Munna (Tiger Shroff) is an orphan brought up by an ageing chorus dancer Michael (Ronit) in a Mumbai chawl. The boy grows up idolizing Michael Jackson. To realize his dream of grooving like the King of Pop, he even agrees to tutor a local yet hilarious gangster, Mahindar Fauji (Nawazuddin Siddquie). Their bromance turns ugly when both end up falling in love with Deepika aka Dolly (Nidhhi Aggerwal).
All is hunky-dory until it turns out that the teacher and the trainee are in love with the same girl, Dolly (debutante Nidhhi Agerwal), who herself is no mean dancer. The rigmarole that ensues is as unappetizing as watching two men jostle for a toehold on a treadmill. After spending a part of the film delivering gifts to Dolly on behalf of Mahinder, Munna sees better percentage in professing love to her. Mahinder, on his part, sees red and all hell breaks.
The heroine has challenges other than contending with two men vying for her attention - her father is opposed to her pursuit of dancing glory. It is obvious that it is men who call the shots in the girl's life. Mahinder pursues her without as much as a by-your-leave; Munna assumes the role of a knight in shining armour (again, without Dolly being allowed much of a say in the matter). And then this 'invisible' father is sprung upon us.
This whole dance-action genre is a dubious Bollywood invention created for actors and screenplay writers whose imagination runs out of steam as soon as the focus begins to moves away from the dance floor or the action set pieces. It is the easy way out. Sadly, the way out here goes in a single direction - down.
Munna Michael is only for fans of Tiger Shroff. All yet that haven't yet figured out what he is about, stay out of the way.
All is hunky-dory until it turns out that the teacher and the trainee are in love with the same girl, Dolly (debutante Nidhhi Agerwal), who herself is no mean dancer. The rigmarole that ensues is as unappetizing as watching two men jostle for a toehold on a treadmill. After spending a part of the film delivering gifts to Dolly on behalf of Mahinder, Munna sees better percentage in professing love to her. Mahinder, on his part, sees red and all hell breaks.
The heroine has challenges other than contending with two men vying for her attention - her father is opposed to her pursuit of dancing glory. It is obvious that it is men who call the shots in the girl's life. Mahinder pursues her without as much as a by-your-leave; Munna assumes the role of a knight in shining armour (again, without Dolly being allowed much of a say in the matter). And then this 'invisible' father is sprung upon us.
This whole dance-action genre is a dubious Bollywood invention created for actors and screenplay writers whose imagination runs out of steam as soon as the focus begins to moves away from the dance floor or the action set pieces. It is the easy way out. Sadly, the way out here goes in a single direction - down.
Munna Michael is only for fans of Tiger Shroff. All yet that haven't yet figured out what he is about, stay out of the way.