Amid absurd scenes, rippling with humour, the film throws some unexpected moments of tenderness.
Raja Krishna Menon’s Chef doesn’t preach or pander, try to please or impress. It is concerned with a few essential life truths, but doesn’t make a big deal out of them.
The film raises questions about loyalty and love in a story set during the Second World War.
Is Kabir Khan blowing hot and cold, first getting soppy about Indo-Pak ties in Bajrangi Bhaijaan and then setting out to teach them a lesson in Phantom, a bit like our foreign policy, shaking hands one day and a few weeks later refusing to even talk?