Introduction
Everybody Loves Sohrab Handa is a 2023 murder mystery that tries to be clever but doesn't quite pull it off. My gut reaction after watching it? Mixed. There's a good movie buried somewhere in here, but it's fighting to get out.
This is a whodunit set in a single location. An old mansion. A big party. One dead guy. It leans into the classic locked-room formula but throws in a modern twist. Early word suggests it tries to balance dark humor with genuine suspense, though it doesn't always succeed at either. The premise is juicy enough to hook you. A man who everyone supposedly hates gets killed at a party. The suspects are all his friends. As secrets spill, so does the tension. But here's the thing. That 6.0 IMDb rating tells you something. It's not bad. But it's not great either. It's the kind of movie you'll watch once, enjoy in parts, and then probably forget by next week.
Story and Plot
The story kicks off at a fancy anniversary party in an old mansion. Everything seems perfect. The decorations are nice. The guests are laughing. But then Sohrab Handa shows up. And he's apparently the most hated person at the party. The film doesn't waste time. Very quickly, he's found dead. Murdered. And the fun begins.
From there, the night unravels. Friends start pointing fingers at each other. Old grudges bubble to the surface. Loyalties shift like sand. The film is basically one long interrogation scene spread over a few hours. Everyone has a motive. Everyone has something to hide. And the detective has to piece it all together before the killer strikes again or escapes.
What makes the central conflict interesting is the "everybody hates him" angle. It flips the usual whodunit trope on its head. Usually, you're looking for the one person who hated the victim enough to kill. Here, it's the opposite. Everyone had a reason. The challenge for the audience is figuring out who actually acted on that hate. The film plays fair with clues. But the pacing can be a problem. Some stretches feel padded, like the movie is killing time before the next reveal. The ending, however, is a mixed bag. Some people might love the twist. Others might roll their eyes. I landed somewhere in the middle.
Performances and Direction
The cast does a solid job with the material they're given. The film demands actors who can switch between charm and menace at a moment's notice. Since the plot relies on hidden motives, every character needs to seem both innocent and guilty. That's a tough balance. The performances are generally good, but not outstanding. Nobody is terrible. But nobody's award-worthy either.
The director's job here is to keep the tension alive in a single location. That's hard. You have to make one room feel claustrophobic without boring the audience. The film uses tight framing and quick cuts to maintain energy. But the direction appears functional rather than inspired. There's no signature style. No memorable set pieces. It's competent filmmaking that gets the job done, but it doesn't elevate the script. The director seems to have focused on the plot mechanics rather than the emotional beats. That's a shame, because the premise has room for real character work.
Cinematography and Visuals
The old mansion setting gives the cinematographer a lot to work with. Think dark hallways, creaky stairs, and rooms full of shadows. The film uses a muted color palette. Lots of browns, grays, and deep reds. It fits the mood. You can feel the weight of the old building. The camera often lingers on objects that might be clues, which is a nice touch. But the visual language is fairly standard. No mind-blowing shots. No innovative camera movement.
The lighting does a decent job of hiding and revealing things. Characters walk in and out of shadows, which mirrors the shifting loyalties in the story. But some scenes feel too dark. Like the DP forgot to turn on a lamp. It's a minor complaint. Overall, the visuals serve the story without stealing the spotlight. That's fine for a mystery, but don't expect anything you haven't seen before in similar genre films.
Music and Sound Design
The music in Everybody Loves Sohrab Handa is a mixed bag. The score tries to build tension with low, rumbling strings and sudden stabs of sound. It works in some scenes. In others, it feels overdone. Like the movie is telling you "this is suspenseful" instead of letting the visuals do the work.
The sound design is better. The creaking floorboards, the distant thunder, the clink of glasses during awkward silences. These small details add texture to the mansion setting. The dialogue is clear, which is important for a mystery where every line could be a clue. But the music can get repetitive. There's a particular piano motif that plays maybe six or seven times. By the third time, you're tired of it. Less would've been more here.
What Works
The setup is the film's biggest strength. The idea of a party where the victim is universally hated is genuinely clever. It creates a rich pool of suspects and motives. The film also does a good job of revealing information slowly. You never feel like you're being spoon-fed. The clues are there if you pay attention. And the central mystery is satisfying to solve, even if the journey is bumpy.
The runtime is another plus. At 1 hour 41 minutes, the film doesn't overstay its welcome. It gets in, tells its story, and gets out. In an era of bloated 2.5-hour movies, that's refreshing. The mansion setting is also well utilized. It feels like a character in itself. Old, creaky, full of secrets. The film's best moments come when the atmosphere and the plot align. When they do, you get a genuinely tense whodunit.
What Doesn't Work
The pacing is the biggest problem. The middle act drags. Characters repeat the same arguments. Accusations fly, then get retracted, then fly again. It feels like the film is running in circles. A good editor could've trimmed at least 10-15 minutes from the second act without losing anything important.
The dialogue is also uneven. Some lines are sharp and witty. Others feel like they were written by someone who's never heard real people talk. The humor, in particular, misses more than it hits. The film tries to be funny, but the jokes often land with a thud. And the final twist, while surprising, feels a bit rushed. It's like the filmmakers realized they were running out of time and just threw in a reveal. The 6.0 IMDb rating feels about right. It's a mixed bag. Not a disaster. But not a triumph either.
Key Highlights
- IMDb Rating: 6.0/10
- Metascore: Not available
- Duration: 1h 41m
- Certificate: Not specified (likely 15 or equivalent for adult themes)
- Genre: Murder mystery, thriller
- Biggest USP: The victim is universally hated, making everyone a suspect
- Target audience: Fans of whodunits, single-location mysteries, and casual thriller viewers
Final Verdict / Should You Watch It?
Should you watch Everybody Loves Sohrab Handa? Depends. If you're a die-hard fan of murder mysteries and you've already seen all the classics, this is a decent way to spend an evening. It's not bad. It's just not memorable. The setup is strong, but the execution is uneven. You'll probably enjoy the first act and the final reveal. The middle, though, will test your patience.
If you're a casual viewer looking for a fun thriller, I'd say wait for it to hit streaming. It's not worth a full ticket price or a special trip to the theater. But if it's on Netflix or Prime on a lazy Sunday, go for it. The film has its moments. Just don't expect to be blown away.
Who should skip it? Anyone who hates slow-burn mysteries or wants non-stop action. This is a talky film. People sit in rooms and argue. If that sounds boring to you, stay away. You'll also find a few plot holes here if you're sensitive to them. The film doesn't hold up to intense scrutiny. But if you can switch off your brain and just enjoy the ride, you'll have a fine time.
Rating
Our Rating: 5.5/10