Toaster Review: Rajkummar Rao Shines In A Premise That Pops, But Doesn’t Quite Toast Right

Toaster- Film

Streaming: On Netflix from 15th April onwards

Cast: Rajkummar Rao, Sanya Malhotra, Abhishek Banerjee, Seema Pahwa, Upendra Limaye, Archana Puran Singh & others

Directed By: Vivek Daschaudary

Produced By: KAMPA Films with Rajkummar Rao and Patralekhaa

Rating: 3/5 stars

There are films that build tension around diamonds, secrets, or revenge. And then there is Toaster, a film bold enough to revolve its entire universe around… well, a toaster. Not just any toaster, but a Rs 5000 wedding gift that refuses to let go of its owner, emotionally, mentally, and quite literally. Directed by Vivek Daschaudary, this quirky action-comedy introduces us to Ramakant, played by Rajkummar Rao, a man so painfully frugal that he could probably bargain with himself. From the very first frame, the film makes you sit with his world, a space where every rupee matters, every expense hurts, and every act of generosity comes with regret. You don’t just watch Ramakant. You slowly accept that someone like him might actually exist. And that’s where the film wins its first battle.

A Comedy of Errors… That Somehow Works

On paper, Toaster sounds like a simple, slightly ridiculous premise. A miser gifts an expensive toaster to a couple whose marriage falls apart within a day. What follows is his obsessive quest to retrieve that toaster, spiralling into chaos involving strangers, secrets, and even murder.

Sounds basic, right? It is. And yet, strangely, it isn’t. Because what unfolds is a wildly tangled ride across Mumbai, where one small object triggers a domino effect of absurdity. The writing leans into this madness with confidence. It doesn’t try to be clever in a pretentious way. Instead, it embraces the chaos fully, letting situations escalate into something hilariously unpredictable. You laugh, you cringe, and sometimes you just sit there thinking, “How did we get here?” but in a good way.

Ramakant: Stingy, Stubborn, and Strangely Endearing

At the heart of all this madness is Rajkummar Rao, who once again proves why he’s one of the most dependable actors in the business.

His Ramakant is not just miserly, he’s almost committed to it as a lifestyle. He skips meals at home just to save money, fuels his scooter in tiny amounts, and even argues over a Rs 6 electricity bill discrepancy like it’s a national issue. It’s ridiculous, but Rao makes it believable. There’s a strange innocence beneath all that stinginess. He’s flawed, often frustrating, but never unlikable. And that balance is what keeps you invested in his journey, even when he’s chasing a toaster like it’s the last treasure on Earth.

A Wild Ensemble That Keeps the Energy Alive

While Rao anchors the film, the supporting cast ensures the ride never slows down. Sanya Malhotra plays his wife, a woman deeply influenced by crime shows, particularly a fictional one called Hoshiyaar Hindustaan. She genuinely believes she can crack mysteries, adding another layer of chaos to an already messy situation. Her performance brings a playful unpredictability that works well with Rao’s grounded madness.

Abhishek Banerjee shows up as a constantly high, slightly dangerous character with his own shady agenda. His confrontations with Ramakant are some of the film’s most entertaining moments, filled with tension and absurd humour.

Then comes Archana Puran Singh as Malini aunty, easily one of the film’s most surprising elements. Her character is bold, eccentric, and borderline unhinged. The way she owns her space, especially in the second half, adds a completely different flavour to the narrative.

Farah Khan makes a brief but memorable appearance, playing an orphanage owner with her signature loud energy and expressive reactions. It’s short, chaotic, and exactly what you expect in the best way.

With actors like Seema Pahwa and Upendra Limaye also stepping in, the film builds a lively, unpredictable ensemble that keeps things moving even when the plot gets messy.

Not Just a Backdrop

One of the film’s underrated strengths is how it uses Mumbai. This isn’t a glossy, postcard version of the city. Instead, it leans into familiar spaces, local streets, everyday buildings, and lived-in neighbourhoods.

If you’ve spent enough time in the city, there’s a sense of recognition that adds to the film’s charm. It feels grounded, even when the story isn’t. That contrast works beautifully. The camera work deserves a mention too. There are moments where close-ups and sudden zoom-ins amplify the humour, especially during confrontations. These small choices make scenes land better, punching even simple exchanges.

The Humour: Hit, Miss, and Somewhere in Between

Comedy is where Toaster takes its biggest risks, and also where it divides its audience. The film doesn’t stick to one style. It jumps between slapstick, dark humour, wordplay, and even slightly crude jokes. At times, this variety feels refreshing. At other times, it feels like too much.

Some jokes land brilliantly, making you laugh out loud. Others feel like they belong in forwarded messages you’d scroll past on your phone. There’s even a sense of old-school humour here, the kind that reminds you of 80s and 90s comedies. For some viewers, especially older audiences, this will feel nostalgic and comforting. For younger viewers, it might feel dated or overdone. And that’s the thing about Toaster. It knows its audience, even if that audience isn’t everyone.

The writing deserves credit for how it layers the story. What starts as a simple premise slowly builds into something more complex, with secrets, twists, and overlapping narratives. There’s a rhythm to how things unfold. Even when the film stretches slightly in parts, especially for about 10–15 minutes, it quickly regains pace. You don’t feel stuck for too long.

The background score complements the chaos well, adding energy without overwhelming the scenes. The music doesn’t try to steal attention but supports the storytelling effectively.

There are also small, quirky details sprinkled throughout, tiny changes, visual gags, and running jokes that add personality. They may seem silly, but they contribute to the film’s overall tone.

The Problem: Familiar Territory in a New Wrapper

For all its creativity, Toaster does struggle with one major issue, familiarity. At its core, this is still a classic comedy of errors. Misunderstandings pile up, situations escalate, and characters get caught in a web of confusion. It’s entertaining, yes, but also something we’ve seen before.

The freshness comes from the treatment, not the template. And sometimes, that’s not enough. There’s also a noticeable generational gap in how the humour is received. What feels hilarious to one group might feel outdated to another. The film doesn’t fully bridge that gap, which is why reactions may vary widely.

Final Verdict: A Messy, Funny Ride That Knows Its Crowd

Toaster is not a perfect film. It’s uneven, occasionally indulgent, and very aware of its own quirks. But it’s also genuinely entertaining in parts, thanks to strong performances and a willingness to embrace absurdity.

It’s the kind of film you watch at home, maybe with family, where different people laugh at different things. Some jokes will land, some won’t. But the experience remains light, easy, and harmless.

If you enjoy old-school comedy with a modern twist, this one might just work for you. If you’re looking for something sharp and contemporary, you might find yourself a little disconnected. Either way, it’s hard to ignore a film that turns a simple toaster into the centre of so much chaos.

The film’s biggest strength is its willingness to embrace absurdity without apology, but that also becomes its weakness when the humour overstays its welcome. While older audiences may enjoy its familiar, nostalgic tone, younger viewers might find the jokes repetitive or dated. It’s messy, loud, occasionally clever, and best consumed as a light, one-time OTT watch.

Rating: 3/5