Director Sohail Khan, who shares writing credits too, takes a lot of cinematic liberties. Even in a Utopian state, it is hard to digest street children running amuck golf greens. Or having goondas, double up as caddies. Like they say, this happens only in our desi cinema.

Chaubey uses a part-documentary-part-mainstream approach here. Post interval, the film is sometimes too indulgent and sluggish. Also this is not your sunny-side up cinema. It is stark and makes you cringe. However, its victory lies in making you empathise with its characters. As Alia and Shahid, both victims of drug and physical abuse fight their demons and destinies, you shed a silent tear.

The film’s ability to maintain the suspense right till the end makes it a must-watch for those who like whodunnits. However, a better pace could have lifted this film a notch higher.

If you have seen the two earlier installments of this franchise, you already know that is purely a ‘leave-your-brains-behind’ affair. The premise is a comedy of errors. But unlike Gulzar’s gem Angoor (1982), this one is not about twins. It’s so convoluted, it will make Shakespeare turn in his grave.

In all fairness, Sandeep brings Veerappan alive and the National Award winner Usha as Muthulakshmi is convincing. Though not in top form, RGV does redeem himself to some degree. And his film does allow you to get up, close and personal with the notorious criminal who made a monkey of the Tamil Nadu and Karnataka Governments, because he knew the loopholes in the system.

You stay invested here because the material at hand combines India’s two religions-cricket and films. Of course, this generation would rather see biopics on MS Dhoni or Virat Kohli.

The characters and key-plot situations are seamlessly interwoven. There are some predictable playing-to-the-gallery religious sentiments introduced to get the desired results. But this can be overlooked because at it’s core, this is a well-intentioned film with fine performances from its ensemble cast.

Kareena is terrific, Arjun, endearing. But Balki’s writing is inconsistent. A few scenes leave you misty-eyed, but for the most part, the stock situations are banal. Yet, Ki and Ka is worth a ticket because it tells shows how there is nothing wrong with the man wearing the apron and the women wearing her ambition.

This one raises a toast to the daunting spirit of India’s daughters; every one of us must salute Neerja.

The film had great potential but it plays safe by taking the familiar route of the underdog becoming the champion. You know from the time when Adi picks up a wild child off the street and she over dramatically resists, that he will pursue her to follow his dream. Director Sudha Kongara also deftly weaves in an attraction between the amateur boxer and her khadoos coach, a man almost double her age.