शुभ मंगल सावधान: शर्तिया मनोरंजन! एक बार मिल तो लें!! [3.5/5]

'सेक्स-एजुकेशन' हम सबके 'कमरे का हाथी' है. देख के भी नज़रंदाज़ करने की परम्परा जाने कब से चली आ रही है? टीवी पर अचानक से दिख जाने वाला सेक्स-सीन हो, या कॉन्डोम का सरकारी विज्ञापन; बच्चों के सवाल आने से पहले ही बड़ों के हाथ रिमोट खोजने लग जाते हैं. और अगर कहीं भूले-भटके कोई बात करने की हिम्मत जुटा भी ले, तो ज्ञान की नदियों के समंदर हर तरफ से यूं हिलोरें मारने लगते हैं कि जैसे सब के सब डॉ. महेंद्र वत्स (मशहूर सेक्स-पर्ट) के ही बैचमेट हों. जो जितना कम जानता है, उतना ही ज्यादा यकीन से चटखारे ले लेकर अपने तजुर्बों की किताब सामने रख देता है. रेलवे लाइन से लगी शहर की हर दीवार किसी न किसी ऐसे 'गुप्त' क्लिनिक का पता जरूर आपको रटा मारती है. पुरानी सी खटारा वैन की छत पे कसा भोंपू चीख-चीख कर अच्छे-खासे मर्द में भी 'मर्दानगी की कमी' का एहसास करा देता है. बंगाली बाबाओं के नुस्खों से लेकर सड़क किनारे बिकती रंगीन शीशियों में बंद जड़ी-बूटियों की तलाश में; 'सेक्स एजुकेशन' का यह 'हाथी' अक्सर 'चूहे' की शकल लिए मायूस घूमता रहता है. हंसी तो आनी ही है. 

आर प्रसन्ना की 'शुभ मंगल सावधान' में हालाँकि कोई हाथी तो नहीं है, पर एक भालू जरूर है. सरे-बाज़ार मुदित (आयुष्मान खुराना) पर चढ़ गया था, और अब उतरने का नाम ही नहीं ले रहा. मुदित के गीले बिस्किट चाय में टूट-टूट कर गिर रहे हैं, और उसका अलीबाबा गुफा तक पहुँच ही नहीं पा रहा. दिक्कत तो है, सुगंधा (भूमि पेडणेकर) से उसकी शादी बस्स कुछ दिनों में होने ही वाली है. मुदित की परेशानी में सुगंधा हर पल उसके साथ है. बिना सबटाइटल्स वाली अंग्रेजी फिल्मों से सीख कर वो मुदित को 'कम ऑन, माय डैनी बॉय!' भी सुना रही है, हालाँकि ऐसा करते हुए उसके चेहरे पर दर्द ज्यादा है. तमाशा तब शुरू होता है, जब दोनों के परिवारों में ये किस्सा आम हो जाता है. बाप को गुमान है कि उसके बेटे का 'कुछ भी' छोटा नहीं हो सकता. माँ ने बड़े होने तक बेटे का अंडरवियर रगड़-रगड़ के साफ़ किया है, तो बेटे में 'खोट' होने की सूरत ही नहीं बचती. 

सगाई से लेकर शादी तक चलने वाली इस कहानी में 'डिसफंक्शनल' सिर्फ मुदित और सुगंधा की सेक्स-लाइफ ही नहीं है, बल्कि समाज, शादी और रीति-रिवाज़ भी इसके जबरदस्त शिकार हैं. मजेदार ये है कि सब कुछ हंसी-हंसी में आपके सामने आता है और वैसे ही चले भी जाता है. जहां आपकी फिल्म का विषय ही इतना वयस्क हो, इतना संवेदनशील हो, वहाँ (अच्छे) हास्य का सहारा लेकर अपनी बात कहना और उसे कहते वक़्त जरा भी अश्लील या भौंडा न होने पाना अपने आप में एक बड़ी कामयाबी की तरह देखी जानी चाहिए. इशारों-इशारों, मिसालों और कहानियों के ज़रिये यौन-संबंधों से जुड़ी समस्याओं पर बात करने की कोशिश करते वक़्त फिल्म के किरदारों की झिझक जिस तरह का कुदरती हास्य पैदा करती है, उसका ज़ायका हम पहले भी 'विक्की डोनर' में चख चुके हैं. 'शुभ मंगल सावधान' ठीक उसी जायके की फिल्म है. 

