Film

Malang

Name: Malang
Genre: Romance, Action, Adventure, Crime, Thriller
Released: 2020
Cast: Aditya Roy Kapur, Disha Patani, Anil Kapoor, Kunal Kemmu, Elli Avram

Crime

A revenge thriller that chases a love story gone wrong through Goa's neon nights. Malang is stylish B-movie cinema—all gorgeous cinematography, bloody action, and emotional wreckage. It's for people who want their romance films to end in gunfire and moral collapse, delivered with enough visual flair to make the carnage feel earned.

TMDb rating

3.5

If you liked this

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A similar revenge-love tragedy with Sidharth Malhotra hunting his beloved's killer. Raw emotional core buried under slick action sequences. If you want the same emotional architecture, this is the purest version.

But The second half pivots away from the couple and toward cop procedural, which dilutes the intimate tragedy you came for.

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But Tamil cinema sensibilities may feel unfamiliar if you're used to Bollywood rhythms, and the plot is deliberately spare.

Kaminey2009

Shahid Kapoor in a kinetic crime romance where love and criminal chaos collide. Fast-cut, fever-dream editing that matches emotional turbulence with visual restlessness. A masterclass in style serving story.

But The non-linear narrative and rapid-fire editing exhausts some viewers. It demands attention and rewards it unevenly.

Not sure tonight? Get a pick in a minute, starting from Malang

The wildcard

Something you would not have found on your own.

Memories in March2011

Both track how love and violence reshape a person's entire moral architecture. Malang exteriorizes it in gunfire; this film keeps it internal. Same wound, opposite treatment.

A small Hindi film about a father coming to terms with his dead son's life—queerness, love, choice, grief. Devastating and tender. Shows how the same emotional materials can make something quiet instead of violent.

But Slow, intimate, deliberately paced. No action, no spectacle, just two people breaking and rebuilding. Requires patience with silence.

Badlapur2015

Varun Dhawan's quiet, methodical revenge film is a study in how grief metastasizes into obsession. Gritty realism over glamour, with performances that ache. Takes its premise seriously.

But Slower and darker than Malang, with less action spectacle and more psychological suffering. Not cathartic in the way you might expect.

Commando - A One Man Army2013

Vidyut Jammwal's action-thriller channels pure kinetic rage. Less concerned with emotional nuance than with delivering visceral sequences. Unpretentious fun with genuine stunt work.

But The plot is tissue-thin and the dialogue occasionally cringe. It's B-movie action without the romantic weight you might want.

Phir Hera Pheri2006

A crime-comedy that's less interested in moral consequence than in the absurdity of schemes unraveling. Kartik and Akshay together are a masterclass in comic timing amid chaos.

But Completely light-hearted where Malang is dark. If you want the revenge-and-bloodshed atmosphere, this goes the opposite direction entirely.

Shootout at Wadala2013

A real-crime remake done with stylish excess. John Abraham as a gangster learning love and violence are incompatible. Period details and genuine bloody-mindedness about its subject matter.

But Critically mauled on release and it shows—tonal whiplash between romance and crime, and some sequences are genuinely uncomfortable without purpose.

The Delta Force1986

John Abraham as a cop and Genelia as a woman caught between love and duty. Action-thriller with a genuine moral spine. Takes the cop-versus-suspect dynamic seriously.

But Uneven pacing. The romantic scenes feel obligatory rather than integral, and some action sequences drag without payoff.

D-Day2013

Irrfan Khan in a taut counter-terrorism thriller with documentary-like precision. For when you want the crime-thriller machinery without romance, just craft and tension.

But Dry procedural tone and minimal emotional catharsis. It's cerebral in ways Malang isn't, and some find that remote.

Kill Bill: Vol. 12003

Both make a killing spree beautiful to watch. Kill Bill owns that as genre play; Malang treats it as emotional consequence. Same visual language, opposite moral seriousness.

Tarantino's revenge opus is stylized brutality in service of a woman's rage. Gorgeous shots of violence, obsessive pursuit of a lover's killer, and a heroine who will burn everything down. The blueprint for aestheticized vengeance.

But American excess and an entirely different register of violence. Tongue-in-cheek about its own artificiality in ways Malang isn't.

The Wailing2016

Both are obsessive revenge narratives that interrogate whether the person seeking justice is actually the villain. The Wailing does it philosophically; Malang does it viscerally. Same question, opposite tools.

A Korean thriller where a detective's investigation of a crime spirals into cosmic horror and moral uncertainty. Visually stunning, structurally audacious, impossible to predict. Asks whether justice and revenge are even the same thing.

But Nearly three hours, non-linear, deliberately refuses to answer its own questions. Demands re-watching and tolerates ambiguity that will infuriate plot-focused viewers.