Category Archives: Views on News

Bhangra Paa Le, Sunny Kaushal’s dance drama, produced by Ronnie Screwvala, to now release on 3 January, 2020

Bhangra Paa Le, starring Sunny Kaushal and Rukhsar Dhillon in the lead, has received a fresh release day. Earlier slated for 1 November, the dance drama will now hit the screens on 3 January, clashing with Sab Kushal Mangal at the box office. The comedy film stars Riva Kishan, daughter of Bhojpuri star Ravi Kishan, and Priyaank Sharma, the son of actor Padmini Kolhapure. Himesh Reshammiya’s musical drama Happy Hardy and Heer, which was also supposed to release on 3 January, was recently postponed to 31 January, owing to the singer-composer-actor’s commitment to singing reality show Indian Idol.

Bhangra Paa Le will mark the directorial debut of Sneha Taurani, the daughter of music baron Ramesh Taurani. The film also stars Shriya Pilgaonkar in a pivotal role. Ramesh Taurani, along with Ronnie Screwvala’s banner RSVP Films, is bankrolling the project.

RSVP shared a quirky video on Instagram to share the new release date of the film. In the video, lead actors Sunny and Rukhsar, are arrested for dancing outside Shah Rukh Khan’s house Mannat and Salman Khan’s house Galaxy Apartments to the song ‘Bhangra Paa Le.’ The original version of the hit song was part of Shah Rukh and Salman’s 1995 movie Karan Arjun. The song has not only inspired the title of the new movie, but also a remake. Speaking about the recreated number, Sneha said that it was “adapted to the film’s world completely.”

“Two things led us to recreate this track. Since our film revolves around Bhangra, the song lends itself to the dance form. Secondly, our title itself is a good fit with the song,” she added, as per Mirror.

Bhangra Paa Le will chart the college rivalry between the protagonists Jaggi (Sunny) and Simi (Rukshar)

 

Commando 3 movie review: Vidyut Jammwal flexes his muscles while talking down to India’s Muslims

A study of Bollywood’s Commando series could be the basis for a PhD in opportunism. Commando: A One Man Army, released in 2013, was about a loyal Armyman being abandoned by the Indian government when he is caught in enemy territory. Off screen, India got a new government in 2014 and with it arrived the Hindi film industry’s open subservience to the establishment. So Commando 2: The Black Money Trail in 2017 batted for demonetisation. And now, as Islamophobia rages across India, here comes Commando 3 with its cringe-worthy condescension towards India’s Muslims.

The third instalment of Commando, this one too starring Vidyut Jammwal, is directed by Aditya Datt whose best-known feature so far is the Emraan Hashmi-Tanushree Dutta-starrer Aashiq Banaya Aapne. Jammwal’s Karan Singh Dogra this time is on a mission to track down a London-based terrorist running a conversion racket in India that draws innocent Hindu boys to the Islamic fold and brainwashes them into committing violence for Allah along with other Muslims. Buraq Ansari (Gulshan Devaiah) is as evil as a human can be. We first see him heavily veiled. His face is revealed in a scene in which he forces his little son to watch as he brutally murders a man.

Working alongside Karan is his sidekick Bhavna Reddy played, as she was earlier, by Adah Sharma. The mix this time is sought to be revved up by the addition of the British Intelligence agent Mallika Sood (Angira Dhar) who is based on the same prototype that has yielded the Bond franchise’s ‘Bond girl’.

The women in Commando 3 are occasionally given space to display their fighting skills and in that limited time Sharma and Dhar show us how immensely capable they are, but make no mistake about this: the primary purpose of their existence in this screenplay is to compete for Karan’s attention so that while he goes about the serious business of saving the country, we never forget that he leaves la femmes weak at the knees.

The subordination of women to the hero in Commando 3 is nothing compared to the film’s messaging about Muslims. The problem is not with the depiction of a terror network operating in the name of Islam — that such organisations exist must of course be acknowledged; the problem lies with the manner in which this film seeks to hold all Indian Muslims accountable for Buraq Ansari’s actions in a way that the public discourse has never held India’s entire majority community accountable for the wrongdoings of individual members.

Commando 3 is strategic while building its case. It is careful to prepare alibis for itself even as it lectures India’s Muslims about their duty towards the nation at large and their Hindu brethren in particular.

