This film remains so remarkably restrained throughout, drawing hardly any attention at all to the big moments — through the background score (which is laidback, slightly calypso), or creating a sense of occasion (most scenes are tonally the same) — that by the end of it, you genuinely wonder if this was a sports movie in the first place.

They narrate the classic underdog script of how passion and ‘zid’ (or perseverance) can take you places. But, that’s not all.

Banjo’ packs in so many hero-villain, poor-rich type clichés, and so much melodrama, from the time-tested rule-book, that even if you didn’t bother watching the film, you’d know what happens. Yeah, you’ve been there, seen that; why watch this same kinda picture again?

If you were to draw a parallel, this would perhaps be the rural equivalent of Pan Nalin’s upper-class, super-urbane ‘Angry Indian Goddesses’, a terrific ensemble pic, from last year. Of course we’ve been seeing very entertaining and explosive feminist films lately (‘Pink’ is an even more recent example). They only reflect an irreversible revolution on the Indian streets, homes, and workplaces. A fine sign of our times, I’d say, and if the arrow also leads to theatres, yes, it’s worth going, and supporting, for sure.

Does this film leave a similar impact? Frankly, I’d say, at the cost sticking the precious neck out — even more. And why’s that? Quite simply, because the terrible incident described in this film could happen to absolutely anyone of us, or our loved ones.

You only wish so much thought had gone into the OTT script as well. Bored out of my wits, watching these good fellas with hardly anything significant to do, I could only feel a slight kira (insect) up my bum — desperately itching to go home.

I’m merely glad this is at least an attempt at big-screen entertainment aimed purely at kids. How many homegrown options do we have anyway? Most adults, I’m afraid, won’t give a flying duck.

This is the sort of desperate comedy that basically takes the Keystone Cops’ style of ‘everybody is running around each other’ kinda humour a bit too far. To be fair, one can still see how this must have read well on paper. Some lines are absolutely first-rate. A few funny scenes really hold your attention.

There isn’t as much wrong with this film as the fact that you wonder what’s good about it. By the end of the film, you will be spectacularly bored by this humourless spectacle. And the question in your head is less likely to be: ‘What is going on?’ and more likely to be, ‘Why is this going on forever?’

No filmmaker I know has managed to bring to life the filth, the underbelly, and, yes there is no other word, the sheer grime, of India on to the screen as Anurag Kashyap has (right from Paanch, down to Ugly). Indeed his contribution to films over the past couple of years (or even in the long-run) far exceeds his work as director. Is this even close to his best? Nope, perhaps because there is, in that sense, hardly anything new. Does it jolt you still? Hugely, for the most part.