The Kerala Story 2 Review: A Highly Provocative & Aggressive Take Against Muslim Agenda, But Still A Cinematic Crap

RATING - ⭐ ✨ 1.5/5*

The Kerala Story 2 Review Movie Talkies:

From “mera Salim aisa nahi hai” to “I was wrong,” from hinting at a certain Muslim agenda against Hindus to ending with the “Har Har Mahadev” song,The Kerala Story 2 turns out to be an extremely predictable film that comfortably falls into the same disappointing category as its predecessor. The only thing it arguably does better is delivering a more decisive climax, something the earlier film lacked. The first film focused on Muslim men converting Hindu girls while the victims remained helpless. This time, the narrative flips slightly, showing the Hindu community retaliating and the police finally stepping in. However, despite that shift, the film remains largely an unbearable watch, following the same propaganda-driven template before offering mild relief in the finale. I wonder when our profit-driven filmmakers will realise that four stupid girls cannot represent the entire Hindu community, just as a handful of agenda-driven Muslim characters cannot represent the educated Muslim population of this country. It’s basic common sense, but the industry’s cash-grab culture seems indifferent.

The Kerala Story 2 Story:

The story revolves around three Hindu girls — a UPSC aspirant, a 16-year-old Gen Z teenager, and a young sports champion — who are smoothly trapped by Muslim men through romantic manipulation. The UPSC aspirant gets involved with a liberal journalist who later reveals his true colours. The Gen Z girl, obsessed with making sexy and glamourous reels, rebels against her parents and ends up converted and pregnant by her boyfriend/husband. The third girl discovers her husband’s hidden identity after marriage and faces further trauma. Eventually, the three try to fight back against the men who deceived and ruined their lives.

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Because The Kerala Story 2 repeats the same narrative pattern, it comes across as overtly provocative. While some may argue that such storytelling could act as a cautionary tale for fool young girls out there, it simultaneously sends a troubling and overly generalized message. The real issue is the exaggerated expansion of isolated incidents into a sweeping social lecture about Hindu unity and historical victimhood. Personally, as a Hindu viewer, I don’t perceive the kind of looming threat the film keeps insisting upon — provided people make sensible life choices.

Cinematically, the film’s weaknesses are obvious. It rarely feels like it wants to be genuine cinema; instead, it rigidly pursues a predetermined ideological vision. There will likely be more films of this kind, and some may even succeed commercially by provoking emotional reactions. But that success rarely sustains itself. Even filmmakers who struck gold once have struggled to repeat the formula consistently. Vivek Agnihotri's The Kashmir Files made huge money at the box office but his next two films have flopped badly. Let's see if the same happens with TheKerala Story 2 or not. My biggest issue with both Kerala Story films remains the same: why portray supposedly intelligent Hindu girls as consistently foolish? Isn’t that, in itself, somewhat insulting? After a point, the narrative makes it difficult to sympathize with the protagonists, and frustration replaces empathy.

The Kerala Story 2 Cast:

On the performance front, there are some decent efforts. Ulka Gupta, Aishwarya Ojha, and Aditi Bhatia play the three silly girls convincingly, even if their characters evoke irritation more than sympathy. Supporting actors including Sumit Gahlawat, Arjan Aujla, Yuktam Khosla, Alka Amin, Rajiv Kumar, and Shweta Munshi deliver serviceable performances. The censor board’s cuts have reduced the intended brutality, which may have otherwise created a stronger impact.

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The Kerala Story 2 Movie Review:

Musically, the film disappoints. The songs feel unnecessary and only stretch the runtime. Cinematography is average, while the editing improves the pace somewhat in the second half after an overlong first half. Director Kamakhya Singh executes his intended messaging with clarity, and it may work for a specific target audience. However, as mainstream cinema, the film falls significantly short and ultimately earns its near-crap verdict. It is genuinely disheartening to see cinema sink to a level where selling provocation and community-targeted narratives appears easier than crafting meaningful storytelling. One can only hope this trend fades sooner rather than later.

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