For instance, mention is made of beef-related lynchings and other genuine grievances of the Muslim community, which can be held up to anyone who accuses the film of being one-sided. Here’s the catch though: if majoritarian fundamentalists object to the acknowledgement of these crimes by their group, the defence is no doubt a scene right at the start where a Muslim terrorist was shown instigating his flunkeys to kill a calf to stir up trouble. The insinuation is that even the lynchings of Muslims have been the fault of Muslims.

While the principal evil Muslim in Commando 3 spends his time plotting against Hindus, the good Hindu hero waits for a Muslim terrorist to finish his namaz before capturing him. Oh look ye, respect!

(Minor spoilers in the next two sentences) The sermonising directed at Muslims peaks in a video appeal Karan publishes, aimed at inspiring the Muslim masses to thwart Buraq’s plan to attack the Hindu masses. The video and the subsequent scenes of Muslims rising up in response are dripping with a patronising attitude. (Spoiler alert ends) They are also amateurishly written and in your face, epitomised by that shot before the credits roll of a Hindu man and a Muslim man standing shoulder to shoulder right after they together fire a flaming arrow at an effigy of Ravan.

Those who wish to understand the difference between the mischief-mongering by Commando 3 and a factual portrayal of Islamic terrorism would be well advised to watch Anubhav Sinha’s Hindi film Mulk (2018) .

Commando 3’s minuses don’t end with its troubling politics. The Indian agents in London come up trumps despite being dumb, lax, over-confident and foolhardy, because these qualities are what the writing team perceives as bravery. (Some people may deem the next sentence a spoiler) For instance, both Bhavna and Karan, despite being undercover agents, blow their own cover early in the narrative to draw the snake out of his hole: she tweets about Karan from her actual ID and he releases a video to the media revealing his identity, both of which are somehow meant to be clever moves. (Spoiler alert ends)

Jammwal, Sharma and Dhar do what is required of them well enough: she and she scrap over him, all three beat up people, they glare, they stare. I experienced a little heartache though at the sight of a fine actor like Gulshan Devaiah reduced to over-acting as Buraq Ansari.

Commando 3 is technically glossy and the fight choreography is slick. The writing though is contrived. The film is filled with lines like this one tossed at Buraq by Karan, “Pehle purdon mein chhupa karta thha, ab mardon mein?” (Earlier you hid behind a veil, now you hide behind men?) as the latter walks towards him surrounded by armed guards, but the dialoguebaazi is tiresome and soulless. Even if this were not the case, it is appalling that the populist stereotypes in the script target an already vulnerable people.

It becomes evident in the end though that none of this comes from a place of conviction. So unsure of itself is Commando 3, that after all its bloodshed and bhashans the end credits run alongside not one but two formulaic song and dance routines.

First comes this kiddish Hinglish number lip-synced by Karan:

Tere peechhe main
Mere aage tu run-run
Kabhi aage tu
Kabhi peechhe main fun-fun
Dekhega jalwa ab toh tu
With my gun-gun
Ek hi toh bachke niklega
Yeh toh done-done.

As if that is not ludicrous enough, there follows Karan dancing with the two women in skimpy, sexy attire, ending on an image of him in silhouette with a Ravan in the background.

Marjaavaan box office collection: Sidharth Malhotra-led action drama earns Rs 24.42 cr over opening weekend

Sidharth Malhotra’s new release Marjaavaan has been well-received at the domestic box office. Within three days of its release, the action drama, which marks Tara Sutaria’s second outing, raked in Rs 24.42 crore. Marjaavaan opened to Rs Rs 7.03 crore on Friday, earned Rs 7.21 crore on Saturday and witnessed a jump on Sunday (17 November) with Rs 10.18 crore.

Marjaavaan has received mixed reviews from critics. In her review for Firstpost, Anna Vetticad wrote, “Marjaavaan is so hackneyed that even the usually restrained Malhotra is driven to intermittent over-acting during its two-hours-plus running time. Deshmukh hams his way through playing Vishnu. Ms Sutaria is bland.”

Malhotra, whose last release was Jabariya Jodi with Parineeti Chopra, plays a local thug Raghu in the film to Riteish Deshmukh’s Vishnu, a local mafia don. The film reunites the two actors onscreen after 2014’s Ek Villain, directed by Mohit Suri.

In an interview with Firstpost, Sutaria called her role in Marjaavaan “challenging.” She said, “There is lot of crying and emoting, and especially since my character is mute, I had to express a lot with my hands and sign language. There is more scope to perform differently in Marjaavaan, whereas Student of the Year 2 was lot more fun. I suppose this one was far more challenging,.”