फिल्म में किरदारों का रूखापन, उनके खरे-खरे लहजे और उनके तीखे संवाद की तिकड़ी मनोरंजन में पूरा दखल रखती है. ताऊजी (ब्रजेंद्र काला) बात-बात पर बाबूजी के श्राद्ध पर खर्च हुए पैसों का एहसान गिनाना नहीं छोड़ते. ससुर को 'बहू दुपट्टा लेकर नहीं गयी' ज्यादा परेशान करता है. माँ (सीमा पाहवा) बेटी को शादी से जुड़े सब राज बताना भी चाहती है, मगर खुल के कैसे कहे? इन सभी किरदारों के अभिनय में आपको कोई भी कलाकार तनिक भी शिकायत का मौका नहीं देता. मुख्य भूमिकाओं में आयुष्मान अपनी पिछली कुछ 'एकरस' फिल्मों से जरूर आगे आये हैं. भूमि हालाँकि मिडिल-क्लास, घरेलू लड़की के इस दायरे में कैद जरूर होती जा रही हैं, पर जब तक कहानियों में धार रहेगी, उन्हें देखना कतई खलेगा नहीं. 

आखिर में; 'शुभ मंगल सावधान' एक पारिवारिक फिल्म है, जो मनोरंजन के सहारे ही सही एक ऐसे झिझक भरे माहौल में आपको उन समस्याओं पर हँसने को उकसाती है, जिसके बारे में बात करना भी आपके लिए 'सांस्कृतिक, सामाजिक और धार्मिक' बन्धनों की जकड़ में आता है. आज अगर नज़रें मिला कर, 'सेक्स' के मुद्दे पर खुल कर अपनों के साथ हंस पाये, तो क्या पता कल संजीदा होकर एक-दूसरे से बात करना भी सीख ही जाएँ? [3.5/5]       

बैंक चोर: 'धूम' से धड़ाम, उबाऊ और नाकाम! [1.5/5]

बैंक में बाबा, हाथी और घोड़े घुस आये हैं. ठीक वैसे ही, जैसे देश की राजनीति में योगी, गाय और भैंस. उथल-पुथल तो मचनी ही है; पर राजनीति की तरह ही यहाँ भी 'बैंक चोर' वादे तो बहुत सारे करती है, पर जब निभाने की बारी आती है तो बचाव की मुद्रा में इधर-उधर के बहाने ढूँढने लगती है, रोमांच के लिए झूठ-मूठ का जाल बुनने लगती है और अंत में 'जनता की भलाई' का स्वांग रचकर अपनी सारी गलतियों पर काला कपड़ा डाल देती है. चतुर, चालक और चौकन्ने चोरों पर यशराज फ़िल्म्स 'धूम' के साथ पहले ही काफी तगड़ी रिसर्च कर चुकी है. सरसरी तौर पर देखा जाये, तो 'बैंक चोर' उसी रिसर्च मैटेरियल की खुरचन है, जो उन तमाम 'चोरी' वाली फ़िल्मों का स्पूफ़ ज्यादा लगती है, ट्रिब्यूट कम. 

