Aap Jaisa Koi Review: Dated Feminism, But Makes Some Powerful Speeches On Equality

Aap Jaisa Koi is a romantic comedy drama directed by Vivek Soni. It stars R. Madhvan and Fatima Sana Shaikh in the lead roles. Read our review below (Movie Talkies).

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Sameer Ahire
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Aap Jaisa Koi Review

Aap Jaisa Koi Review

RATING - ⭐ ⭐ ✨ 2.5/5*

Aap Jaisa Koi Review Movie Talkies:

Aap Jaisa Koi arrives from Dharmatic Entertainment, a banner known for its rooted-yet-glam takes on love and relationships. In many ways, this one feels like a spin-off or a cousin of Rocky Aur Rani Kii Prem Kahani—only more toned-down, less glamorous, and far milder in its comedy. The feminist angle is comparable, even familiar, but the approach is different. The laughs come in strong at the start, making for a breezy and funny first act, but as soon as the dramatic core kicks in, it takes over everything, be it romance, comedy, or charm. The film’s themes may feel dated initially, but they do arrive at a significant and relevant point by the end. Think of it like a vintage outfit tailored in a trendy, modern cut—you need to go along with the old-fashioned ideas to enjoy the new styling.

Aap Jaisa Koi

Aap Jaisa Koi Story:

The story centers around Shrirenu (R. Madhavan), a 42-year-old single man—still a virgin—who signs up on a quirky chatting app called “Aap Jaisa Koi” just to experience something different. He soon meets Madhu (Fatima Sana Shaikh), a sharp, independent French instructor from Kolkata. What begins as an unlikely match slowly turns into a tender love story. Everyone else finds Shri dull, but Madhu sees something ideal in his simplicity and sensitivity. However, a sudden twist shatters the rosy bubble and pits Madhu against Shri's rigid, outdated views on feminism and relationships. What follows is a tug-of-war between patriarchy and progressiveness, as Shri must confront his inner ego and answer the film’s ultimate question: Can there truly be equality in love?

Aap Jaisa Koi

Written by Radhika Anand and Jehan Handa, Aap Jaisa Koi does echo RRKPK, albeit with a much shorter runtime and a quieter tone. But it keeps the engagement alive. What works best is the film's intent to normalize feminist ideals in family setups. There are moments where the message lands beautifully—especially when female agency and voice rise strongly against subtle male dominance. The film often feels like it's stuck in the 1960s in terms of the male gaze, but thankfully, the women respond with a 2024 fire. Some confrontational scenes are electric and easily the highlight of the film—they are well-written, sharply performed, and pack an emotional punch. That said, AJK couldn't quite stay away its old-school baggage. Some plot devices—like the confrontation with Madhu’s ex or Shri’s erratic shift into a possessive man-child—don’t align with the film’s progressive claims. The climax, too, is too sugary and filmy, clashing with the otherwise grounded storytelling. Dialogues range from bland to unexpectedly spicy. One scene, in particular—the “Oh Daddy, Mommy” bit—is both embarrassing and hilarious, and somehow it works. There are chuckles sprinkled throughout, which help the film float, even when the narrative begins to sink.

Aap Jaisa Koi

Aap Jaisa Koi Cast:

R. Madhavan, once the poster boy for romantic films in the 2000s, brings back his charm—just aged like fine wine. His portrayal of a 40-something man rediscovering love hits close to home for a lot of viewers. That “Fifties is the new Forties” line lands well, and many will relate to the vulnerability he brings to the screen. Fatima Sana Shaikh stuns not just with her looks but her confident, layered portrayal of a modern woman fighting for dignity and equality in love. Manish Chaudhary makes for a wonderfully hateful antagonist—you’ll despise the character, which means he’s done his job well. Supporting actors like Ayesha Raza and Namit Das lend stability and ensure the narrative doesn’t lose grip.

Aap Jaisa Koi

Aap Jaisa Koi Movie Review:

The music is decent in terms of theme but lacks originality. Visually, the cinematography is pleasant—especially in portraying cityscapes and intimate moments—but the over-the-top glamour shots toward the end feel forced. Fatima gets a beautifully framed side-angle close-up in the climax, and you’re left wondering why is it necessary now when you've seen it already many times in the same film. The production design, especially in capturing the contrast between two cultures and households, is notable. Some ritual and family scenes are a bit stretched and could’ve been trimmed for a better pace. Director Vivek Soni gives a fair shot at refreshing a known rom-com template. His efforts to add modern nuances—especially the way he handles emotionally explosive scenes—are evident and appreciated. While the film stumbles at times, it also has moments where it shines brightly. There are scenes I’d love to break down, but let’s leave that for your own viewing. You'll know them when they arrive and appreciate them. In conclusion, Aap Jaisa Koi is imperfect, occasionally frustrating, but still a decent watch. It balances light comedy with emotional drama and social commentary, even if the foundation feels somewhat aged. For those willing to overlook its predictable beats and cheesy bits, there's enough charm and relevance to enjoy. The film may not change cinema, but it might just change a few dinner table conversations–and that’s not nothing.

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Vivek Soni Fatima Sana Shaikh R. Madhavan Aap Jaisa Koi