KICK: Have faith in God aka Salman & you might enjoy him taking you for a ride! [2/5]

Many describe most of the mass-entertainers a ‘paisa-vasool’ film. I really want to know what this reckless term is all about. Does a ‘dhaansu’ entry of the hero pay you back a 50 rupee note? How much a Nargis Fakhri item number is worth of, accordingly? And how to evaluate all those silly fight sequences and an emotional backup to the story to justify all the ridiculous actions our hero does?? I am still trying to locate my ‘paisa’ spent on Sajid Nadiadwala’s KICK in my wallet, if it’s come back! No, it’s not there yet! My ‘Paisa’ is not ‘Vasool-ed’.

Getting into direction with a Salman Khan film is one of the wisest decisions Sajid would ever have made. The man who knows it all [Sajid being the most celebrated Film producer] meets the man who does it all [Salman is known for that] and the outcome is all set to break records on box-office but not without testing your patience and questioning your intelligence. The man in question here is nothing but God to his fans. Everything he does on screen robotically becomes believable and justifiable. Otherwise, who would have the guts to propose a name like ‘Devi’ to a character played by Salman Khan? (No offence to women out there!)

So, he’s a good-hearted guy who endorses alcohol ferociously and gets offended by the idea of being a ‘Ghar Jamai’ though he has nothing to be proud of except, of course a good ‘being human’ heart. Wow, how manly he is! Only thing he seeks from life is a kind of adrenalin rush and he can really go far for that. Even stealing from the riches becomes one of the mediums to achieve one such kick. Reminds of DHOOM 3? Why not, it is a distant cousin to that in many aspects. Replacing one accented leading lady with the other irksome victim of same disorder could be one.

KICK also suffers from a bunch of ironies. One that leaves you in splits is when Devi [the Salman Khan] is repeatedly called a ‘headache’, ‘torture’ and ‘unjhelable’ by none other than his girlfriend. Was she referring to the film? I hope so. In one of the last scenes, Salman is seen dancing on ‘Saat Samundar Paar’ from VISHWATMA. This is undeniably the sweetest and cutest tribute to Divya Bharti from his husband Sajid but the irony doesn’t find a place to hide that the yesteryear actress’s suspicious death has drinking habits as allegedly one of the main causes and this whole sequence encourages drinking like there’s no one watching. Awful! 

On the performance meter, it’s Randeep Hooda who brings in the most controlled performance. For making himself confidently able to stand against someone like Salman in a film designed for Salman, Hooda deserves it. The most annoying of the lot is Nawazuddin Siddiqui. His weirdly wicked act of a villainous laugh is so old-fashioned and maddening to hear one after another. As for as Salman is concerned, he is hardly concerned about it! As a true ardent fan, we should not look for logics in whatever he does like after so much criminal cases against him, he’s seen wearing a police uniform at the end; to make it loud and clear that, “Do not try understanding me!” Well, I dare not! And you better not if going for it! [2/5] 

THE GRAND BUDAPEST HOTEL: Year’s most beautiful Film! A Masterstroke on screen…literally! [4/5]

‘The former Republic of Zubrowka’; now I don’t have any clue even in its most blurred vision that where on earth this breathtakingly mystical state of God’ own artwork is located at but it definitely finds a place in your heart with its most charming narrative, simply unbelievable picturesque visuals and most sophisticated yet chaotically hilarious characters I have ever come across. Wes Anderson’s THE GRAND BUDAPEST HOTEL is a magic-box full of color-decorated candies that not only appear the most fascinating objects of desire at the nearest confectionary store but also put assorted, surprising and tickling flavors on your taste-buds.

Inspired by the writings of Austrian novelist Stefen Zweig, THE GRAND BUDAPEST HOTEL transports you to a magnificently painted world where every sight is a visual treat with colors flowing all over; even under the skin-tissues of its highly adorable characters. The writer of a memoir [Jude Law] recalls his widely treasured stay in the most celebrated establishment of its times and manages to discover interesting incidents happened between the present owner Zero Moustafa [F. Murray Abraham] who had once started as a lobby boy  there and its then caretaker-cum-supervisor Monsieur Gustave [Ralph Fiennes]. Monsieur Gustave is an adequately dressed charming man who certainly knows how to make his guests’ day and that doesn’t make him any uncertain to go under sheets with rich women much older than him.

