His organic approach reflects in the film. The story uses death as a tool to make a statement on life in all its shades, while staying true to the world it is set in.  Art and form couldn’t be a more potent mix than in Thithi.

…may not be perfect but is a memorable, mesmerizing and dazzling piece of cinematic vision.

Hell hath no fury like a woman teased or disrespected. The film has all the right intentions and ideas and actors but it’s just not effective enough. Between celebrating womanhood and showing their inequality angst, the story loses steam halfway.

Considering how ambitious the intention is, in attempting to diversify the film into various genres and interpretations of love, it is commendable that the present life of K is well tied up with all the other stories set in the past. It just about makes it a watchable, cohesive whole, though not necessarily something that makes sense.

This 007 is neither shaken nor stirred, but simply frozen in time.

Not surprisingly, this Barjatya film is as nice, predictable, old fashioned and sweet as a Diwali laddoo. Full of emotionally engaging, PG-rated Prem leela.

You don’t really mind the missing hard-boiled plot, because by the time the film ends, we are treated to well-shot frames and the amazing theme music. Style wins. The seduction is complete.

Whether Titli, the reluctant brother, transforms into a butterfly and flies away or not, there is certainly no escaping from Behl’s non-apologetic, brutal and bloody tale.

Men, be ready to relate. At times. Women, be ready to hate. All the time. Hopefully, you can laugh it all off. Together.

An fairly interesting plot kicks in. An official remake of Korean film, Seven Days, the screenplay moves fast in a gripping enough thriller mode. Gupta displays his old penchant for slick action and weaves a fairly engrossing tale.