Over-the-top performances, amusing pop-references and definitive clowning around allow for some jest but the overall takeaway is less than satisfying despite the by-and-large amazing sock-it-in-your-jaw graphics animation CGI work. Some sloppy visual effects and lack of overall coherence also mar the involvement. Kids will be amused no doubt.

A decently played out drama about adolescence, sexuality and growing-up concerns in an upper class set-up where free thinking bohemianism is just a façade for traditional conservatism and bigotry. Though the story doesn’t develop well enough to provide thought-provoking moments, the sincerity and noble intentions of this enterprise is unmistakable.

While the story is interesting, the treatment and structure don’t quite fit in. Kunal doesn’t appear quite convinced about what he had to do and that shows. Zoa and Mandana don’t look so hot on the performance front either. Music, direction, choreography and action are indistinctive. So there’s precious little purchase to be had here.

There’s nothing really stellar about this enterprise other than the beauteous camerawork that makes Mumbai and Goa look like much sought after international locations. The production values are of course spiffy and the performances are overburdened by boring and extremely tedious verbosity. Teeshay and Tara Alisha Berry fit in but are unable to generate any sparks to keep you interested.

The entire run is typically sci-fi generic. Nothing remotely original or exciting transpires on screen here. There’s plenty of confusion in the plotting and the structural faults in the narrative doesn’t allow for any attachment. There’s no feeling attached to the brutalizing, maiming and killing of the opponents and this makes the enjoyment largely suspect.

The story appears cobbled together without much logic or realism. As far as performances go, it’s Kishori Shahane and Krutika Gaikwad who stand out with their sincerity. Aditya Pancholi appears a little awkward at first and then gets into his own stride mouthing Marathi invectives in his effort to redefine mean. The only real reason then, to bear with this opportunistic exercise are the clutch of hit classic numbers

Luc Besson’s attempts to re-energise the franchise with an entirely new cast and tech team doesn’t do anything to make the experience memorable. This fourth installment can barely get its jollies on track, leave alone the stunts, the assorted action or the car chases. ‘Game of Thrones’ star Ed Skrein’s Frank Martin fails to measure up in Statham’s shoes. Neither his driving skills nor his athletic kicks and chops can make an impression here.

The situations thereof are whacky enough but the humor is a little too obvious and mitigating. There’s no originality in the screenplay either. Clichés abound while cloaked rambunctiousness can only keep you tickled for a brief while.

Karan Anshuman had impressed many with his critiquing skills but the same cannot be said about his directorial or scripting ones. The script gets decrepit in the middle section. And the climactic one delivered in sermonizing fashion just doesn’t cut any ice. The blundering terrorists angle was a great ploy but to have them intentionally turn in the slog overs, appeared too far-fetched. Also the subplot that involves a goat that Pravin is forced to adopt, doesn’t go anywhere near fruitful.

Themes of migration, loneliness in a big city, greed, aspirational lifestyle, environment degradation, alienation, adaptation to new and alien ways, attitudinal shifts, parental neglect and many more jostle for space in a narrative that lacks focus and prefers to get frequently waylaid by unnecessary song and dance.