The night-time cinematography is creditable, and the performances are pretty much adequate. Anushka. Neil and Darshan Kumar as the villain dig in well but it’s a feisty Deepti Naval, who makes her all-too-brief cameo a memorable one. In fact her entry point is when the film picks up speed. Otherwise, Navdeep Singh’s film is a mere genre pusher.

The scripting is well proportioned, allowing for a affect tempered narrative that blossoms out into an interesting and rewarding climactic spiel. The music plays a very subordinate, supportive role allowing for words and emotions to capture the imagination without hampering effect.

K C Bokadia’s days of setting up a juicy pot-boiler for the front-bencher audience is long way past. Using stinging dialogues, steamy sequences and conniving moves, he tries to make it all happen but it just doesn’t. There’s really no excitement or bite in this rather unsavory product. –

The only becoming factor here is TV hottie Barun Sobti’s ability to make the unlikely transformation stick with some nifty acting. But for his resplendent ability to convince and engage, this defeatist enterprise would have sunk without a trace!

‘Zed Plus’ is a highly engaging attempt at socio-political satire with humour laden benefits all along the route. The script has its sublime moments. Unfortunately the plotting is not altogether believable.

Possible ‘Hate Story’ intent but in effect not coming close even to that low ask. There’s in fact a little too much promise in the marketing and precious little in deliverance!

Rensil D’silva (infamous for Qurbaan) gets into the all-in-one act with dialogues, story, screenplay and direction credited to him so there isn’t much cause to blame anyone else for the sloppy misinformed plotting. Also the lack of cohesive reasoning is unpardonable. Deepa Bhatia, editing expert extraordinaire does her best to make the film racier and more exciting but the narrative just doesn’t have what it takes.

A legitimate inspiration, Vishesh Film’s Hansal Mehta directed ‘Citylights,’ repackages the 2013 Sundance premiered, British-Filipino Indie production ‘Metro Manila,’ written and directed by Sean Ellis. Set within an Indianised setting and rewritten to suit the milieu in Rajasthan and Mumbai, it loses most of its charm in the bargain.

A quirky, distasteful title alone does not make a film hit. Production houses like Balaji Motion pictures should have known that. This kind of putrefying titles might gain a bit of curiosity but without the content to match that expectation, there’s no chance of recompense.

There is very little balance achieved in the telling and for people unfamiliar with the culture and rituals of the bygone era, everything on view may appear far-out and fanciful. In terms of technology being used, this is a first, no doubt, but it doesn’t come out as exciting or completely entertaining.