• Towards the end, when the film keeps inventing too many rapid developments, even the unconvincing knots run out of ideas before the halfway point, and you know these are obligatory attempts to lift your sagging spirits from snoozing, and seem more like afterthoughts. It’s just that by then you may be too tired and uninterested to care!

  • The intentional comedy in the film always seems on the verge of working, but then, is quickly bludgeoned to death with staleness.

  • The film doesn’t have the requisite mystery associated with the genre and the screenplay co-written by Siddharth-Garima neither reaches the great heights claimed through its promotional schemes nor the promise of its interesting premise, nor is it a groundbreaking reincarnation drama. Though well executed and photographed, it’s too implausible and takes too many liberties with the meaning of the term “reincarnation”, making it into a gross literal reality. At best, it merely pretends at some great gravitas but never gets past being only moderate entertainment.

  • Under Sippy’s direction, the cast has acknowledged the clamoring script with performances that are hard, brittle and strained to the breaking point. Sinha is splendid, except when she is being consciously cute in this disappointingly shallow movie.

  • There are no digressions here to blend jaw-dropping footage of the attempt to climb Mt. Everest with a dramatic back story to reach the summit. And thank God for that! Bose tells the perilous story of Poorna without clutter and focuses on human endurance and dilemma. Viewers would instantly empathise with her. The only negative aspect could be the simplistic dialogues that make most characters one-dimensional.

  • Stunts and force sans excitement…

  • WTH gets sillier and more ludicrous as it goes along, which is typical for many suspense genre stories.

  • As a film, 31st October should have served to encourage a sobering sense of responsibility, a more truthful perspective on our identities — both individual and national — and a stronger tendency toward restraint in those who might find violence appealing. And justifying.  There was a goldmine of rich material here, but there is nothing explored of the dark subject matter in this story.

  • Oberoi shows enough promise of a better off-mainstream cinema that should emerge from her kind of storytelling.

  • The upbeat feel of the film is undemanding, and doesn’t have any surprises in store. Watch it if you want some simple stuff that doesn’t annoy you.

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