Marjaavaan is produced by Bhushan Kumar, Divya Khosla Kumar, Krishan Kumar (T-Series) and Monisha Advani, Madhu Bhojwani and Nikkhil Advani (Emmay Entertainment).

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Bala box office collection: Ayushmann Khurrana’s social comedy inches towards Rs100 cr mark

Ayushmann Khurrana, who had a successful year so far, might deliver yet another Rs. 100-crore club blockbuster with Bala. Trade analysts note that Amar Kaushik’s Bala is set to become Khurrana’s third film to enter Rs.100 crore club. In its first week, the film had paced fast to reach the Rs.50 crore mark.

During its Week 3 run, Bala raked Rs. 3.76 crore on Friday, Rs. 6.73 crore on Saturday and Rs.8.01 crore was added in the earnings. Along with Bala’s first week collection, which tallies at Rs. 69.25 crore, the film’s grand total currently stands at Rs.90.74 crore.

Bala has become Ayushmann Khurrana’s third film, after Badhaai Ho and Dream Girl, to cross the Rs 40 crore mark in opening weekend earnings. While the film serves as Khurrana and Yami Gautam’s third film to enter the coveted Rs.100 crore club, it will be second 100 crore grosser for Bhumi Pednekar.

While Khurrana battles premature balding, Pednekar plays a dusky complexioned girl combating prejudice coming her way. Gautam is seen as a local Tik-Tok celebrity, whom Khurrana’s character courts and eventually marries. Saurabh Shukla, Jaaved Jaaferi, Seema Pahwa, and Abhishek Banerjee too are part of the film.

In a recent interview with Press Trust of India, Khurrana called Bala the “most precious” films he has been a part of so far. “I’m humbled with the response and delighted that I have again backed a film that has its heart at the right place,” he added.

Bala movie review: Ayushmann-Bhumi crackle and pop while slamming bias…till the film reveals its own prejudice

One of the pleasures of watching Bala comes from its use of language. The characters in this film speak Kanpuriya Hindi which is a delight in and of itself. Better still, they hardly ever substitute words in their mother tongue with English equivalents. On the rare occasions when they do opt for a spot of English, they are hilarious without the narrative taking a condescending tone towards them or getting clichéd. And the dialogues are replete with usages you are unlikely to hear on the streets of Delhi or Mumbai.

So “hasthmaithun” is “hasthmaithun” for the hero, not “masturbation”. His younger brother speaks of his family’s “loloop nazar” on him. And a man is threatened with a “kantaap“, not a slap.

While the going is good in Bala, it is very good. The first half is rip-roaringly funny, simultaneously poignant and insightful as it takes us through the protagonist Bala aka Balmukund Shukla’s journey from a luscious head of hair in his teens to premature baldness in his 20s, from vanity and arrogance to a soul-crushing complex. Director Amar Kaushik, whose calling card for now is the stupendous horror comedy stree, never lets the pace flag pre-interval. Writer Niren Bhatt is clearly determined to make a point about a bald man’s sense of self-worth, stays true to this message and is intelligent while doing so here.

In the second half though, the humour and the intellect dip. For a start, the writing takes the easy way out in a crucial, pivotal situation. (Caution: Some people might consider the rest of this paragraph a spoiler) A woman Bala loves and who loves him back is condemned for rejecting him on discovering his baldness – condemned not merely by characters in the story, but by the film itself – by establishing her as a superficial creature for whom looks matter more than anything else and getting her to dump him solely and entirely because his appearance no longer appeals to her, never allowing her to believe what would have been a reason that might possibly have earned her some audience sympathy: that it is in fact his deception that killed their relationship, not his lack of hair. By getting Bala instead to acknowledge his lies and self-flagellate, the film uses even this opportunity to increase his likeability. This is silly, because it is a sort of ultimatum: once he apologises for lying, she had better forgive him, or else we will quietly slot her as a youknowwhat. It is all cleverly done, all the while ensuring that the judgement is subtle and the tone of the narrative never gets openly vicious towards her. From a film that until then and thereafter is honest about its hero’s character flaws and does not let him off lightly, this is disappointing. (Spoiler alert ends)

The message being driven home by Bala from the start is that we must stop caring about what others think of our looks – that once we begin valuing ourselves, the world will too. Towards this end, it has a dark-skinned heroine called Latika Trivedi who has all her life been derided for her complexion. Getting Bala to be one of those who taunted her in her childhood, and making him a fairness cream salesman in his adulthood even while he battles a bias against early onset baldness, are both nice touches. However, this aspect of the messaging fails because the film reveals its own prejudice against dark skin from the word go.

