Writer Ritesh Shah and director Raj Kumar Gupta deliver a gripping sequel to their 2018 hit crime thriller.
Rating: ⭐️⭐️⭐️💫 (3.5 / 5 )
By Mayur Lookhar
In 2010, Rajjo famously said in Dabangg, “Thappad se darr nahi lagta saab, pyaar se lagta hai.” Fast forward to 2025: we don’t fear slaps or love anymore—we fear the IRS, EOW, ED. These offices have been kept busy by the central government. We may not be well-versed in reality, but in cinema, we gladly embraced the righteous IT officer Amay Patnaik from Raid (2018).
Seven years later, writer Ritesh Shah and director Raj Kumar Gupta return with a sequel. Honestly, the trailer wasn’t captivating, sparking fears of repetition. The presence of Saurabh Shukla—the antagonist in the first film—worried us; if a corrupt politician and convicted fraud like Rameshwar Singh is freed in the sequel, it would be a serious blow to Amay Patnaik’s morale. After giving his blood, sweat, and nearly his life, watching Singh walk free would justify a righteous officer’s resignation. We’re happy to be proven wrong, as Singh is only out on a two-week parole. He’s not a distraction but a valuable addition to the sequel.
Story
For the umpteenth time, Amay Patnaik is transferred, and he packs his bags and arrives in the city of Bhoj. From the moment he enters, all he hears from the locals is high praise for State Home Minister Dada Manohar Bhai, fondly known as Dadabhai. (Riteish Deshmukh). The state has a Chief Minister, but it’s Dadabhai who is the de facto ruler. Unlike Rameshwar Singh, who was cocky and hot-headed, Dadabhai is a smart, seasoned politician—skilled in soft power and meticulous about his image. But behind that gentlemanly face lies a shrewd and utterly corrupt politician. Patnaik knows that cutting this man down to size won’t be easy.
Screenplay
Given its world, you expect another high-profile raid—but don’t dismiss it as repetitive, for any raid must follow SOPs (Standard Operating Procedures). The period (80s) in which these two films are set makes things particularly challenging. But it’s not the raid that leaves a mark—it’s Raj Kumar Gupta’s direction, backed by sharp writing and layered characterisation, that truly stands out. Here, the new antagonist, Dadabhai, evokes great intrigue. Rameshwar Singh’s downfall hasn’t escaped his notice, so Dadabhai keeps his darkest secrets guarded—and his family at a distance. He remains unmarried, claiming to serve his people over personal desires. He is idolised by the masses, but he idolises his mother (played by Supriya Pathak), washing her feet daily—a spectacle his followers and even some fortunate locals witness regularly. Who would cast aspersions on such a son, such a revered leader? But as the Hindi proverb goes, “Haathi ke daant khane ke aur, dikhane ke aur.”
Raid (2018) had acquired a Ramayan-esque tone, mainly because it was a family member who revealed Rameshwar Singh’s dark secrets. In the sequel, writers Ritesh Shah, Jaideep Yadav, Karan Vyas, and director Raj Kumar Gupta craft a highly gripping screenplay with a distinct Mahabharat undertone, where Dadabhai is equated with Dushasan.
Amay Patnaik returns after seven years, and he, too, has learned that to survive in this system, even the righteous sometimes need to be flexible. But who would have imagined that Amay Patnaik would be accused of demanding a bribe? Yes, you heard that right. That would seem too far-fetched—so Patnaik writes it down. Ah, has another incorruptible soul fallen? Maybe not, but Amay Patnaik 2.0 certainly makes for an interesting case.
There’s a sharp line Dadabhai throws at Amay—something along the lines of, “I hide my dishonesty behind decency, while you lost yours chasing dishonesty.” It’s these verbal showdowns that give Raid 2 its bite. The film’s sharp writing and impactful dialogues turn the Patnaik–Dadabhai clash into a gripping and thoroughly entertaining contest.
