In Charles’ words, “Oyaltee has its own price to pay.” But investing time to watch this one will only mean making a ‘oyal’ buffoon of yourself.

Titli seems to be made with the single-minded objective of leaving audiences with an unsettling feeling-A constant discomfort that can’t be shrugged off, like a nasty itch at an unreachable part of your back. If this is what you seek from cinema, book your tickets now.

Director Vikas Bahl, best known for helming films like Queen and Chillar Party, has acquired a reputation for himself and unfortunately for him, people have expectations from this one. But unlike his previous ventures, this one lacks soul, sensitivity and a scriptwriter.

Pullav is a delectable preparation, but this one will result in an upset stomach. Go for khichdi instead.

The top reason for the success of the first part was that it picked on rarely-discussed yet universally prevalent sufferings of committed men. The tacky yet hummable number “Ban Gaya Kutta” (used in this film as a background number) even poked fun at their domesticated state. This film goes to say, that while every dog has his lay, the eternal sufferings that come along, are here to stay.

One believes that the laws that govern our land are competent if not entirely snag-free. But Meghana Gulazar’s Talvar subliminally suggests that while the system provides a framework for doling out justice, its construct can sometimes be a contraint. As a dialogue in the film explains, “Gathering information in an investigation is often called a legal act carried out illegally. The trick is to find a balance between what is legally right and what you, as an individual, feel is right.”

Fundamentally, all chase films have someone on the run and someone trying to track the first ‘someone’ down. Where this one differs is that it fails to be unpredictable. Here, every kick, stab and car screech can be estimated accurately. You can make a correct choice each time, so to speak.

Debutant director Zeishan Quadri makes all the classical mistakes of a first-timer. To begin with, he seems too consumed with the idea of infusing humour in tense sequences. This would’ve worked if the jabs were sharp and didn’t undermine or diffuse the magnitude of the scene. Here, they only serve as a distraction. Secondly, when you seamlessly capture an entire scene in a single shot, you may pat yourself on the back. But when you repeatedly do it, it seems like a gimmick and that you’re doing it just because you can.

An essential part of heartbreak films is the unsaid assurance that all will be well by the end. The only certainty here, is that this story of heartache will surely lead to a headache.

The Hero that catapulted Jackie Shroff and Meenakshi Sheshadri to instant stardom had songs like Lambi Judai and Tu Mera Hero which can be partly credited, as they’d factor in the success of films then. But the predictable plot featuring a union of partners from disparate conditions: rich and poor, cop and robber, coolie and client, was passable even though over-utilised then. Today, this photocopy with no plot tweaks seems little more than a tired effort.