No one on Team Bala seems to have detected the irony in casting a light-skinned actor as Latika and painting her face black, rather than casting a black woman to play a black woman.

In a film industry that favours goraapan especially for female stars despite marginal evolution on this front in recent decades, Bala‘s unwillingness to seek out a dark-complexioned actor for this role underlines the attitude that a woman whose skin does not match a certain shade is not worthy of being a lead. It appears that Bhatt and his colleagues did not notice either that throughout the film, they treat it as a given that a dark complexion is indeed less and cannot possibly be pretty, and equate it with the side effect of a disease (namely Bala’s alopecia which is a direct result of his diabetes).

The screenplay well and truly bares its prejudice though in Latika’s own reaction to the mythological tale of the hunchbacked woman Kubja who Lord Krishna is said to have miraculously turned into a beauty. Stage enactments of the story in Kanpur are twice shown, both times a dark-skinned woman is cast as Kubja, and Latika – a bright lawyer who had earlier been vocal about her comfort with her skin colour – says after a viewing: “Why did Lord Krishna have to make her sundar? It is possible that someone would have liked her just the way she is.”

“Someone”? Umm, but wasn’t the whole point that we must accept ourselves and not measure our worth by the acceptance of others? Note too that she does not question the casting of a dark-skinned actor as Kubja and the intrinsic assumption that her colour is equal to a lack of soundarya. This is not to say that Latika must be perfect, but that the questioning, unbiased person she has been shown to be until then does not gel with the attitude she displays

This inconsistent characterisation and the team’s lack of awareness of their own prejudice robs Bala of much of its value. Tragic, because when it is dealing with the hero’s baldness it is smart and sharp, the crackling dialogues are rich with cultural references, even the songs and choreography add to the comicality (watch ‘Tequila’, please, and those TikTok videos are out-and-out killers), the comedy involving Bala never crosses the line into insensitivity and the cast is absolutely A-grade.

Ayushmann Khurrana and Bhumi Pednekar live up to expectations by delivering fine performances, and Yami Gautam as the somewhat frivolous professional model Pari Mishra displays a talent for comedy here that will hopefully be explored in future films. The trio are backed by a fabulous ensemble of supporting actors, each jostling with the other in the run-up to a Best Supporting Actor nomination. Every single one of them, including the lesser-known faces (Dheerendra Gautam playing Bala’s younger brother, Sumit Arora as his boss) is given space to shine and they chew up the screen in those moments.

If this film had no Latika (or she was better written and appropriately cast) and the humour of the opening half had been maintained in the second, it would have been near perfect. There is a Latika though and the humour does dip, making Bala a 50-50.

Housefull 4 promo: Akshay Kumar as Bala is sinister and hilarious at the same time!

Akshay Kumar as Bala took over Instagram when he shared the video. Not just that, he even captioned it as, “Main nahi tera baap takleya! Kaise Bala ki shaitaani machaati hai dhamaal, dekhiye in #Housefull4 iss Diwali” and you’ll know when you see it. Dekko!

 

We don’t know about you but we can hardly wait for Akshay Kumar and his crazy Housefull 4 team to entertain us this 25th of October. The film which has been garnering headlines since the word go already has fans rooting and now, thanks to the trailer and songs, the mania has multiplied and how! Be it train rides of the #BalaChallenge, Housefull 4 is the talk of the town and how! Speaking of promotional spree, a new dialogue promo is out and boy, is it hilarious!

Akshay Kumar as Bala took over Instagram when he shared the video. Not just that, he even captioned it as, “Main nahi tera baap takleya! Kaise Bala ki shaitaani machaati hai dhamaal, dekhiye in #Housefull4 iss Diwali” and you’ll know when you see it. Dekko!

Sajid Nadiadwala’s Housefull 4 is scheduled to release this Diwali. It has an ensemble cast which includes- Kriti Sanon, Kriti Kharbanda, Bobby Deol, Rana Daggubati, Riteish Deshmukh, Chunky Panday, Saurabh Shukla, Johnny Lever, Jamie Lever, Pooja Hegde among others. The film is due for Diwali release but it is still in the post-production stage. “It’s a scaled-up film, the biggest in the franchise in terms of budget. The chunk from the Baahubali era that required visual effects was shot much in advance. A team is working on the final edit and VFX,” a source was quoted saying.

