Director: Raj Mehta
Writer: Rishhabh Sharrma
Cast: Akshay Kumar, Emraan Hashmi, Diana Penty, Nushrratt Bharuccha
Rating - 2
 
In the realm of Akshay Kumar's filmography, Selfiee stands out as a noteworthy attempt to showcase the actor's comedic prowess. As Vijay Kumar, a Bollywood superstar grappling with a pushy producer, fawning politician, and the playful teasing from his wife, Kumar finally brings glimpses of the famous comic timing that made him a household name in the industry. However, despite these moments of brilliance, Selfiee struggles to transform itself into a good movie.
 
Adapting the premise from the Malayalam hit Driving Licence, Selfiee follows Vijay Kumar's urgent need for a driving license to shoot the climax of his film in Bhopal. A misunderstanding with RTO officer Om Prakash (played sincerely by Emraan Hashmi), a devoted fan of Vijay, sets the stage for a clash of fragile male egos. The potential for an enjoyable story, tailor-made for Kumar's satirical cameos, is evident. Yet, the film succumbs to the pressure of addressing current social dynamics, losing its distinctive voice in the process.
 
The film's desire to be timely and diplomatic in the Boycott-Bollywood era hampers its identity. While the premise has the potential to delve into the distinct legacy of South Indian fandom, Selfiee opts for a more cautious approach, perhaps as a form of damage control in the face of anti-Hindi cinema sentiments. The result is a film that hesitates to challenge either side, portraying the superstar and the superfan as blameless victims caught in a rift orchestrated by external forces.
 
As a consequence, Akshay Kumar's character, despite moments of cocky charm, is recalibrated to be sanitized and saintly whenever the film seems to veer into fun territory. The film struggles with its own identity, with Kumar seemingly 'playing' a Bollywood star rather than embodying the cheeky cameo specialist. The pre-film disclaimer by Kumar further reinforces the film's paranoia, insisting that Selfiee is a heartfelt tribute rather than an indictment of fans.
 
The driving exam premise, which could have injected irony into the film's drama, gets lost in a sea of self-serious staging. Director Raj Mehta misses opportunities to infuse self-awareness and humor into scenes in the second half, resulting in a narrative that feels seldom in on its own joke. The supporting cast, while cursed with corny sound cues, is overshadowed, and the women in the film are reduced to footnotes.
 
Despite its shortcomings, the title of the movie proves to be its most interesting aspect, symbolizing the shift from autographs to selfies as a bridge between celebrities and commoners. Unfortunately, the film struggles to fully explore and embrace the symbolism of its title, leaving viewers unsatisfied but, perhaps, better drivers.