This includes a dramatic event that exposes David to his friends, the audience and himself. Along with David, we too get to see the core issue of a man who has taken his superstardom too seriously, to the point where he is unable to look at anyone as an equal. But with the way the scene plays out, we feel the same soullessness director Koshy felt when he was directing David in the film at the beginning. A reason for this might have been the uneasy mix of comedy and drama they’ve tried out for this sequence. Another reason also could be the sync sound that makes it a tad difficult to follow dialogues, especially those of Soubin. And when this scene ends with a rather cheeky one-liner, it’s robbed of the emotional wattage we needed to care for David, to care for Bala and most importantly, to care for Lenin, David’s most trusted lieutenant.
With that aspect missing, we sit through what’s mostly a passable comedy with an entertaining lineup of pop culture references and fourth-wall-breaking jokes the director is already known for. Despite the misses, Nadikar, with its many meta moments, handholds us through the coming-of-age story of a boy who had to become a superstar to find love. But a plot this rich needed a film even richer.