 At the trailer launch, Akshay had even joked and added, “I am going to lose all the respect I have earned with serious cinema with Housefull 4. Every time I want a break, I do a Housefull film. It is a fun film; I have fun on the sets. Having said that, making people laugh with slapstick is the toughest of jobs.” Stay tuned to BL for more such updates and scoops!

WAR: ‘Thankfully, we were side by side and not facing each other,’ Tiger Shroff opens up on the first day with his mentor Hrithik Roshan

WAR is shattering all records at the Indian box office. Everyone who has seen the Tiger Shroff – Hrithik Roshan action drama is raving about the spectacular fight sequences and chemistry between the two hunks. In an EXCLUSIVE chat with BollywoodLife, Tiger Shroff said, “I was so nervous on the first day. I was shaking in my knees. Thankfully, we were side by side and not facing one another. Since we were not seeing each other directly, I could give the shot confidently.” We also told Tiger that Hrithik Roshan has spoken about how particular he was about getting everything right as he feels that the Baaghi actor is quite exceptional. “He is just doing natak. He is a very good actor. Whatever I have done or achieved is because I am inspired by him. I have to thank him for what I have achieved.”

Unlike his contemporaries, Tiger Shroff is the only one who has a market in a definite space. “I am blessed that people have accepted me as an action hero. There is so much competition so how does one stand out. The action hero tag has given me an identity. I am very thankful to the audience,” he says. Talking further about the experience of working with his idol, Hrithik Roshan, Tiger gushes, “For me there was no bigger high than when I would see my shots on the monitor and he did say something nice or give a feedback. That is my most precious memory and takeaway from WAR. Growing up, you idolise someone, then you get a chance to work with him and he appreciates you. There is no bigger high than that.”

When we asked Tiger Shroff about the comparisons to Saaho, another action extravaganza that released, he says that he did not get a chance to watch the film. He also told us that he would definitely like to do an action film with Prabhas Sir. As it is observed, many people love action stars of the West but have complaints with desi ones. Tiger Shroff’s acting skills even in action flicks have been under the scanner. Does that bother him? “It does. I mean what action heroes do, very few people can. It is not just about action but the emotions and expression behind the action. It is a loud form of expression. Doing that plus performing is not the easiest of tasks. I feel it is a misconception,” states the actor. He also reveals how the team of WAR started cheering as Hrithik Roshan and Tiger began shooting for the hit, Jai Jai Shiv Shankar. “We were so involved with the choreography that we did not realise that we were in the same frame,” he says. The film is made by Siddharth Anand of Salaam Namaste fame!

Chhichhore spin-off on the cards? Tushar Pandey aka Mummy reacts on the same [Exclusive]

Chhichhore is turning out to be one of the biggest hits of the year. It has already grossed more than Rs 100 crore at the domestic box office. The audience just cannot get enough of the film that stars Sushant Singh Rajput, Shraddha Kapoor, Naveen Polishetty, Tahir Raj Bhasin, Prateik, Varun Sharma, Saharsh Kumar Shukla and Tushar Pandey in lead roles. BollywoodLife spoke to Tushar Pandey who played Mummy in the film. Describing what he loved about his character, Tushar said, “I feel Mummy had one of the best arcs in the film. He was the middle-class guy studying engineering in the hope of a better future. Mummy had that aspirational quality that everyone could relate to. And his character was the only one with reference to a family except Sexa’s (Varun Sharma) whose dad comes to the hostel for a while. Everyone has loved the film and my character too. The maximum compliments I am getting is for the scene where I tell my kid that I love him irrespective of how he fares in his exams.

The film is being watched repeatedly by the audience in the theatres. In fact, some are even demanding sequels and spin-offs of the characters. So, has the team discussed a sequel or spin-off? “I have not heard of anything of that sort yet. But the idea is not a bad one (laughs). It would be fun to have a spin-off on Mummy and the guys (laughs out aloud). If something of that happens, I am sure Nitesh Sir will inform us.” says Tushar.