Acting
We were so drawn to Dadabhai that we had to start with Riteish Deshmukh. He’s no stranger to playing the villain—remember *Ek Villain* (2014)? He also tried something darker in Marjaavaan as a brutal, foul-mouthed dwarf, though that performance didn’t quite land. Coming from a political family, Deshmukh feels like a natural choice to play a cunning politician. For all his evil plans, there’s something strangely admirable about this gentleman leader. From selling shoes on the street to becoming the de facto king of Bhoj—his rise is both fascinating and terrifying. Director Raj Kumar Gupta smartly sets the story in Bhoj, a city named after a revered Indian king, adding a layer of irony. The only time Dadabhai seems truly human is in the presence of his mother. He needs to be held accountable, no doubt—but in those final moments, watching him break down leaves you shaken. That’s the power of Deshmukh’s near-flawless performance. No question—this is the finest work of his career.
Ajay Devgn may not always be consistent, but when the story and screenplay click—like in Drishyam 2 (2022) and Shaitaan—he truly raises the game. The calm, composed Amay Patnaik fits him like a glove. What’s impressive in the sequel is how Devgn steps back when needed, allowing lesser-known talents to shine. After being suspended following a botched raid, Patnaik is forced to operate from the shadows, relying on his trusted team to carry out the mission. He moves like a chess master—quiet, strategic, always in control. With this role, Devgn proves he’s far from done and continues to shine in these layered, restrained characters.
Vaani Kapoor steps in for Ileana D’Cruz, who likely missed the sequel due to maternity. Known more for her glamorous roles, Kapoor surprises with a refreshingly simple and grounded turn as Malini. She’s not just there for the sake of it—Malini stands firmly beside her husband (Patnaik) through every twist and turn. Kapoor delivers a quietly effective performance that fits the film’s tone well.
As Patnaik leans heavily on his team, it’s the unheralded Shruti Pandey who grabs her moment. She plays Geeta Devi, an enthusiastic IT officer who looks up to Patnaik and refuses to believe the rumours of bribery surrounding him. Even after his suspension, her loyalty doesn’t waver. While she clearly admires him, it never slips into sycophancy. Geeta is spirited, sharp, and brings a much-needed feminine touch to the department—especially at a time when women weren’t expected to be part of it. She also adds a lively dose of humour to the film.
When it comes to sycophancy in the world of Raid, no one does it quite like Lallan Sudheer. He arrives post-interval as the new IT Commissioner, replacing Amay in Bhoj, and wastes no time making his stance clear—he’s nothing like Patnaik. Lallan cozies up to Dadabhai almost instantly, eager to win his trust. Amit Sial brings rich, refined Hindi to the role, yet keeps the character grounded and believable. In their very first meeting, Lallan showers Dadabhai with praise, only to be swiftly warned by the Home Minister’s mother: even butter is applied with a knife. Raid (2018) marked a turning point in Sial’s career, and with Raid 2, he returns in terrific form—entertaining, sly, and thoroughly enjoyable.
Impressive Technical aspects
Raj Kumar Gupta’s crime thriller wouldn’t land half as well without a strong background score—and in Raid 2, he once again teams up with Amit Trivedi to elevate it even further. The iconic Raid theme, ‘Black’, returns as a smartly placed BGM in key moments, adding depth and tension. A few playback tracks, including *Nasha* featuring Tamannaah Bhatia, are well integrated too, keeping the pace intact without pulling you out of the story.
A few iffy things
Raid 2 is an incredibly engaging thriller, but there are a couple of aspects that might raise eyebrows. If you look at both films, the antagonists come from similar backgrounds, rising through the ranks of vote bank politics. Dadabhai’s backstory paints him as the leader of a particular vote base—a reality for many political parties. However, some may interpret this as director Raj Kumar Gupta subtly targeting a specific political class.
Another questionable aspect is the climax, where the action shifts to Dadabhai’s massive private hotel, which seems to have around 1,000 rooms. With time running out, even a large raid team would struggle to search the entire property in just a few hours.
Final word
Raid 2 builds on its predecessor with a gripping, engaging thriller driven by strong performances, sharp writing, and a memorable antagonist in Dadabhai. While sequels often fall short in Hindi cinema, director Raj Kumar Gupta has crafted a sequel that’s just as thrilling, if not better. With solid direction, standout performances, and a great background score, Raid 2 proves the franchise still has plenty to offer, keeping us hooked until the very end.
Watch the video review below.