The ride begins when one of Gustave’s devoted patrons Madam ‘D’ [played by Tilda Swinton] takes her last breath in mysterious circumstances and Monsieur Gustave has to take part in her last ceremonies including reading of the will. Inheriting one of the most valuable paintings she possessed, Gustave is now on the top in the ‘hate-list’ of family members and the ‘Hit-list’ of a cold-blooded assassin [Willem Dafoe in his most surprising avatar] they have hired. The younger version of Zero Moustafa as the lobby boy [Tony Rivolori in his impressive debut] accompanying Gustave is the prime and constant witness to the story.

Two key fronts on which THE GRAND BUDAPEST HOTEL scores highest, are the technical brilliance and the smartest of wit in the writing! This is probably the finest example of putting writer’s imagination perfectly right on the bigger canvas of cinema. The eyes of the viewers are always found in conflict with the mind if the frames on screen are of a motion picture or a painting on wall? If detailed and the most scrupulous production design or excellent camerawork from tranquil track shots to crisp zoom-ins does wonders for the look, subtle humor-sophisticated wit and very reasoned  smartness in the writing fills you with utter joy. The performer-brigade helmed by Ralph Fiennes is outstanding. Ralph’s Monsieur Gustave will charm you with a flawless and delightful performance. In rest, Willem Dafoe amazes you as Jopling-the assassin. Edward Norton and Bill Murray’s special appearances are enjoyable.

But one thing that can’t be missed out in this whole 100 minute stay at THE GRAND BUDAPEST HOTEL is the signature stamp of Wes Anderson all over it. The characters having more colors than its vivacious backgrounds and the frames with more characters to them! This is a cinematic experience that will leave you ‘Gespannt wie ein Flitzebogen’; on the edge of your seat, it means. DO NOT MISS IT! [4/5]      

AMIT SAHNI KI LIST: Notwithstanding the predictability, Vir makes it watchable! [2.5/5]

The Rom-com genre in Bollywood has been very different from the Hollywood’s. How can you not have chartbusters to sing it laud to tease your lady-love or shake a leg on it in discs on a Saturday night? How can you even expect to fall in love with it without having a melodramatic heartbreak & overemotional demonstration of its pain on both the parties? And more than that, where is the serious & significant involvement of big extended family members? Mr. Ajay Bhuyan, how can you make a Bollywood Romantic-comedy with limited characters just a couple of more than the fingers on your left or right hand? I fear, AMIT SAHNI KI LIST too had been in the question box for sure, for not meeting all these conditions must for a profitable venture. But then, that doesn’t stop it from being a nice, warm, fresh, witty and lovable romantic comedy for most of it.   

India’s one of the most popular stand-up comedians Virr Das plays Amit, a well-settled heavily paid investment banker with a detailed list of qualities his dream-girl should possess. For obvious reasons, no girl could ever get to tick all the boxes on the list and the search for the ideal girl finally meets its end in Mala [Played by the cute & confident Vega Tamotia], a completely opposite to what Amit is actually looking for. By the time, Amit readies himself for her with identifiable changes in his traits and gets engaged to Mala, the surprise awaits at the very next door. His new desirably gorgeous and deliciously smart business colleague Devika [Anindita Nayar] is supposedly the one who fills all the spots in the list. And, now opens the curious case of confusion, conflict and qualms over one’s ability to choose wise and right.  

The force that drives AMIT SAHNI KI LIST is the minimalist exposé of emotions and the subtle humor in the verbal communication. You never can complain of a forced humor here though it is more of ‘the Vir Das’ approach where the wit comes mostly with the words and not with dramatically loud reactions. Vir is in super form. He can simply pause a scene in between and talk to the viewers exactly in a manner he does it with his live audiences. For the tight spots of an uber-cool urban guy who is all focused for his career and life in general but still baffling with the choices he should make, Vir plays it cool and confident. Vega’s Mala is an emblematic carefree, convinced, lovely & lively girl anyone would love to be with. Anindita woos the screen with her presence but still has a long way to go in the acting department. Kavi Shastri as Amit’s friend is impressive, hilarious and very much likeable.

