Baby Girl Review: A Hospital Thriller That Never Finds Its Pulse

Thrillers built around a ticking clock and a confined space are supposed to tighten their grip with every passing minute, but Baby Girl does the opposite, loosening its hold just when it should be pulling you in. Set within a hospital over a single day, with a missing newborn at its core, the film has all the ingredients for nerve shredding tension. And for a brief stretch, it almost convinces you it knows what it’s doing. But that early unease quickly flattens into something predictable, even routine. Coming from the Bobby Sanjay duo, whose scripts once thrived on precision, this feels oddly dated, like a thriller that forgot audiences have learned the rules and now expect them to be broken.

A One Day Crisis Inside a Hospital Setting

The film unfolds across a single day, largely set within the confines of Good Shepherd Hospital in Thiruvananthapuram. At the centre of the story is Sanal, a hospital attendant leading an unremarkable routine until a shocking incident disrupts everything. A three day old newborn goes missing from the hospital, triggering panic, suspicion, and a police investigation. As questions multiply and pressure mounts, the search for the baby becomes deeply personal for Sanal, pushing him into a situation that tests his conscience and resilience.

On paper, this is an excellent setup for a tight thriller. A limited timeframe, a closed environment, and a morally loaded crisis are classic ingredients for sustained tension. Such narratives thrive on escalating stakes, logical progression, and the gradual tightening of emotional screws. Initially, Baby Girl appears aware of this potential. The opening moments establish unease effectively, hinting that something is about to fracture the fragile normalcy of the hospital. When the crisis finally unfolds, it carries enough seriousness to pull the viewer into the story.

When Momentum Gives Way to Predictability

Unfortunately, that early promise does not sustain itself. As the investigation begins and characters start reacting to the missing baby, the narrative steadily loses control over its own tension. Instead of escalating urgency, the film drifts into predictability. Events unfold in a linear, almost mechanical fashion, moving from one incident to the next without the connective tissue of genuine suspense. I often found myself anticipating developments well before they occurred, not because the film was subtle, but because it leaned heavily on familiar genre patterns.

There are moments where the structure faintly echoes Traffic, another Bobby-Sanjay film that successfully balanced multiple perspectives and moral dilemmas. However, Baby Girl lacks that film’s narrative economy and emotional precision. Here, scenes exist in isolation rather than forming a compelling chain of cause and effect. The result is a story that progresses, but rarely grips.

Dated Writing in a Genre That Demands Precision

One of the most persistent issues I noticed was the screenplay’s old fashioned approach to thriller storytelling. This is not a case of classic sensibilities aging gracefully, but rather a reluctance to evolve with contemporary audience expectations. Years ago, the film’s premise alone might have been enough to sustain interest. Today’s viewers are far more attuned to genre mechanics, and they expect logical escalation, credible decision making, and narrative surprises.

Once the primary space and characters are introduced, the film struggles to convert situations into tension. Instead of feeling anxious or emotionally invested, I frequently watched characters behave in ways that felt irrational or conveniently oblivious. Decisions are made not because they align with character psychology, but because the plot requires forward movement. This undercuts credibility and drains the film of urgency. In a thriller, every choice matters. Here, many choices feel arbitrary.

Nivin Pauly as Sanal, A Missed Opportunity

Nivin Pauly plays Sanal, and notably, this is not a traditional heroic role. It is a character driven position, at least in theory. Given Nivin Pauly’s recent attempts at recalibrating his career and returning to performance focused roles, I expected this film to further cement that trajectory. Instead, his portrayal here feels disengaged.

There is a visible lack of emotional immersion in his performance. At several points, I felt as though he was executing scenes rather than inhabiting Sanal’s inner world. This distance may partly stem from the writing, which never allows us to fully understand Sanal as a person beyond his immediate function in the plot. Even so, the dialogue delivery often lacks texture, and emotional beats fail to land with the intended weight. Rather than anchoring the narrative, Sanal often feels like a passive observer within his own story.