चम्पक (रितेश देशमुख) अपने दो दोस्तों के साथ बैंक लूटने आ तो गया है, पर अब उसके लिए ये खेल इतना आसान रह नहीं गया है, ख़ास कर तब, जब बैंक के बाहर सीबीआई का एनकाउंटर स्पेशलिस्ट अमजद खान (विवेक ओबेरॉय) खुद कमान थामे खड़ा हो. खान को शक है कि शहर की दूसरी बड़ी चोरियों के पीछे भी इन्हीं चोरों का हाथ है, हालाँकि इन मसखरे चोरों की बेवकूफ़ाना हरकतों से ऐसा लगता तो नहीं. चोर-पुलिस और सीबीआई की इस पूरी गुत्थम-गुत्थी में, गिरना-पड़ना, दौड़ना, चीखना-चिल्लाना इतना ज्यादा है कि हंसने के लिए भी मुनासिब जगह और वक़्त नहीं मिलता. साथ में, उल-जलूल हरकतों का ऐसा ताना-बाना कि बोरियत आपको अपनी गिरफ्त में लेने लगती है. और तभी कुछ ऐसा होता है, जो आपकी सुस्त पड़ती बोझिल आंखों और कुर्सी में धंसते शरीर को वापस एक जोर का झटका देती है, परदे पर इंटरवल के साथ ही साहिल वैद्य की एंट्री. बैंक में मौजूद असली चोर के रूप में. 

फिल्म के निर्देशक बम्पी कहानी का सारा ट्विस्ट फिल्म के आखिरी हिस्से के लिए बचा के रखते हैं, मगर वहाँ तक पहुँचने का पूरा सफ़र अपने नाम की तरह ही उबड़-खाबड़ बनाये रखते हैं. फिल्म में सस्पेंस का पुट डालने के लिए वो जितने भी तौर-तरीकों का इस्तेमाल करते हैं, वो सारे के सारे आजमाए हुए और पुराने ढर्रे के हैं. साहिल वैद्य की एंट्री इस हिसाब से और भी कारगर दिखने लगती है, जब इशिता मोइत्रा के संवाद अब फिल्म के बाकी हिस्सों के मुकाबले ज्यादा सटीक, मजेदार और रोचक सुनाई देने लगते हैं. साहिल फैजाबाद, उत्तर प्रदेश के एक ऐसे चोर की भूमिका में हैं, जो लखनवी अदब और आदाब का लिहाज़ करना और कराना बखूबी जानता है. तू-तड़ाक उसे जरा भी पसंद नहीं, और दादरा का ताल उसे गोली लगे बदन से रिसते लहू में भी साफ़ सुनाई देता है. 'नए-नए बिस्मिल बने हो, तुम्हें रस्म-ऐ-शहादत क्या मालूम?' जैसी लाइनें और इन्हें चेहरे पर मढ़ते-जड़ते वक़्त, जिस तेवर, जिस लहजे का इस्तेमाल साहिल अपनी अदाकारी में करते हैं, उन्हें फिल्म के दूसरे सभी कलाकारों से आगे निकलने में देर नहीं लगती. फिल्म अगर देखी जा सकती है, तो सिर्फ उनके लिए.

विवेक तो चलो अपने रोबदार किरदार के लम्बे-चौड़े साये में बच-छुप के निकल लेते हैं, पर 'बैंक चोर' रितेश देशमुख के लिए एक बहुत बड़ा सवाल खड़ा कर जाती है, "क्या कॉमेडी में रितेश का जलवा सिर्फ सेक्स-कॉमेडी तक ही सीमित है?" साफ़-सुथरी कॉमेडी होते हुए भी, रितेश यहाँ भी वही आड़े-टेढ़े एक्सप्रेशन चेहरे पर बनाते रहते हैं, जो 'क्या कूल हैं हम' जैसी फिल्मों में उनका ट्रेडमार्क मानी जाती हैं. फिल्म के एक बड़े हिस्से तक उनका किरदार न तो हंसाने में ही कामयाब साबित होता है, न ही इमोशनली जोड़े रखने में. आखिर तक आते-आते उनके लिए स्क्रिप्ट में सब कुछ ठीक जरूर कर दिया जाता है, पर तब तक देर बहुत हो चुकी होती है. बाबा सहगल अपनी मेहमान भूमिका से फिल्म में थोड़ी और दिलचस्पी बनाये रखते हैं, पर बेहद कम वक़्त के लिए. 

