Raat Akeli Hai: The Bansal Murders Review: Nawazuddin Siddiqui’s quiet intensity powers an ambitious but tame thriller
*The overall critic’s rating is not an average of the sub scores above
Story: When the wealthy Bansal family is brutally murdered, veteran Inspector Jatil Yadav probes the case, unearthing layers of betrayal and long-buried secrets behind the shocking crime. Review: Five years after the critically appreciated Raat Akeli Hai (2020), director Honey Trehan reunites with Nawazuddin Siddiqui’s Inspector Jatil Yadav for a more ambitious, larger-scale mystery in Raat Akeli Hai: The Bansal Murders. While the first film thrived on its atmospheric tension and intimate storytelling, this sequel attempts to widen its canvas with a mass murder investigation, bigger stakes, and sharper scrutiny of power, privilege, and deception. The result is a sincere but uneven crime drama that engages intermittently yet struggles to sustain the thrill expected from the genre. Set in Uttar Pradesh, the film opens with the brutal massacre of the influential Bansal family—initially dismissed as the work of an evil spirit. Veteran cop Jatil Yadav is summoned by DGP Sameer Verma (Rajat Kapoor) to investigate what appears to be an open-and-shut case. The killer has been identified, there is an eyewitness in Meera (Chitrangada Singh), and the media is eager to move on. But Jatil’s instincts tell him the truth is far more complex. As pressure mounts to close the case, he quietly digs deeper, convinced that layers of lies, greed, and betrayal lie beneath the apparent solution. Much like its predecessor, the film plays with an interesting narrative choice—we know who did it and how, but the real mystery lies in why and the truth behind the heinous act. This inversion keeps the investigation intellectually engaging, at least on paper. Honey Trehan directs with sincerity and restraint, remaining faithful to the genre’s conventions. However, what the film lacks is the visceral tension that defines great crime thrillers. Fear and urgency are crucial to sustain audience investment, and at 136 minutes, the film often feels stretched and emotionally muted. Smita Singh’s screenplay, though layered, becomes long-winded, diluting the impact of key revelations. The personal arc of Jatil Yadav continues from the first film. His relationship with Radha (Radhika Apte) has progressed; she is now his girlfriend, and marriage is on the cards once she completes her studies. His bond with his mother (Ila Arun) receives less screen time, still she grounds her character emotionally. While these moments humanise Jatil and add warmth, the romantic subplot ultimately feels ornamental, contributing little to the central mystery or Jatil’s psychological evolution. Nawazuddin Siddiqui once again proves why he is among the finest actors of his generation. Despite having portrayed police officers in many films previously, he ensures Jatil Yadav remains distinct. His performance is understated, controlled, and marked by quiet persistence. Nawaz captures the inner conflict of an honest cop torn between institutional pressure and personal conscience, lending credibility to a character who refuses to ignore his gut. The supporting cast delivers solid performances but is let down by underwritten characters. Chitrangada Singh’s Meera and Deepti Naval’s enigmatic Guru Maa are compelling on screen, yet their motivations lack depth, preventing the audience from fully investing in their roles. A more tightly woven screenplay could have elevated these characters into memorable suspects. Rajat Kapoor is dependable as the pragmatic DGP, while Revathi, as the head of forensics, adds gravitas despite limited screen time. The film’s biggest weakness lies in its climax, which feels oddly convenient after such a prolonged buildup. Crime mysteries thrive on the thrill of discovery—the satisfaction of connecting dots and unmasking hidden motives. While The Bansal Murders keeps you curious about the truth, the investigative process itself rarely keeps you on edge. The absence of sustained tension prevents the film from delivering the cathartic payoff it promises. Overall, Raat Akeli Hai: The Bansal Murders is a well-intentioned, slow-burn thriller that remains engaging in parts but never fully grips. It is a sincere follow-up that expands its scope without sharpening its edge. For fans of the first film and admirers of Nawazuddin Siddiqui, it’s worth a watch—but temper expectations of a taut, pulse-pounding whodunit.
