Rajkummar Rao is on a roll. After a series of light-hearted films, he steps into darker territory this week as an outlaw born out of social injustice, only to become what he once despised.

Maalik feels like a spiritual sibling to Manoj Bajpayee’s Bhaiyya Ji released last year. Both films feature understated actors who bring realism into loud, massy setups. While Bhaiyya Ji lost its way after a promising start, Maalik has moments where writer-director Pulkit captures the rustic mood reminiscent of Tigmanshu Dhulia’s cinema.

Set in feudal Allahabad of the late 1980s, the story follows Deepak (Rajkummar Rao), the son of a farm worker (Rajendra Gupta, solid as ever). Rising against oppressive landlords, Deepak turns into a ganglord, earning the title of ‘Maalik’. Such tales are common in Uttar Pradesh and Bihar, where men like Deepak picked up guns to fight caste and class oppression, only to be co-opted by politicians for their own gains. Rajkummar breathes life into Deepak, adding nuance and grit to an otherwise predictable arc.

The film’s authenticity shines through its realistic locations, punchy dialogues, and the believable portrayal of politicians by Saurabh Shukla and Swanand Kirkire. However, the politician-criminal nexus, driven by revenge and betrayal, is a story seen many times before. As expected, Deepak’s love interest becomes the moral compass. Manushi Chhillar fits neatly into this familiar role.

The surprise element here is Prosenjit Chatterjee as an ageing encounter specialist tasked with taking down Maalik. With his Bengali flair and stylish presence, he infuses freshness into an otherwise stock character. Anshuman Pushkar and Saurabh Sachdeva complement Rajkummar’s raw performance, adding to the film’s grime and realism, though the screenplay doesn’t give them enough room to truly shine.