Demonetization destroys the black money empire of greedy real estate dealer Ayaan (Sidharth Malhotra). Ayaan is transported to Chitragupta's hideout by a car accident (Ajay Devgan). In the grand scale of evil in the world, Ayaan must take responsibility for his life's transgressions, which seem like minor mistakes. Not attending his child's PTA meeting or harbouring jealousy of his police officer wife (Rakul Preet Singh) are hardly capital offences.
When mainstream hindi cinema chooses a Danish movie, Sorte Kugler (2009), for a remake, it appears to be a casting wider net. It is also simple to understand why the original might appeal to Thank god director indra Kumar. A seamless indian adaptation of Anders Matthesen's Sorte Kugler is possible since Hindu mythology includes the idea of Chitragupta, the celestial account-keeper of human karma. Since indra Kumar's movies aren't exactly known for their sensitivity, the adaptation also permits a blatantly tacky production design.
From the outside, heaven appears to be a massive dish, and within, it resembles a garish tv set. He claims that "the tall actor" who visited CG's purgatory earlier borrowed the game show design of the place. CG wears sharp suits instead of the glistening satin and gold outfits that are typical in legendary movies and television shows. The apsaras resemble cheerleaders, and Yamdoot is sporting a bow tie and suspenders.
These sartorial decisions have an explanation: we are living in the amazon Prime era, not the Doordarshan era. Ayaan's life is portrayed on screens, and spectators assess both his good and bad activities. Background music that is really loud is playing throughout. The original movie's humour has been replaced by excessive verbiage and finger-pointing. Even a nora fatehi dance sequence and a selfless mother are included in the movie (Seema Pahwa).
Thank god the bollywood in "Netflix ka zamana" is garish 1980s style, to use a phrase from the movie. ajay devgn is the lone actor who appears to be having fun; he pulls off his fancy dress ensembles nicely and delivers goofy dialogue with a deadpan attitude.