All good? I say not. The obviousness, regularity and the lack of excitement in the plot kills the promises it encourages. This is a film you already have seen many a times before, obviously with different set of actors, different titles to remember and possibly of all types of production values. I wish if the narrative has been reduced and the writing part could think more inventive about the plot than just concentrating to the talents of Vir Das for a maximum use. Music of the film is another letdown and though it has an experimental new-age feel, it sounds completely wasted. At best, AMIT SAHNI KI LIST is strictly watchable. For a Sunday evening with nothing else to do but waiting for another murderous Monday on the calendar, it doesn’t take much from you. An easy watch! [2.5/5]

HATE STORY 2: Rotten, regular & regressive revenge drama! [1.5/5]

What do you expect from a vengeance drama that has a woman as its main lead fighting for freedom, justice and right to live & love? At least to have a common courtesy to show the strength, sensibility and sensitivity of a woman in good light at the first place! Vishal Pandya’s HATE STORY 2 fails to remember this very simple logic even when the evil forces [Men, mostly] are not busy disapproving the very existence of this breed, equally responsible and possibly more reliable in the evolution of human race. So, the women here are seen being abused verbally & physically, portrayed as the sex-symbol and a powerless weaker sex pleading for her life. And when not, a ruthless killer with least traces of sensitivity and emotions in her acts of revenge! HATE STORY 2 is a rotten, regular & regressive revenge drama.

Sonika [played by Suvreen Chawla] is a trapped soul in nasty hands of a powerful criminal minded male-chauvinist politician Mandar Mhatre [Sushant Singh in his ‘Saavdhan India’ avatar]. He keeps a check on her regularly and fiercely accepts that he doesn’t care if she actually loves him or not. In hopes to taste freedom, Sonika finds a soul-mate in Akshay [TV Star Jay Bhanushali for the first time on silver screen] but the possessive captor decides to spoil the game if he’s not there in it.

Taking cues from its first part, HATE STORY 2 also relies on thrills and chills of same nature. Thrills based out of action and violence and chills from the sexual objectification of women. Though this time, the intensity is a bit low and driving force in the both lacks the charm to pull any of it better. Looking for logics in the events happening one after other is something foolish to even think of. The transition of Sonika from a horrified victim to a much stronger opponent and a cold-blooded slayer is extremely convenient, unreal and highly dramatic.

Surveen as the lead either screams like her guts out or just keeps her tone in a huskier region sounding like possessed souls in horror flicks from Bhatts. She sure knows the demands of a script and what to put in the showcase. I don’t blame her for that as one of women characters in the film states, “Hum auraton ko humesha karna padta hai”. Jay only impresses with his facial muscles especially when he’s lip-syncing a romantic number. I wish if making faces would make him eligible for any category of awards. Sushant Singh takes full control of all the overstated performances. His ‘baba kehte the’ quotes irritates and infuriates time and again. They all are very inhuman, anti-women and definitely age-old.

To wind up, HATE STORY 2 is a film that has nothing good to say. Neither a plot that is new nor an emotion that has been transported well! It is only meant to tease you and tickle in the lower part of your body to keep ringing the box-office a good amount of return. Avoid it! [1.5/5]        

PIZZA [3D]: Smells fresh, tastes regular and takes too long to deliver! [2/5]

While watching horror, most people laugh out of their nervousness as in mental uncertainty for how to react at the proceedings but at times, it just fails and becomes a funnier effort to generate giggles in rejection. Sadly, Akshay Akkineni’s PIZZA finds its place in the later category, for the most. Projected wrongly as a horror film, it is more of a psychological thriller that mocks at the Indian ghost stories and blind beliefs in favor of the same. Conceptually novel, least practiced before and refreshing in thoughts, PIZZA fails miserably in the execution and takes too much time to deliver its strongest portion i.e. the unexpectedly and relatively smarter climax. Bad service, huh!

An official remake of 2012 Tamil superhit, PIZZA revolves around a pizza-delivery boy [played by debutant Akshay Oberoi] who gets stuck in a haunting villa while delivering one of his orders. Things of strangest nature start taking place behind the closed doors and the delivery boy hardly has any clues about them. Though not sooner, he does manage to escape the playground of the bizarre but not without losing his wife [played by former Miss India Parvathy Omanakuttan] in the pit of darkness. The concluding part includes after-effects of the trauma he has experienced and how the ray of a new hope awaits at the other end of the tunnel.

From the very start, this slice of psychological thriller thrives to sound, look and be a not so regular horror flick chained in typical groaning-grunting, seductive and revengeful ghost stories Bollywood has been restricted till now (If one could sue someone for that, Bhatts would be the bunch of prime accused). It does show a promising image of change with smart writing taking over the topicalities but only at the start and the very end. In between, it only gets repetitive, immovable and trapped in its own mesh. There are times when you have to nothing but laugh at whatever goes on screen just to release your disappointment. It’s only the climax that saves a lot for your financial contribution at the box office. It’s widely unseen, satisfactory and fairly enjoyable. Still!

