There is not a semblance of a script (guess the writing team got an Eidi). As for the dialogue writers, they must be awarded. Each dialogue beats the other. Sample these — The Lion doesn’t believe in making enemies; Don’t open your dil open your Dell (computer); Sad very sad, there is no cure of foolishness; If you are protected by God, then none can touch you. There is a full book of these gems but to whistle for those, you must visit a theatre near you. The film is absolute stressbuster that is meant to be seen and taken in lighter vein.

The pace of the first half is crippling and the second half, in which Kapil behaving like part child, part man and trying valiantly to save a village from the Machiavellian firangis, is unintentionally funny. However, for the most part, this film is more taxing than the lagaan levied by the British on the Indians.  

All in all, it’s a film that had potential to be a sweet love story. However, this one doesn’t quite get there because it’s not passionate enough on any count—be it in its social messaging–or be it in the romance.

Well, if you’re in the mood to get rid of the monsoon blues with the foot-tapping ding dang, ding dang ditty, you should get introduced to Munna Michael; he’s not making breaking any new ground, but his moves are certainly infectious.

Anurag as the baddie and Sonakshi’s spirited act redeem the film to some degree. For the rest, Akira is humdrum.

The script that is inspired by the Hollywood franchise Hang Over and the Hindi franchise Pyar Ka Punchnama comes unstuck. The whole “not being able to remember what I did in my drunken state,” and reliving the scenario the next morning has no deja vu. Instead, it’s a terrible mishmash of nothingness.

Every 20 minutes, a song breaks. Sunny, who is on familiar territory, looks gorgeous as she parades in an assortment of bikinis. She has also mastered the Bollywood song-dance routine and gracefully sashays to Rom Rom Romantic and Hor Nach. Bollywood believes that if you have Sunny in a film, you do not need a script.

Too many gags follow more gags, actors ham and situations get repeated. Wish the makers, who have invested so much in locations and item songs, had invested in a tighter screenplay because India is ready for a smart sex comedy. At the interval point, you are willing to cut the film some slack, but post the break, despite the gloss, glamour and goofs, you’re restless.

The execution for the most part is clumsy. Yet somewhere in the second half, Gilatar redeems himself and the film. He touches on the importance of teachers in our lives and shows the apathy of the powers-that-are towards providing equal education opportunities.

Shaandaar has a fun plot. However in his attempt to spoof destination weddings of the bankrupt and the famous, Vikas Bahl, (who also directed that gem, Queen) forgot to take a script along.