आखिर में; 'बैंक चोर' उन बदनसीब फिल्मों में से है जो पन्नों पर लिखते वक़्त जरूर मजेदार लगती रही होगी, पर परदे पर उतनी ही उबाऊ और पूरी तरह नाकाम. मशहूर शेफ हरपाल सिंह सोखी फिल्म में बैंक-कैशियर को सलाह देते हुए अपनी चिर-परिचित लाइन दोहराते हैं, "स्वाद के लिए थोड़ा नमक-शमक डाल लीजिये'; इस फ़ीकी फिल्म के लिए भी मेरी सलाह वही रहेगी. [1.5/5] 

HUNTERRR (A): Not all great foreplays ensure great climaxes! [2/5]

The stage/bed is set. Nicely decorated with all flowery elements, scented in the most arousing aroma and with dimly lit intense mood-making ambient! Charming players [more than you can imagine but essentially and effectively three in this case] have taken their pre-marked place. So far so good! You have all the control over the most before the drum rolls and the game begins; still no one can guarantee an orgasmic climax or even a smooth ride to make it a satisfying s-experience. First timer Harshvardhan Kulkarni’s ‘coming of age’ sex-comedy HUNTERRR is exactly like any love-making situation; you never know which side the camel will sit. Foreplay is just foreplay. It can’t replace the final act, no matter how skillfully it is being performed. Contrary to the myths, the extensive length doesn’t always ensure great pleasure. You may slower the pace, withdraw your force at regular intervals but the rhythm has to be there…and HUNTERRR lacks it. It is one of those failed sex-adventures where you were all set to lose yourself but it never happened the way you imagined.

Mandar Ponkshe [Gulshan Devaiah] has always been a sex-addict all his life. He’s been hunting ladies of all sorts since his young days. A college girl, an unhappy housewife in his building, a passionate sex-lover; the list is countless. But at 40, this is the age when he must get settled. His all ‘grown-up’ uncle-look is killing his charm. Tripti [Radhika Apte] - a modern girl who can unhesitatingly confess all her past affairs is his last bet to start a fresh. Can he put it on risk by telling her about his irrepressible compulsion to hit on any possible bait in saree, skirt or denims? Or will he be able to tame this wild animal in him for everyone’s good?

HUNTERRR promises not to be in the league of regular adult-comedies with lewd double-meaning dialogues and the objectification of women with their body parts shown on screen in the most abusive manner but at the same time, couldn’t hold itself from portraying its women characters as the dumbest class on earth. They can be easily fooled and brought to bed by any average looking-certainly ‘not so smart in his tricks’ guy. Why on earth there was not a single female who could bring him beneath her? Yet, some sequences sure work well with a catchy retro-feel soundtrack [Bappi Lahiri and Altaf Raja’s tracks are perfect to recreate the era] and an authentically designed middle-class settings playing the believable quotient in the final mixture. The young days in the plot are potent and fun. The characters are very much from the neighborhood.

Performances are a relief. They make you stay in the game though the ‘too much’ back and forth narrative style takes all the fun and excitement out of this cheesy looking film of great promises. Sai Tamhankar as the sensuously attractive housewife is perfectly cast. She is expressive, impressive and talented enough to pull it off like no one else could have. Radhika Apte is all about how confident, bold and clear Indian women are today. She brings an effortless and comforting performance yet a very radiant one. And then, the hunter himself! Gulshan’s charming looks and impenitently impish-scheming & teasing body language do it the way it should be. He may not be the typical hero with qualities to die for but sure there’s something in him inexplicable that makes you go with him all the way from start to end. He gives strong shoulders to rest this comparatively weaker film.