Akshay looks every part of his character and leaves nothing much to complain about his acting ability. He has it in him. And for a début, it is pretty impressive. Parvathy is good though she doesn’t get opportunity of equal level considering Akshay’s. In supporting cast, Rajesh Sharma and Arunoday Singh are good. Dipannita Sharma, Omkar Das Manikpuri [Nattha of PEEPLI LIVE] and D. Santosh are completely wasted. In other highlights of the film, the opening credits are one of the most impressive title sequences in recent. Done in the flavors of animated comic strips, it shows a dramatic graphical representation of the time-chasing delivery process in life of a delivery-boy.

At the end, PIZZA is a feast that smells fresh, looks extremely inventive but disappoints with its ‘run of the mill’ taste despite consoling your soul with its best of portions left to serve at the very end when you’re almost done with it. Avoid ordering this, instead go out with your family to the nearest and your favorite pizza-joint; that will be more fulfilling fun. [2/5]

HUMPTY SHARMA KI DULHANIA: Silly second half spoils the fun! Strictly Watchable!! [2.5/5]

19 extended years, and it still continues to impress, amaze and inspire filmmakers from time to time. DILWALE DULHANIA LE JAAYENGE has been a rich source of inspiration for many Bollywood romantic family dramas, last being Rohit Shetty’s action entertainer CHENNAI EXPRESS and the latest being Shashank Khaitan’s HUMPTY SHARMA KI DULHANIA. The plot is lifted smartly; the characters easily find their references well-established before, even the original gets mentioned every now and then to make it sound like a bold and deliberate statement for the makers but the convenience and the laziness in writing that fails to innovate and bring any breeziness on screen. Still, there is a certain likeability flowing all around. Thank to the vigorously ‘in their characters’ lead pair and all those suggestions of DDLJ in the backdrop!

The blithe prankster son of an UK billionaire Raj Malhotra is reinstated in the shoes of ‘sadda Dilli wala munda’ Rakesh Sharma aka Humpty of Vidya Book Center [Played by Varun Dhawan]. Simran here is Kavya, played by Alia Bhatt- a kind of more expressive and a louder version of Kajol whose reason for the month long break is a designer lehanga for her wedding she wants to purchase from Delhi. They meet, greet, fight, kiss & make-up and conveniently find themselves under the sheet just before the interval. That was probably an intentional indication that you should now start expecting everything but nothing soon after the intermission gets over. The fun part just goes missing and the time-pass approach in writings starts taking over. The counterpart and the other contender for Kavya’s hands is an NRI [Idiot box sensation Sidharth Shukla in his silver screen debut avatar] who is absolutely perfect in all senses. And now, it’s high time for Humpty to prove himself as the better choice for Kavya.

The first part of HUMPTY SHARMA KI DULHANIA is filled with tremendous promises of having lots of fun & frolic moments in the ride and it sure upholds most of it with the witty gang of friends forever. Gaurav Pandey and Sahil Vaid as Humpty’s friends-cum-partners in crime provide good lot of humor with their presence felt in almost every scene. Even the strict, unforgiving and straight-faced father of the bride [the impressive Ashutosh Rana] is shown here a gentle, sympathetic and caring family man who can be reasonable if pursued in good health. His equation with his family is very different from the Amrish Puri of DDLJ and it is quite a pleasant sight to notice the tenderness lies within him.

Film works mostly because of its lead actors. The on-screen chemistry between Alia & Varun gets thicker with their confidence and ease in the role-playing process. Varun makes a ‘Bollywood Hero’ impact that can force you to join him on the dance floor with foot tapping music, cheer him up for action sequences and smile even on his silliest joke. Alia, in same manner is cutely comical. She makes screen brightly lit canvas you’re never really fade up to look at. Sidharth Shukla is an extended guest appearance but definitely has something in him.

