This film also challenges Google’s inability in answering all questions of life. The questions put forth to illustrate this point include, “How do you increase the sales of a cooking oil manufacturer?, and “Why did Beyonce apologise to a NASA scientist.” Yes, this was covered in a physics class. To evade legal proceedings from the internet giant, a suitable disclaimer that praises the world’s most popular internet search engine, is tucked into the end credits. This one, is only to caution audiences.

…the film takes a preachy stance in repeatedly conveying the debilitating life of addicts. It adopts a Films Division documentary approach in a tedious sequence that explains the supply chain operation of various drugs.

This film portrays Rajasthan as the land of the forever happy – where breaking into a song doesn’t warrant an excuse and ghevar is the national sweet and acceptable main course. The film’s one-dimensional storyline desperately seeks conflict but only ends up straying from uncertainties, much like Ram Gopal Varma films evade a steady camera.

It’s upsetting that Ram Gopal Varma fans have to put up with this. Even the very few and far between visual flourishes are merely reminders of an auteur that was.

A problem with this film is that it won’t agree well with ardent Azhar fans, given the slips in factual accuracy. And his detractors would argue against his engineered victim image in the film. So the point is, who does that leave Azhar with?

While this could’ve been a breezy indie mood film that travels to a few festivals, it may face a serious challenge as a commercial release in India. The problem with it is simple — not much happens. And what does, happens at a lethargic pace, which can be unnerving.

The issue with this film is not that it packs in too many issues. It’s just that it has too many of its own.

When you sign up for a Sunny Leone film, there are expectations of a certain kind. For such a single-minded audience, Sunny delivers with foamy swipes across her body in slow-mo and openmouthed moans. But those hopeful for more, shouldn’t be. As the title suggests, this isn’t a story of free love, rather freelance lovemaking. And while extra-marital affairs have become jaded in films, milked largely by the Bhatts, this one targets a proposition close to the Indian male fantasy — having one with Sunny Leone.

Organ donation is a noble cause that this film picks up to endorse. But the superficial focus on the humanitarian act only draws attention away from it.

Director Sabbir Khan should be credited for framing the well-conceptualised action scenes. But for the rest, writer Sanjeev Dutta left him with very little to play with. The songs in the film are great — only for your mid-film washroom visits. Almost 140 minutes long, Baaghi can get insufferable to a point that you hope the lead pair actually succumbs to the blows and we can all go home. But they don’t.