The Narrative Shift and Sangeeth Prathap’s Uneven Arc

Interestingly, as the film progresses, the narrative focus shifts away from Sanal. The latter half places increasing emphasis on Amal Davis, played by Sangeeth Prathap. On paper, this character offers rich dramatic potential, particularly in exploring helplessness, guilt, and moral conflict. There are moments where Sangeeth Prathap demonstrates restraint, suggesting an understanding of the character’s internal struggle.

However, the overall portrayal does not hold together convincingly. The emotional arc is uneven, exaggerated in some places and unintentionally comic in others. The writing pushes Amal into emotional extremes without adequately justifying the transitions. Instead of evoking empathy, the character’s actions and reactions often feel forced, making it difficult to fully invest in his motivations.

Lijomol’s Controlled and Grounded Performance

Lijomol stands out as one of the film’s stronger elements. Her performance is marked by restraint and sincerity, conveying desperation through internalised pain rather than overt dramatics. While the role itself leans heavily on suffering, she grounds it with believable emotional control. Even when the narrative edges towards melodrama, she maintains a sense of realism that keeps her character credible. For me, her performance provided brief moments of emotional authenticity in an otherwise uneven landscape.

Supporting Cast and Weakly Written Authority Figures

The supporting cast delivers mixed results. The portrayal of the police is particularly disappointing. The investigating officer Abhimanyu, played by Abhimanyu Thilakan, comes across as rigid and ineffective. His dialogue delivery lacks authority, and his presence never commands the screen. Rather than appearing like trained professionals navigating a high stakes crisis, the police are repeatedly shown as clueless, drifting from one location to another without insight or urgency. This portrayal severely undermines the thriller element.

Other officers appear briefly, contribute little, and vanish, reinforcing the sense that these characters exist merely to occupy space. Among the supporting actors, Jaffer Idukki brings a touch of grounded reality to his role as a hospital security guard weighed down by personal responsibilities. Azees Nedumangad and Nandu appear in limited roles with minimal impact. Kichu Tellus handles his emotionally charged scenes competently, even though the writing leans heavily into familiar tropes. The actress playing the baby’s mother leaves a sincere impression, conveying grief and fear with emotional clarity.

Technical Competence Without Creative Spark

From a technical perspective, Baby Girl remains functional but uninspired. The cinematography does its job without enhancing atmosphere or tension. The editing maintains continuity but rarely contributes to pacing or suspense. Sam C. S.’s background score is adequate in isolation, but it often feels repetitive and generic. In a thriller, music is a critical tool for shaping anticipation and emotional rhythm. Here, the score seldom elevates scenes, and at times it feels oddly placed, drawing attention to itself rather than reinforcing mood.

Emotional Appeals That Arrive Too Late

The film attempts to compensate for its narrative shortcomings by leaning into emotional themes surrounding parenthood, loss, and helplessness. A couple of scenes towards the end do carry emotional weight, and I could sense what the film was aiming for. However, these moments are not earned through sustained buildup. They feel inserted, as though emotional resonance alone might redeem structural weaknesses. By the time these scenes arrive, the film has already exhausted much of its goodwill.

A Thriller Without Thrills

What ultimately defines my experience with Baby Girl is its complete absence of genuine suspense. Despite positioning itself as a thriller, the film rarely generates tension, surprise, or intellectual engagement. Revelations unfold without impact, and the central mystery surrounding the missing baby never becomes truly gripping. The final reveal, treated by the film as a significant twist, feels trivial rather than shocking or meaningful.

A Strong Premise, Undone by Weak Execution

By the end, I was left with disappointment rather than frustration. Baby Girl is not aggressively bad, but it is profoundly underwhelming. It wastes a strong premise, relies on outdated narrative choices, and fails to engage either emotionally or intellectually for most of its runtime. For me, it stands as a reminder that in a genre demanding precision, sharp writing and logical progression are non negotiable.

Rating: 2/5