HUNTERRR also tries to speak for domestic sexual violence and new finds in modern age of marriages like compatibility and trust but it is all just some words at touch & go. Overall; it is not a sleazy but lazy, long but loose and ‘not so satisfying’ session. There’s always a next time and a more suitable position to try! [2/5]                 

THE SHAUKEENS: A bad day for comedy! [1.5/5]

Indian men are trained to read between the lines in a way best suited for their ambitions, especially if it has anything to do with women & sex. If a girl throws a generous smile at you, there’s a definite ‘hidden chance’ there to try your dirty luck.

So, when a free-spirited girl living at her own says she will do anything to meet her Bollywood-crush Akshay Kumar, it is more than enough ‘signal’ for 3 true Indian-at-heart, lecherously sleazy old men to run a cut-throat competition between them. Obviously, the girl was nowhere near the ‘understood’ connotation of her enthusiastic announcement and one of the contestants could only get a peck on his bald head and the worth-dying for title of ‘Rockstor’ in return. In the very next scene, he’s seen sharing the all made-up juicy stories of his false-success in the act and getting paid with what she has promised. Finding it funny? Shameful, I would say!

TERE BIN LADEN fame Abhishek Sharma returns with remaking Basu Chatterji’s cutely titillating comedy SHAUKEEN. The new version is called THE SHAUKEENS and the Utpal Dutt-Ashok Kumar-A K Hangal trio is replaced with Anupam Kher-Annu Kapoor & Piyush Mishra. Undeniably, the cuteness is killed by the crudeness and the cheap sex-humor.

Story revolves around three aging licentious, lusty and sex-starving men from Delhi hitting girls of all ages around them. Lali [Anupam Kher] has a wife at home, clearly disinterested in sex and busy ensuring her place in heaven with heavy religious duties. Pinky [Piyush Mishra] is a masala-king having no spices in his life as his wife had already passed away. KD [Annu Kapoor] is a wild-untamable bachelor by choice. Together they plan a trip to Mauritius meant to calm their guilty pleasures and to their best; it is a gipsy-sexy-carefree girl Ahana [Lisa Haydon] who welcomes them as the caretaker of their rented accommodation.

Keeping these 3 extensively indecent, strong-minded & unshakable filthy men’s intentions in mind, I felt good for other girls on the beaches of Mauritius as they looked only focused to one. Film constantly carries scenes of forcefully hugging & caressing the girl and even literally begging her to wear bikni in one particular scene. Following the current statistics of rise in eve-teasing & sexual harassment of women in India, these men tick all the boxes to be considered for serious sentence but here, they are not only calculated funny but also deliberately get blessed with stupid justification of their insufferable behavior- the loneliness and a good harmless heart within. How ridiculous!

Thank God, the producer is here to save some of his film. Akshay Kumar plays himself and intrepidly jokes on himself ranging from doing same things in every film of his, being compared with wooden furniture in terms of his acting ability [Heartless Critics, I say] and his ‘not really’ but witty wish to win national awards someday. His tracks in the film are similarly intertwined like any parallel comedy tracks in South Indian Masala entertainers. On the performances, Annu Kapoor plays it cool and the most confident about his part. Piyush Mishra shows faith on his theatrics more. Anupam Kher is hammy for the most.

At the end, THE SHAUKEENS dies a regrettable death despite having promising names like Tigmanshu Dhulia as the writer and Abhishek Sharma as the director. Things do get worse on a bad day. It is one such for many, including the viewers and the reviewers. Avoid it! [1.5/5] 

MASTRAM: A satisfying session, far from being an orgasmic delight! [3/5]

The fact that I belong to Uttar Pradesh, the dregs of North India and the very same time zone; there can’t be any possible chance of denial that I might not know about these hugely popular & highly erotic writing materials, openly available at all book stores at crowded state bus-stations and local newspaper vendors under a fictional handle-name of Mastram. I never really bothered much about who’s the man behind and what force could drive him to enter this very exploitable yet offensive sector till Akhilesh Jaiswal’s fictional biography MASTRAM came into limelight.