Tushar is a trained actor and worked meticulously on his character for the film. “The tricky part was the older characters. I put in prep for a couple of months before the shoot to get it right. Nitesh Sir is all for preparations, so we sat down and discussed stuff. I have a theatre background so I enjoy this process immensely,” states Tushar. The young actor says how everyone was equal on the sets. “Not once did Shraddha Kapoor or Sushant Singh Rajput behave like they were ‘stars’ of the film. The writing was clear, it was about all the characters. We achieved so much organic chemistry as we were on the same page,” says Tushar.

The film has made Rs 150 crore at the global box-office and is a huge hit for Nadiadwala Grandson. We truly hope that they think of a sequel or spin-off with the loveable characters!

Saaho actress Shraddha Kapoor has upped her fashion game

We are here just gushing at Shraddha Kapoor’s style file for Saaho promotions. From it scintillating silhouettes to edgy cuts, the actress is sporting them all. Made on a huge budget, Saaho is slated to be released on August 30 worldwide in Telugu, Tamil, Hindi and Malayalam.

shardaaaa

And the D-day is nearing for Prabhas’ Saaho! After the blockbuster success of Baahubali: The Conclusion, Rebel Star from the South is arriving on the silver screen after more than two years with the multi-lingual quintessential venture and fans couldn’t be more thrilled. Seemingly, Saaho has it all – action, thrills, high-octane chase sequences. That and a sparkling chemistry between Prabhas and Shraddha Kapoor who will be seen opposite the superstar in the film. If the trailer and songs are any proof, the pair is going to light up the big screens with their on-screen partnership.

But while there is some time before that happens, we are here just gushing at Shraddha Kapoor’s style file for Saaho promotions. From scintillating silhouettes to edgy cuts, the actress is sporting them all. Don’t believe us? Check it out here.

See what we see? The film also marks the Telugu debut of Shraddha who found learning a new language, both challenging and exciting. She had said, “Speaking a language I didn’t know was tough but doable. But there were nights when I’d be awake, learning my lines, understanding what I was saying and then sitting with Sujeeth (director) to rehearse them before a shot. A coach also came home to help me get the dialect right.”

Saaho is touted to be India’s biggest action film and stars Prabhas and Shraddha Kapoor in lead roles. Directed by Sujeeth, Saaho has an ensemble cast with names like Jackie Shroff, Chunky Pandey, Mandira Bedi, Evelyn Sharma, Arun Vijay and Lal.

Jabariya Jodi movie review: Sidharth Malhotra, Parineeti Chopra’s dialoguebaazi is the only saving grace in this film

After multiple delays, Sidharth Malhotra and Parineeti Chopra starrer Jabariya Jodi is finally hitting the screens this Friday at the ticket windows. The romantic comedy venture, which was earlier titled Shotgun Shaadi has been in the news since 2018 and was earlier slated to release on May 17, but to avoid clash with other films, the makers finally chose August 9 as the final date and the cherry on top is that it’s a solo release for the film. Even the trailer with its quirk and mass appeal managed to garner the right buzz. But is the Sidharth Malhotra and Parineeti Chopra starrer worth the watch? Check out our review here!

What is it about:

Based on Pakadva Vivah that prevails in Bihar and some smaller town in India, Jabariya Jodi narrates the story of a thug (Abhay Singh) who kidnaps grooms in order to help them avoid paying out heavy dowries for their wedding. With the entry of the heroine, his whole ambition in life goes topsy-turvy.And not because he is madly in love but because inka focus “bistar se zyaada kursi pe hai”. What ensues though is a battle or hearts and the girl (Babli Yadav) turning the kidnapper.

What’s hot:

Sidharth steps into the role of Bihar ka goonda and pulls it off convincingly. Be it his flair in multi-coloured shirts and gamchas or the delivery with which he throws witty on-liners, Sid’s first rustic act deserves a pat. Even Parineeti does justice to her character with pitch-perfect diction and makes it seem effortless. SidNeeti’s chemistry is a treat to watch too. Slow claps are reserved for Aparshakti Khurana and Sanjay Mishra who light up the screen with their comic timing and punches.

What’s not:

The screenplay seems lazy and the editing, shoddy. Directed by Prashant Singh, the film wobbles at points and misses the plot more times than not. Especially the second half which beats around the bush for its entire duration without any plot device. The effort to soften the blow of social evils like dowry and forced marriage with comic intervention is note-worthy but debatable at best. And while Pari has caught hold of the accent, Sid’s is inconsistent. The film is also replete with one too many forgettable songs. Even the climax overstays its welcome with predictable sequences and dialogues.