To sum up, HUMPTY SHARMA KI DULHANIA is a mark of respect to DDLJ in a little lighter manner. Where the original is still playing at at least one theater since its first release, this one is meant solely for an enjoyable watch. Don’t expect it to go any further. Watch it if you have nothing else to do this weekend. This will be a 2 hour 15 min short & sweet break from regular boring day. Strictly watchable! [2.5/5]   

BOBBY JASOOS: Vidya overpowers this less-Jasoosi thriller! [3/5]

Hyderabad has not been the backdrop of many Bollywood films but a few very relevant ones like Sagar Sarhadi’s BAZAAR; so when promos of BOBBY JASOOS made a suggestion of it being positioned completely in the same city of its own flavors, an apprehension got fixed in my head. Will the typical Hyderabadi lingo and the lehza work or else it would be just another laughing stock stuck in its stereotype treatment? Now that I have seen it, I can say my doubts didn’t get proper ground to prosper. Debutante director Samar Shaikh’s BOBBY JASOOS belongs to two, one being Hyderabad itself and the second is Vidya Balan, often pronounced as the HERO of her films. BOBBY JASOOS in fact, is a complete shocker mostly not because it is a thriller but as an emotional Indian drama that asks important questions about our male-ruled society. Why can a profession like private investigation not picked up by a girl? Why Kitty always has to a dumb assistant and not a smart challenger to Karamchand in her own way?

Coming from a middle class Hyderabadi Muslim family where father [Rajendra Gupta] arrogantly announces that he doesn’t need his daughter’s money to run the house, Bilquis aka Bobby [Vidya] dares to chase her dream of being a popular private detective. Flooded with petty cases of gathering information about people’s personal affairs, Bobby is waiting to hit the jackpot with something big and it comes to her as Anees Khan [Veteran Kiran Kumar] - a rich man in search of a missing girl with least information to follow. Stunned in the flashes of money involved, little she remembers the basics of the profession. Get your hands clean on the client first!

BOBBY JASOOS beautifully and in its most authentic manner captures the core of middle class houses. The extended families with father’s sister [Tanve Azmi in one such] and her daughters live and breathe with ease, ‘Sehri’ and ‘Iftaar’ being performed together since it is a Ramadan month, father being the dominating force and kids hardly can put their view-points! The best part is you are never bombarded with forced Hyderabadi dialect but it is well-crafted in the story and subtly performed. Even in their shortest of time on screen, actors like Rajendra Gupta as the controlling father, Supriya Pathak Kapoor as Bobby’s Mother, Tanve Azmi as the Kausar Khaala who’s kind of a marriage counselor to everybody and anybody comes across, Arjan Bajwa, Zarina Wahab, Akash Dahiya and Kiran Kumar in his comeback sort leave the demanded and deserving impact. Ali Fazal is a revelation. He has done well in a couple of movies after 3 IDIOTS but this one establishes him as a charming performer. Spare me for saying it but his dialogue delivery at places reminds me of Naseer saab’s.

And now, the Vidya Balan! Vidya has always been targeting scripts and roles that ascertains full just to her acting potential. The writing here sure can’t be judged at par her earlier selections but still, she manages to pull it out brilliantly. There is no way you complain a scene Vidya is in. Don’t fool yourself by expecting a ‘Sherlock Holmes’ thriller out of it, but this first Bollywood woman detective sure shows flare of emotions you’ll feel connected to. Watch it for Vidya! [3/5]    

THE FAULT IN OUR STARS: Flawless performances! Flawed Direction! [2.5/5]

When life gives you tough times, you better learn how to bounce back and have a good laugh at it. Immensely inspired by the idea of diluting the pain with humor, THE FAULT IN OUR STARS is a love-story between two young teenagers fighting for their lives with cancer and its after-effects. This romantic journey, at the very start swears not to be ‘sugarcoated’ or ‘melodramatic’ like other fairytales but apparently ends up being a too simplistic, sentimental & single-tracked tearjerker. May be youngsters in love could relate to it more, I find it just another love-story with some good performances and a few moments to cherish. And my subject of concern here is only the film and not the book.

With an attached oxygen tank and a tube to her nose, cancer patient Hazel Grace [Played by Shailene Woodley] meets Gus [Ansel Elgort], a charming cancer survivor with an artificial metallic leg in a Cancer Support group…and the chemistry between two gets ignited from the very first encounter. Together they smile at their disabilities in life with wit and humor and also take the journey to fulfill Hazel’s dream to meet her favorite novelist [Williem Dafoe in a delicious appearance], but the stars have their own set of fate written all over.

