, but it ends up feeling confused and tonally inconsistent. After the tight, engaging storytelling of Sambhavam Adhyayam Onnu—which keeps you invested even when exploring complex ideas—Toaster’s inability to maintain grip or momentum makes it feel like an absolute drag. The concept had real potential for fresh, biting humor, but bad execution and a storyline that derails into nowhere land make it a missed opportunity.

If you’re in the mood for mindless chaos and can laugh at a few scattered funny lines (especially that Gurudwara climax), you might tolerate it as a one-time watch. But if you just came from something that actually respects the audience’s attention and delivers on its promises, Toaster will leave you frustrated and underwhelmed. It’s not burnt toast—it’s just half-baked and soggy in the middle. Skip if you value tight pacing and consistent tone; the trailer had more punch than the full film.