A small town writer from Himachal Pradesh dreams to make it big as a novel-writer in big cities like Delhi. He definitely is aware of the consequences of being a writer so doesn’t want to get into married life but soon he’s told about the girl being a typical housewife material who can cook lip-smacking mutton, he agrees. Now, this is the era where most publishers are only interested in printing study materials and not some boring ‘shuddh Hindi’ literature. Rajaram- our protagonist is forced to look out for some ‘masaaledar’ addition to his stories, often explained by people around as sex. And, thus Rajaram turns into Mastram- an unknown iconic writer of soft-porn novels!

Many would look at it with expectations to be a pornographic movie that would tickle mostly the lower part of human body but the writer-director Jaiswal boldly decides to focus on the writer’s catch-22 situation while changing gears from one kind to a completely different, the pain of losing opportunity to be known and famous and also the categorical expansion that creates competition in his self-claimed province. Film also talks; if not in volumes, in suggestions for sure, about the hypocrisy of the two-faced society. People, who read him the most, start disgusting him in the same measure after his identity comes out in light.

The real hero of MASTRAM besides the fascinating concept is Mukesh Chhabra- the casting director of the film. This man does magic with his strong sense in reading the characters and finding out talents that can carry it more than what is written, briefed or expected. Though Rahul Bagga as Rajaram is very recluse, reserved and restricted for the most part, it’s the supporting cast that outshines everyone else in the crew. Debutante Tara-alisha Berry as his charming wife, Akash Dhaiya with his publisher partner and Istiyak Khan as his best friend are outstanding.

With aesthetically shot intimate sequences, hilariously erotic dialogues on the likes of the original Mastram bestsellers, nicely built plot and believable performances, if MASTRAM couldn’t take a deserving leap from being just watchable, it is only because it lacks more layers to the story with time and again getting repetitive especially with the episodic visualizations of erotic stories he pens down.

Overall, it is an entertaining effort to bring the legend of Indian soft-porn back on screen. Watch it to relive the era or to get a brief intro to this yesteryear’s guilty pleasure if you haven’t been fortunate enough to enjoy till date. Do not expect orgasmic pleasure but a satisfying experience is guaranteed! [3/5]         

DON JON: Real, honest, witty & confident…a rare in romantic-sex-comedies! [3/5]

There have not been many adult comedies that are clear in head, certain in content & honest in effort to make you laugh with the real-to-the-core wit and also feel for the hearty participation of its characters in making it a not-so-regular adult joke book. Joseph Gordon-Levitt is not a new name in need of any introduction but with his directorial début in romantic-sex-comedy ‘DON JON’, he definitely earns another feather in his cap. ‘DON JON’ is real, honest, witty, emotional and matured enough to talk firmly & unhesitatingly about ‘grown up’ issues covered under the sheet till now.

Jon [Joseph Gordon-Levitt himself] is any young blood who loves his life more than anything. The space he lives in, the bed he sleeps on, his regular workouts in gym, the church time on every Sunday with family, his friends, his car and anything that you can think of, for a self-centered man like him but what makes him out of the league is his self-acceptance of the fact that he loves watching porn. With enough reasons and grounds of his own, he just believes in and enjoys the idea of masturbation while watching sleazy sex-clips on porn-sites, even if there is a girl in his bed to give him the real pleasure.  

Things don’t pay any favor when one day his bossy girlfriend [the lovely Scarlett Johansson playing bitchy here] - a fairytale romance believer, catches him sticky dirty handed enjoying what he enjoys the most. Now, Jon has to compromise with his likings if he really wants to make it all good in his ‘true love’ relationship but is he ready? What about his new bonding with the much experienced and more thorough in life-lessons Esther, played by enigmatic Julianne Moore? Will he be able to learn-unlearn few things from her??