Based on John Green’s hysterical bestseller of same name, THE FAULT IN OUR STARS captures the essence, excitement and enthusiasm of first love beautifully with wide-eyed lovers passing on never-ending smiles, crackling one-liners to make other happy and more and more of sweet talks on phone chats but it goes on and on in a single dimension till the second part decides to turn you a puddle of tears by adding melodramatic events. At one point of time, even the witty one-liners lose their steam because of your preempt participation in what comes next.

Performances are saviors. Shailene Woodley’s charismatic presence as a sadistic but sensible teenager is worth looking at screen. Even in her emotional outbursts, she maintains her promise. Ansel Elgort succeeds in winning hearts [of girls] through his lovely portrayal of a diehard lover who doesn’t leave any stones unturned to make sure Hazel could fulfill her wish. Nat Wolff plays Issac, a partly blind teenager who has been ditched by his girlfriend. He shares some of the good enjoyable moments mostly where he’s seen expressing and throwing off all his anger on things like Gus’ trophies and his ex-girlfriend’s house.  Williem Dafoe, after year’s THE GRAND BUDAPEST HOTEL is in top form. As a grumpy moody novelist who doesn’t hesitate to talk rough with even his fans, he is brilliant.

Overall, THE FAULT IN OUR STARS is a big letdown on the part of Josh Boone. A more cleared vision and a gripping screenplay would have done better. Probably, it’s just another ‘lost in translation’ effort that is better restricted to words and not visuals on screen.  Strictly watchable only because of performances!  [2.5/5]           

LEKAR HUM DEEWANA DIL: Escape this downgraded version of SOCHA NA THA! [1.5/5]

If Bollywood films are to be believed, everyone in love is predestined to elope from their wedding-mandaps at the very last moment when Pheras are to be performed. Events of similar nature do happen in real life, it’s just I haven’t been lucky enough to witness any such in my whole life of more than 30 years. But one thing I am very sure about…I have seen romantic comedies like Arif Ali’s LEKAR HUM DEEWANA DIL for more than I could remember. One prominent inspiration here is SOCHA NA THA, the launch-pad of writer-director Imtiaz Ali who incidentally also happens to be Arif’s brother. The similarities and likenesses are so evident; LEKAR HUM DEEWANA DIL could & should be tagged as a SOCHA NA THA rip-off, but an awful one. It’s an extremely long-boring-escapable journey no one will like to hop on.

The ‘BFF (Best Friends Forever)’ duo Karisma & Dino [Newcomers Deeksha Seth & the Kapoor-clan Arman Jain] are often teased as a couple by their common friends. In a hasty & impulsive pronouncement of love and the passion of being together, they decide to elope as Karisma’s hardcore traditional father would marry her off to any boring guy of his choice and for Dino’s father; Dino is nothing but a plain nobody. Together, they take a ride that is hardly any exciting and too superfluous to find a place in your heart. Much later, just on the verge of interval; they realize the honeymoon period is over and the romantic fairytale is nowhere to be found. Follows the process of annulment of their marriage, parental participation to make things even bitter and finally, the weirdly convenient realization of love for each other! Oh, not again!

Romantic comedies are the safest options to mark a début in Bollywood, and probably the hardest ones too. What one expects from any such effort are a thicken chemistry between leads, freshness in the plot and relatable drama to clinch your emotions at its place. Sadly, Arif as a writer-director doesn’t even try to look any different and gets hugely dependent on his brother’s flicks like SOCHA NA THA [parental angle], JAB WE MET [Stopover at small city] & even COCKTAIL [For most of styling and dialogues] for so-called inspirations. Only addition here that had slightest of promises was their accidental encounter with naxalites of Bastar & Dantewada. Disheartening to say that even this sequence ends up mocking their fight to justice & freedom in a completely ham-fisted item number!

Arman and Deeksha both look confident and do succeed in creating some very good moments to rejoice but the staleness in writing kills it all. Of the supporting cast, most are just wasted and that included veterans like Kumud Mishra, Rohini Hattangadi and Varun Vadola. A R Rehman’s music soothes the soul in between all the baffling scenes haphazardly coming one after the other but it never rules the heart. You’ll find it hard to remember all the ‘Khaleefas’ and ‘Tu Shinings’ sooner or later.

To sum up, LEKAR HUM DEEWANA DIL suffers from a time-lapse syndrome. Had it come in late 90’s when uber urban generation was gaining the spot with a certain lingo full of slangs, strong urge to reinvent new dimensions to the term ‘new-age’ and a demand of change in cinema, it would have made a clean mark. As of now, it is just another forgettable love-story! Escape it! [1.5/5]