From the opening title sequence falling in between while surfing channels on TV to the montages showing the monotonous routine in his life-hours to the intercuts between porn clips & real life illustrating what mental state he’s in to, film impresses with the story-telling techniques big time. The fresh approach to be simple but straight in your face is very well communicated. The humor comes easy with the writing and in situations that fall apart out of nowhere. Joseph Gordon-Levitt looks every part of the character played by him, who can be very sure of one thing but completely clueless in impulse. Scarlett in her portrayal of a dominating-typical girlfriend material impresses. Her igniting presence on screen clearly pays off. Julianne Moore brings the sensitivity & sensibility factor in the account. There are also some delightful cameos to raise your heartbeats [Channing Tatum & Anne Hathaway is one of them].

With an unsullied writing hand and impressive directional skills, Joseph Gordon-Levitt creates an amusingly witty adult comedy that is best enjoyed if you do dare to accept things as they are in real. Not for ones who are adults but still think of sex as a cultural taboo to talk, to show & to entertain. Thoroughly enjoyable!! [3/5] 

GRAND MASTI: Cheap, disgusting, offensive, insensitive & a must if you think from your lower abdominal parts [0/5]

Why on earth do Bollywood adult-comedies have to have double-meaning dialogues that fall only for one intended meaning? And why on earth do writers for such sleazy entertainers have to use their boneless part of lower-abdomen area to think and not the obvious upper part primarily called as mind?

Well, if sex-comedies are like classic ALIEN series, Indra Kumar’s adult-comedy GRAND MASTI is Shirish Kunder’s JOKER. Both have common ingredients to offer viewers a good platter of entertainment but are still very divergent in recipe and in taste. The former is cheap, shameful, lousy, crappy, distasteful, disgusting, mean, offensive and everything else but funny.

Sequel to MASTI- the 2004’s surprise hit, GRAND MASTI revisits the dull, boring & ‘suck sex’ful married lives of Meet (Vivek Oberoi), Prem (Aftab Shivdasani) and Amar (Ritesh Deshmukh). Their wives are busy in everything around; from serving extended families non-stop like an adarsh- bahu to working late at boss’s place for better future & also in baby-sitting but all they ignore unpretentiously is the sexual desires [I can use the term ‘lost love in marital lives’ to be sober but trust me the film itself didn’t talk of it even in suggestion] of their husbands, as if that is the last thing on earth to stay alive. So, the trio seeks the alternate means of pleasure in their college reunion with barely clad sex-sirens sickeningly named as Rose, Mary & Marlow to be pronounced later in exact order for at least 60-70 times till you start hating such beautiful names.

I widely understand the need of below-the-belt jokes in any adult-comedy but the situation goes horribly wrong, monotonous & unbearable after a while when makers decide to stay there and there only to tickle I don’t know what bones of yours but certainly not the tickling one. So, you have weird sex-driven word-plays in every second sentences characters speak, old tasteless adult jokes getting re-enacted, forceful body-show and sequences literally hitting on every private part of human body. It goes on and on like the flat, flavorless rubber in your mouth [Chewing gum, I mean].

Also, there are times when it turns so absurd-so ridiculous you don’t want to look at the screen. Well, even these things you can take for granted in the name of entertainment but how can you not be sensitive or apologetic about offensive sequences where women & kids are being treated as a substance of pleasure without showing any love, respect or care for that matter. In one of scenes, Amar (Ritesh Deshmukh) blatantly curses his cutely adorable kid with a gesture like ‘kaash maine uss din nirodh ka virodh na kiya hota!’ and later offers him to a burglar to get rid of him. Painful!

There are no reasons that can justify its viewing except you are a sex-starved, low-IQed, male chauvinist who sees women as sex-object & doesn’t love/care/respect even their ladies at home. I regret watching it and very sorry as I didn’t think I would be also reviewing a soft-porn someday. Watch it at your own risk! [0/5]